Archive for Greater Game

The Greater Game: Part 5

Posted in Recording Sessions with tags , on September 25, 2015 by dazzlesoundproductions

So just a quick note to say it’s here – download for free or listen at the website where you can learn more about the story of Frank Edwards and his experiences in war.  I’ve learned a lot about the manipulation of pure sound and how to build an atmosphere around dialogue and create a whole sonic picture, I hope it resonates for listeners too.  Next up, back in my comfort zone with a busman’s holiday working on my own songs with my own band and a couple of client projects.  Watch this space.


The Greater Game: Part 4

Posted in Recording Sessions with tags , , , on July 27, 2015 by dazzlesoundproductions

Mix and master time!  The mix was quite involved as sounds had to be layered in order thusly:

Dialogue – edited to timeline removing fluffs, adjusting pauses, cutting breaths, coughs, cardiac arrests etc.

Bed sounds – the ambience of each scene whether indoors or outside or a combination of both.

Foley/acute sounds – sounds of war, sport, various other activities.  These often have to align with the dialogue.

Everything else – credits, impromptu songs.

Panning decisions, reverb decisions, compression, soundstaging all done on the segmented play.

Once this sonic quilt had been stitched, each individual scene had to be cross-faded so as to provided an uninterrupted soundscape.  The 39 minute master was initially parallel compressed but the decision was made that as this had been done with some elements already and that it rendered the background noises too intrusive, it was dropped.  Instead the whole play was merely gently eq’d and gain adjusted to achieve the desired result.  Some people think it’s all over, it will be on 25 September, or rather just beginning.

The Greater Game: Part 2

Posted in Recording Sessions with tags , , , , on April 30, 2015 by dazzlesoundproductions

Onto recording dialogue for our radio play.  The studio we are using has a good size damped rehearsal room and this is where we decided to set up.  Less pleasingly, it is next door to a curry house with a large extractor fan and on a busy roundabout (though traffice had declined by the time we were rolling in the evening).  In these situations it’s all about maximising signal to noise.  We started in this position;


The fan is outside on the right and the motorway is beyond the back wall.  The right mic was getting a bit of ambient noise although the other was relatively quiet.  So we moved to this configuration;


This largely eliminated noise as the nulls are now presenting their ‘deaf’ side to the sources.  Keeping the talent close to the mics helped build up proximity which means the recording level could be kept down and noise was further filtered by me in post-prod.  The dialogue tracks are 90:10 signal to noise which means ambient noise will be almost entirely masked by the soundscapes we are planning to build around them.  The only remaining problems were mopeds with silencers removed (angry wasps) and actors moving off-axis (usually to read scripts).  To be on the safe sides 3 takes were laid down of each scene to give options at mixdown.  Next up, Foley.