I created this presentation for the OpenTech 2009 conference at the University of London on 4 July 2009. The talk shows how to create radio drama in instances where the participants are separated geographically, by using VoIP (Skype in this case). The content is based on experience working with the Radio Riel Players in the virtual world of Second Life.

1. Radio Drama
at a distance…
Richard Elen
Brideswell Associates
1

2. …how to create it
Technology platform.
Sound equipment.
Setup.
Session planning.
Performance.
Post-production.
2

3. The Radio Riel
Players
3

4. The Radio Riel
Players
3

5. The Radio Riel
Players
We are a group of Second Life residents.
3

6. The Radio Riel
Players
We are a group of Second Life residents.
We wanted to perform audio excerpts of Shakespeare
for “Shakespeare in SL” – a grant-funded project of
Radio Riel and the Caledon Library in Second Life.
3

7. The Radio Riel
Players
We are a group of Second Life residents.
We wanted to perform audio excerpts of Shakespeare
for “Shakespeare in SL” – a grant-funded project of
Radio Riel and the Caledon Library in Second Life.
Our members are located
all over the world.
3

8. The Radio Riel
Players
We are a group of Second Life residents.
We wanted to perform audio excerpts of Shakespeare
for “Shakespeare in SL” – a grant-funded project of
Radio Riel and the Caledon Library in Second Life.
Our members are located
all over the world.
How could we do it?
3

9. Possible solutions: I
4

10. Possible solutions: I
Second Life Voice:
4

11. Possible solutions: I
Second Life Voice:
Not reliable enough.
4

12. Possible solutions: I
Second Life Voice:
Not reliable enough.
Audio is location dependent.
4

13. Possible solutions: I
Second Life Voice:
Not reliable enough.
Audio is location dependent.
Variable quality and often unusable artefacts.
4

14. Possible solutions: I
Second Life Voice:
Not reliable enough.
Audio is location dependent.
Variable quality and often unusable artefacts.
Difficulties with private voice chat.
4

15. Possible solutions: II
5

16. Possible solutions: II
VoIP (Skype):
5

17. Possible solutions: II
VoIP (Skype):
Known, free technology.
5

18. Possible solutions: II
VoIP (Skype):
Known, free technology.
Mono only.
5

19. Possible solutions: II
VoIP (Skype):
Known, free technology.
Mono only.
Latency issues.
5

20. Possible solutions: II
VoIP (Skype):
Known, free technology.
Mono only.
Latency issues.
Some quality issues.
5

21. Possible solutions: II
VoIP (Skype):
Known, free technology.
Mono only.
Latency issues.
Some quality issues.
5

22. Common technology;
Uncommon application.
6

23. Common technology;
Uncommon application.
You probably use VoIP for phone calls, but…
6

24. Common technology;
Uncommon application.
You probably use VoIP for phone calls, but…
Radio drama is just one of the possibilities.
6

25. Common technology;
Uncommon application.
You probably use VoIP for phone calls, but…
Radio drama is just one of the possibilities.
Others include live radio, TV shows, and much more.
6

26. What, only Skype?
7

27. What, only Skype?
No, you can use any VoIP system you can all get your
hands on.
7

28. What, only Skype?
No, you can use any VoIP system you can all get your
hands on.
Skype is simply what we used – we already had it.
7

29. Production tips
Microphones and headsets.
Recording setup.
Call quality.
8

30. Don’t use a headset
9

31. Don’t use a headset
Why not?
9

32. Don’t use a headset
Why not?
The microphones are generally poor.
9

33. Don’t use a headset
Why not?
The microphones are generally poor.
The mic is close to your mouth so you get breath noise,
thumps and pops.
9

34. Don’t use a headset
Why not?
The microphones are generally poor.
The mic is close to your mouth so you get breath noise,
thumps and pops.
Exception: Logitech ClearChat Pro USB Headsets
seem to give quite good results.
9

35. Don’t use a headset
Why not?
The microphones are generally poor.
The mic is close to your mouth so you get breath noise,
thumps and pops.
Exception: Logitech ClearChat Pro USB Headsets
seem to give quite good results.
But… do use headphones to avoid echoes.
9

36. Do use a
condenser mic
10

37. Do use a
condenser mic
Why?
10

38. Do use a
condenser mic
Why?
They give excellent results.
10

39. Do use a
condenser mic
Why?
They give excellent results.
They are not much more expensive.
10

40. Do use a
condenser mic
Why?
They give excellent results.
They are not much more expensive.
USB versions are available.
10

41. Do use a
condenser mic
Why?
They give excellent results.
They are not much more expensive.
USB versions are available.
Buy a pop-shield and a stand too
(complete kits are available).
10

42. Recording setup
11

43. Recording setup
Route Skype’s sound output to a recording application.
11

44. Recording setup
Route Skype’s sound output to a recording application.
Linux: use onboard mixer, eg ALSA to select source.
11

45. Recording setup
Route Skype’s sound output to a recording application.
Linux: use onboard mixer, eg ALSA to select source.
Macintosh: use an app such as Audio Hijack.
11

46. Recording setup
Route Skype’s sound output to a recording application.
Linux: use onboard mixer, eg ALSA to select source.
Macintosh: use an app such as Audio Hijack.
Windows: use the Windows Mixer to select source.
11

47. Recording setup
Route Skype’s sound output to a recording application.
Linux: use onboard mixer, eg ALSA to select source.
Macintosh: use an app such as Audio Hijack.
Windows: use the Windows Mixer to select source.
Record/edit using Audacity (Linux, Mac, Win, free) or
Adobe Audition, DSP Quattro etc.
11

48. Recording & Editing
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49. Recording & Editing
The person with the most audio experience should
record the session.
12

50. Recording & Editing
The person with the most audio experience should
record the session.
Everyone needs to trust that person to do it.
12

51. Recording & Editing
The person with the most audio experience should
record the session.
Everyone needs to trust that person to do it.
The person recording the session should originate the
conference call (best quality).
12

52. Recording & Editing
The person with the most audio experience should
record the session.
Everyone needs to trust that person to do it.
The person recording the session should originate the
conference call (best quality).
Do a test first.
12

53. Maximise call quality
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54. Maximise call quality
Use the latest version of Skype.
13

55. Maximise call quality
Use the latest version of Skype.
Check correct firewall ports are open and that you can
support at least 80 Kb/s.
13

56. Maximise call quality
Use the latest version of Skype.
Check correct firewall ports are open and that you can
support at least 80 Kb/s.
Check the “Skype FAQ for Broadcast and Film”
http://download.skype.com/share/broadcast/
SkypeUsageFAQ.zip
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57. Session Planning tips
14

58. Session Planning tips
Recording is the easy bit: planning is tricky.
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59. Session Planning tips
Recording is the easy bit: planning is tricky.
Have a “stage manager”.
14

60. Session Planning tips
Recording is the easy bit: planning is tricky.
Have a “stage manager”.
Create the equivalent of a “shooting script”:
Group scenes together that include the same parts.
14

61. Session Planning tips
Recording is the easy bit: planning is tricky.
Have a “stage manager”.
Create the equivalent of a “shooting script”:
Group scenes together that include the same parts.
Minimise number of people on the call.
14

62. Session Planning tips
Recording is the easy bit: planning is tricky.
Have a “stage manager”.
Create the equivalent of a “shooting script”:
Group scenes together that include the same parts.
Minimise number of people on the call.
Be sure to ident each scene to find them later.
14

63. Performance tips
15

64. Performance tips
If you make a mistake, go back to to the previous line
and start again without missing a beat.
15

65. Performance tips
If you make a mistake, go back to to the previous line
and start again without missing a beat.
Be sure that you have at least half a sentence or so
duplicated before the fluff.
15

66. Performance tips
If you make a mistake, go back to to the previous line
and start again without missing a beat.
Be sure that you have at least half a sentence or so
duplicated before the fluff.
Make sure any mistakes are covered.
15

67. Performance tips
If you make a mistake, go back to to the previous line
and start again without missing a beat.
Be sure that you have at least half a sentence or so
duplicated before the fluff.
Make sure any mistakes are covered.
Overlapping voices tend to cause audio breakup and
timing issues. Record them one after the other and
overlay them at the edit stage.
15

68. The question of latency
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69. The question of latency
Latency – delays in the Internet path and in digital
signal processing.
16

70. The question of latency
Latency – delays in the Internet path and in digital
signal processing.
However quickly one player follows another,
there will be a gap.
16

71. The question of latency
Latency – delays in the Internet path and in digital
signal processing.
However quickly one player follows another,
there will be a gap.
You will have to tighten up pauses later.
16

72. Editing tips
17

73. Editing tips
Keep original files: work on copies.
17

74. Editing tips
Keep original files: work on copies.
Save often.
17

75. Editing tips
Keep original files: work on copies.
Save often.
Make decisions as you go (eg selecting takes, making
edits): don’t put it off.
17

76. Editing tips
Keep original files: work on copies.
Save often.
Make decisions as you go (eg selecting takes, making
edits): don’t put it off.
When you have a completed section,
remove gaps until it sounds more natural.
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77. Assembly tips
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78. Assembly tips
Place the edited dialogue section in a multitrack
session.
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79. Assembly tips
Place the edited dialogue section in a multitrack
session.
Optionally, pan each person in the stereo stage
18

80. Assembly tips
Place the edited dialogue section in a multitrack
session.
Optionally, pan each person in the stereo stage
Put effects on another track (or tracks).
Free effects: http://www.freesound.org/
18

81. Assembly tips
Place the edited dialogue section in a multitrack
session.
Optionally, pan each person in the stereo stage
Put effects on another track (or tracks).
Free effects: http://www.freesound.org/
Split the dialogue track(s) to insert effects, music etc.
18

82. A note about copyright
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83. A note about copyright
Perform your own, or Public Domain works.
19

84. A note about copyright
Perform your own, or Public Domain works.
Don’t use commercial music in your productions.
19

85. A note about copyright
Perform your own, or Public Domain works.
Don’t use commercial music in your productions.
Use music you have full rights to (eg your own)…
19

86. A note about copyright
Perform your own, or Public Domain works.
Don’t use commercial music in your productions.
Use music you have full rights to (eg your own)…
…or “royalty-free” music (pay once)…
19

87. A note about copyright
Perform your own, or Public Domain works.
Don’t use commercial music in your productions.
Use music you have full rights to (eg your own)…
…or “royalty-free” music (pay once)…
…or use Library Music if you are prepared to pay the
PRS Limited Online Exploitation Licence:
http://www.prsformusic.com
19

88. And that’s about it…
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89. And that’s about it…
…but here’s some notes about what
the Radio Riel Players have done so far…
20

90. We didn’t stop with
Shakespeare…
21

91. We didn’t stop with
Shakespeare…
The Radio Riel Players recorded three Shakespeare
excerpts for “Shakespeare in SL”.
21

92. We didn’t stop with
Shakespeare…
The Radio Riel Players recorded three Shakespeare
excerpts for “Shakespeare in SL”.
We produced an E F Benson ghost story for
Hallowe’en.
21

93. We didn’t stop with
Shakespeare…
The Radio Riel Players recorded three Shakespeare
excerpts for “Shakespeare in SL”.
We produced an E F Benson ghost story for
Hallowe’en.
And A Christmas Carol in three parts
for Christmas 2008.
21

94. We didn’t stop with
Shakespeare…
The Radio Riel Players recorded three Shakespeare
excerpts for “Shakespeare in SL”.
We produced an E F Benson ghost story for
Hallowe’en.
And A Christmas Carol in three parts
for Christmas 2008.
Next… Pride & Prejudice !
21

95. Thanks for listening!
Radio Riel: http://radioriel.org/ A Christmas Carol
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96. Questions?
Richard Elen, Brideswell Associates
http://brideswell.com
Radio Riel
http://radioriel.org
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97. 24