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    Education

    Sound School Podcast

    The Backstory to Great Audio Storytelling, hosted by Rob Rosenthal, for Transom and PRX.

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    Copyright: © Transom/PRX

    • Apple Podcasts
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    • Spotify

    Latest Episodes:
    First, Tell Them An Anecdote Jun 25, 2019
    Show notes

    When you have guests as famous and interesting at Tan France, Ramy Youseff, Wazina Zondon, Ryan Harris, and Alia Shawkat, why does the host of Tell Them I Am start each episode talking about herself? Misha Euceph has the answer.


    When The Going Gets Tough, Keep Asking Questions Jun 11, 2019
    Show notes

    NPR reporter Uri Berliner breaks from his usual approach to storytelling and finds interviewing his dad about growing up in Berlin in the 1930s to be incredibly difficult and rewarding.


    Some Fav And Not-So-Fav Sounds May 29, 2019
    Show notes

    Sewage pipes, a radio crime, and sound designing inner thoughts.... Must be another episode of Rob's fav sounds but this time with a twist -- a sound that annoyed Rob to no end. Clips from BBC 3 and Nathanial Mann, Bodies by KCRW, and No Feeling Is Final from ABC Radio.


    Getting Inside Someone Else’s Skin May 14, 2019
    Show notes

    Every once in a while, I think HowSound should focus solely on interviewing. To heck with sound design, writing, ethics, tracking, and the like. Just focus on “the backstory to great radio interviewing.”

    Why? Because interviewing is how radio producers mine. It’s how we collect the raw material for our work. The better the interviewing, the better the tape. The better the tape, the better the story.

    I mean, sure sloppy writing can kill stellar interview tape.
    Same with bad production. Conversely a
    bad interview can be saved by rock solid writing. But really, if you nail your
    interview, the rest will come easy. Okay. Not easy, but easier. And the story
    the tape is based on will likely be more satisfying.

    Put another way, interviewing is the keystone of audio
    storytelling.

    That’s why it’s important to examine the work of the best practitioners and Cathy FitzGerald is just that — one of the best. She possesses an uncanny ability to capture “humans being” in her interviews. And she approaches it in unusual ways with her penchant for recording interviews in scene; her use of participant observation, which is a fancy way of saying she doesn’t just ask questions, she gets involved; and her use of props to prompt conversation. On this episode of HowSound, Cathy chats about those approaches and we hear extended examples of her work.

    As a bonus, during our chat, Cathy turned the tables and
    asked me questions about
    interviewing. And that led us to talk about our weaknesses and what we both
    would like to improve and to this positively lovely analogy for interviewing —
    weeping with one eye.


    Eight Things I Like About 10 Things That Scare Me Apr 30, 2019
    Show notes

    On this episode, the convention-busting production choices of "10 Things That Scare Me."


    Nuggets Apr 16, 2019
    Show notes

    Sometimes, there's just too much good work to feature on HowSound. To solve the problem, from time to time I feature a slew of ear-catching clips on one episode. On this episode, work from Believed, 99% Invisible, This American Life, and Threshold.


    How Sruthi Tracks Apr 02, 2019
    Show notes

    At a school where I taught radio, in the mic booth, there was a photo of Studs Terkel hanging on the wall. Under it, someone wrote “Talk to Studs.”

    The picture was there to help with tracking. Narration will
    sound more conversational if you pretend you’re talking to Studs, the thinking
    went. After all, that’s the goal, right? To track like you’re just talking to
    someone.

    Hanging up a picture and talking to it may be a good (and slightly weird) first step toward tracking naturally, Sruthi Pinnemaneniof Reply Alltakes things a whole lot further because she’s driven to avoid sounding like she’s reading something written. She very much wants listeners to fall into a story because her voice sounds unaffected and genuine.

    “(At Reply All) we try to track in a way that is closer to ‘I’m telling a story to somebody,'” she says. “When we’re tracking, we almost always have a producer or someone in the room where we’re trying to recreate that feeling of ‘I’m here and I’m feeling the excitement and joy that I know exists in this story.'”

    She says it’s not just a matter of talking to that person in
    the room. They help, too. They offer feedback, of course. But, they also play
    tape. Sruthi listens to a quote in her story then, right as it finishes, she
    narrates.

    “The tape always carries a certain kind of emotion,” she explained to me. “Either you’re surprised by what the person is saying or what the person is saying makes you laugh. And so you want the tracking, the line that you’re saying out of it, to carry that emotion.”

    What else does she do? Sruthi lays it out in this episode of
    HowSound.


    An Editor’s Fingerprints Mar 19, 2019
    Show notes

    Since 2009, Julia Barton's edited a lot of radio and podcasts you probably listen to including Revisionist History. On this HowSound, Julia talks shop about her approach to editing.


    All The Sound We Can Not Hear Mar 05, 2019
    Show notes

    Jeff Emtmen pulled an audio sleight of hand in an episode of Hear Be Monsters about Mexican free-tail bats. It's a delight to listen to. To understand Jeff's trick, Rob offers a primer on sound and hearing.


    Two From The Road In Nashville Feb 19, 2019
    Show notes

    Why do students at Transom's Traveling Workshops produce such solid work on very little sleep? Because they're driven to learn? Yup. Because they want to leave the workshop with something they're proud of? Absolutely. But, it may also be because they want to do justice to the people they profile in their stories -- to get it right. You can definitely hear that effort on this HowSound.


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