I'm surprised no one has commented to offer con-crit yet....
Okay, so here are my thoughts as I wrote them down while listening. - You have excellent pauses, both between words and between dialogue and descriptions. I wouldn't over-edit those because they're just right the way they are. - Randomly: whatever recording equipment you're using is very nice. I'm not getting much static. Brava. - When you cut your breaths, or possibly when you're splicing between takes, the air just goes completely dead. It sounds like a scene break and really throws me off the story when it happens several times very quickly, such as between dialogue. How are you cutting/crossfading? - You really only did a character voice for Burt and Carol. Everyone else was on the same keel. Ultimately (for me), this made Burt come off as kind of monotone, probably because you were reaching for that lower register. You might want to practice speaking in that deeper timbre to get it warmed up before you record, and work on getting more inflection while you're speaking down there. Whenever we do characters, there's a tendency to either go nuts or to go monotone. You want to keep it more towards the middle so you don't sound schitzo, of course, but I found myself wanting a bit more energy from Burt, since he was really the only one with a stylized character voice. - There were also a few moments where Finn's dialogue slipped into monotone, similar to Burt. I know he's kind of the dumb jock character, but Cory Monteith manages to get a lot of good tone and inflection in there, anyway. When I'm doing an iconic role (or anything where a specific actor's voice is already associated with the role, really), I practice by speaking along to tapes of the original actor. Helps to get the cadence right. Especially because Finn is tricky, it might be worth trying if you intend to do more lovely Glee fics. - The distortion at the end was cool but ultimately hard to understand. I had to listen to it twice before I understood what was going on. - My last note was about camp--specifically the sort of over-the-top Vaudeville-style which Kurt is a delightful revival of. I wanted to see more of that. I could feel moments in the recording where your voice wanted to be more casual, to break into a half-laugh and really "camp it up," as the saying goes. I think, especially because you are reading seventeen year old boys and not Macbeth, you can afford to be more playful with the sound, more informal. I think adding that element would really take this podfic over the top.
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Date: 2012-01-31 09:58 am (UTC)Okay, so here are my thoughts as I wrote them down while listening.
- You have excellent pauses, both between words and between dialogue and descriptions. I wouldn't over-edit those because they're just right the way they are.
- Randomly: whatever recording equipment you're using is very nice. I'm not getting much static. Brava.
- When you cut your breaths, or possibly when you're splicing between takes, the air just goes completely dead. It sounds like a scene break and really throws me off the story when it happens several times very quickly, such as between dialogue. How are you cutting/crossfading?
- You really only did a character voice for Burt and Carol. Everyone else was on the same keel. Ultimately (for me), this made Burt come off as kind of monotone, probably because you were reaching for that lower register. You might want to practice speaking in that deeper timbre to get it warmed up before you record, and work on getting more inflection while you're speaking down there. Whenever we do characters, there's a tendency to either go nuts or to go monotone. You want to keep it more towards the middle so you don't sound schitzo, of course, but I found myself wanting a bit more energy from Burt, since he was really the only one with a stylized character voice.
- There were also a few moments where Finn's dialogue slipped into monotone, similar to Burt. I know he's kind of the dumb jock character, but Cory Monteith manages to get a lot of good tone and inflection in there, anyway. When I'm doing an iconic role (or anything where a specific actor's voice is already associated with the role, really), I practice by speaking along to tapes of the original actor. Helps to get the cadence right. Especially because Finn is tricky, it might be worth trying if you intend to do more lovely Glee fics.
- The distortion at the end was cool but ultimately hard to understand. I had to listen to it twice before I understood what was going on.
- My last note was about camp--specifically the sort of over-the-top Vaudeville-style which Kurt is a delightful revival of. I wanted to see more of that. I could feel moments in the recording where your voice wanted to be more casual, to break into a half-laugh and really "camp it up," as the saying goes. I think, especially because you are reading seventeen year old boys and not Macbeth, you can afford to be more playful with the sound, more informal. I think adding that element would really take this podfic over the top.
Hope that's helpful! I enjoyed your reading. <3