Sound School Podcast

What's the value of a non-narrated story for the listener? "It's direct," says NPR's Quil Lawrence. The characters in the story are "talking straight to the listener." He says this is especially important in an audio obituary. So, in a recent remembrance he produced, he made sure to get out of the way of the tape.

Munira Kaoneka first started as a blogger in Tanzania. But she says sometimes you need to shout so she started a podcast, “The Kaya Sessions." A couple of years later, after taking a workshop on narrative audio storytelling and reporting, she's at a crossroads: continue her path to engineering ("the sensible choice for a proper African child," she says) or make the leap into podcasting. Hear Munira's story, and the piece she produced at the workshop, in this episode of The Sound School Podcast.

Rob takes a hard listen to three podcasts -- You Didn't See Nothin', Lights Out, and Noble Champions. He then tosses out darts for work that caused him to ask "Why'd you do that?!" and laurels for work that's just plain crushing it. Rob opens this episode with a note about Transom.org. Transom is dreaming up a new project and could really use your input. If you have a minute, head on over to the Transom homepage and click the link to take a short survey.

Steve Junker says he thinks of a radio station as a musical instrument -- a pipe organ, to be specific. It's capable of making all kinds kinds of sounds. But, he thinks public radio stations tend to only play a couple of notes - including WCAI in Falmouth, Massachusetts where he's the Managing Editor for News. In an effort to play a couple of other notes, he produced "Falmouth to Falmouth" a collaboration with another radio station in Falmouth -- Falmouth, England that is.

In this episode, Rob turns the mic on himself to mark the 10th anniversary of meeting his birth mother for the first time. He also features the positively stunning portrait of an adopting mom in "Dear Birth Mother," a Third Coast award-winning doc from Dan Collison and Elizabeth Meister at Long Haul Productions.

It's good to look beyond your borders for inspiration. That's what this episode is about. Brian Harnetty is a sound ethnographer. And quite a bit of what he does resembles the work of radio and podcast producers. But he departs from us with his unique approach to audio storytelling. A meld of composition, fieldwork, oral history, and archive recordings coupled with listening events -- in the woods.

Three great new podcasts raised production questions for Rob. Why use sound effects in All There Is With Anderson Cooper? Why were the interviews for Bjork’s Sonic Symbolism podcast recorded so poorly? Those questions and more on the latest Sound School Podcast.

John Scott Dryden takes a very unique approach to sound design for the fiction podcasts he produces -- he records on location. For "Q&A," the first season of Mumbai Crime from Radiotopia, everything was recorded in Mumbai. The result is a podcast that sounds more organic, less manufactured in a studio. John explains why on this episode of Sound School. 

The vast majority of stories are told by one narrator. But not at NPR's Planet Money. They regularly have co-narrators. Why? Why have two narrators when one will suffice? Reporters Erika Beras and Sarah Gonzalez have the answer.

What's the best way for reporters to break out of their boxes and think creatively? Give them an unusual assignment and send them out into the world with microphones. That's just what happened during a week-long workshop Rob taught with 10 reporters in Slovenia. Hear the results on this episode of Sound School.