Here is a draft script for an audio adaptation of Edgar Allan Poe's poem "The Raven":SOUND OF PAGES TURNINGNarrator: It was a dark and dreary midnight. I sat alone, pondering over volumes of ancient lore, seeking to distract my mind from thoughts of my long lost love, Lenore. Suddenly, from outside, there came a tapping at my chamber door. "Who disturbs me at this late hour?" I called out. But only silence answered. AMBIENT NIGHT SOUNDS: WIND, OWLS HOOTINGNarrator: It was in the bleak December that I heard the tapping
Similar to Here is a draft script for an audio adaptation of Edgar Allan Poe's poem "The Raven":SOUND OF PAGES TURNINGNarrator: It was a dark and dreary midnight. I sat alone, pondering over volumes of ancient lore, seeking to distract my mind from thoughts of my long lost love, Lenore. Suddenly, from outside, there came a tapping at my chamber door. "Who disturbs me at this late hour?" I called out. But only silence answered. AMBIENT NIGHT SOUNDS: WIND, OWLS HOOTINGNarrator: It was in the bleak December that I heard the tapping
Similar to Here is a draft script for an audio adaptation of Edgar Allan Poe's poem "The Raven":SOUND OF PAGES TURNINGNarrator: It was a dark and dreary midnight. I sat alone, pondering over volumes of ancient lore, seeking to distract my mind from thoughts of my long lost love, Lenore. Suddenly, from outside, there came a tapping at my chamber door. "Who disturbs me at this late hour?" I called out. But only silence answered. AMBIENT NIGHT SOUNDS: WIND, OWLS HOOTINGNarrator: It was in the bleak December that I heard the tapping (20)
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Here is a draft script for an audio adaptation of Edgar Allan Poe's poem "The Raven":SOUND OF PAGES TURNINGNarrator: It was a dark and dreary midnight. I sat alone, pondering over volumes of ancient lore, seeking to distract my mind from thoughts of my long lost love, Lenore. Suddenly, from outside, there came a tapping at my chamber door. "Who disturbs me at this late hour?" I called out. But only silence answered. AMBIENT NIGHT SOUNDS: WIND, OWLS HOOTINGNarrator: It was in the bleak December that I heard the tapping
2. Research- If you are unable to find your own examples, you can use the ones
below.
• The Archers (audio drama)
• https://www.bbc.co.uk/programmes/b006qpgr/episodes/player
• Short Cuts (documentary/factual)
• https://www.bbc.co.uk/programmes/b01mk3f8/episodes/player
• Lore (documentary/factual)
• https://www.youtube.com/watch?v=Z3RGz7Q_qlI
• Doctor Who (audio drama)
• https://www.youtube.com/watch?v=ZA50biqUB-8
• Soundscapes
• https://www.youtube.com/watch?v=zIUTO4gx5Eg
• https://www.youtube.com/watch?v=9JVm2IZ3ChU
• https://www.youtube.com/watch?v=nc5YHodcXpM
DELETE THIS SLIDE WHEN DONE
3. Existing Products Research
• Doctor Who
– Mainly uses a non-diegetic soundtrack in order to
create a suspenseful environment
– Foley sound art is done to give context to the
objects in terms of where they are in the setting
and what they are made of.
– Voice acting is used to convey the characters
emotions
– All of these attributes come to convey a
convincing sense of verisimilitude and narrative
4. Existing Products Research
• Shortcuts
– Entirely non-diegetic soundtrack, to build a tone
of seriousness and importance
– Peoples performances are actual recounts of their
experiences adds to the tone of the series
– Sometimes this works as the subject matter of the
content fits with the theme delivered by the
soundtrack.
5. Existing Products Research
• Beach soundscape
– Purely Diegetic soundtrack, this is done in order
for the audio audience to truly immerse within the
environment presented.
8. Story
One of the stories I've chosen to
possibly cover is that of the Mary
Celeste. I think this would be a good
choice as there is a large sense of
mystery around the ship, of which a
compelling audio story could be
made
Another story I’ve chosen is Edgar
Allen Po’s the raven. In which a man is
perused by a ghostly Raven that
drives him to madness and causes
him grief over his dead wife. This
story could be done as a re read with
voice acting over the spoken
segments and ambient noise
9. Idea Generation/Initial Reaction
Audio project
soundtrack
Diegetic: creates the
tone of the audio via
suspenseful music
Non-Diegetic: creates an
immersive atmosphere
for the listener
Sound affects
Sound affects will
need to fit with the
theme of the story as
well as be high quality
Voice overs/acting
Voices must be fitting
with the subject
matter
10. Proposal
Working Title: The Raven; By Edgar Allen Poe
What is it called? This can change if you think of something better later
Audience:
My audience are students that would be studying the poem in an English subject. Age range
Would be 16-19, male and female, ABC1: as it would require a modern device to listen to, and The belonger
and achiever as it fits with the student demographic.
This would appeal to the student demographic as if they are studying the poem or wish to use it in a project
etc. as it would be more engaging and easier for them to keep focus and take in the details of the poem
Project Concept (approx. 200 words)
The concept of my project is to give an engaging, imaginative rereading of the Edgar Allen Poe poem The
Raven, This will include narration, voice acting, various sound effects and background ambient noise. The focus
of the video will be to convey a dark and overbearing theme, which would be punctuated by the sound effects
like a crows and ambience. It will have a serious in tone which will reflect the originals gothic tone and premise
delivered by the narration and voice acting.
During research I learnt the proper way to record audio via the audio recorders and to stop it from peeking
which will also be included in the Foley that I could acquire and use throughout the project. Also during the
research ,listening to prior students work and examples of other radio dramas taught me the proper way to
have the voices perform as well as their volume against the other sound effects and ambience.. The final thing
that I learnt in research is the basics of how to use adobe audition including: cross fades, multi track audio and
putting effects on the audio tracks.
12. Foley
Shaun of the dead Foley test: https://youtu.be/vOO_GczFL_c
In the Foley practical one of the things
that went well was that we were able to
fully record sounds that were relevant to
the scene we were given. One of the
issues was that on the audio recorder a
preset was turned on that made all our
audio reverbed, so we had to go out and
re record. Another issue that we found is
the background audio being difficult to
work around ( wind, traffic, other people
etc.). I have learned how to properly
record and transfer audio from an audio
recorder.
13. Recording
• Write about your experiences of recording in
different places.
• Recording inside generally was easier than having to record
audio outside
• What effect did it have? How will this
influence your project?
• Audio inside was higher quality with less background noise
however outside audio is needed more throughout the foley
task
14. Nursery rhyme task
• Rhyme chosen for this is “the grand old
duke York”
• Sounds needed:
• Marching
• Warfare
• Vocals
• ambience
15. Garage Band
Work within garage band was
seamless and easy to do due to
it being simple to use with quite
a user friendly interface, it
would’ve been better if I was
more musically inclined so that
way I could actually create
something that sounded
passable.
Through this I have learned how
to create a new piece of music
within garage band as well as
how to add new instrument
tracks to a piece.
17. Script DraftOnce upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore—
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
“’Tis some visitor,” I muttered, “tapping at my chamber door—
Only this and nothing more.”
Ah, distinctly I remember it was in the bleak December;
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow;—vainly I had sought to borrow
From my books surcease of sorrow—sorrow for the lost Lenore—
For the rare and radiant maiden whom the angels name Lenore—
Nameless here for evermore.
And the silken, sad, uncertain rustling of each purple curtain
Thrilled me—filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
“’Tis some visitor entreating entrance at my chamber door—
Some late visitor entreating entrance at my chamber door;—
This it is and nothing more.”
Presently my soul grew stronger; hesitating then no longer,
“Sir,” said I, “or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you”—here I opened wide the door;—
Darkness there and nothing more.
Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before;
But the silence was unbroken, and the stillness gave no token,
And the only word there spoken was the whispered word, “Lenore?”
This I whispered, and an echo murmured back the word, “Lenore!”—
Merely this and nothing more.
Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
“Surely,” said I, “surely that is something at my window lattice;
Let me see, then, what thereat is, and this mystery explore—
Let my heart be still a moment and this mystery explore;—
’Tis the wind and nothing more!”
Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately Raven of the saintly days of yore;
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door—
Perched upon a bust of Pallas just above my chamber door—
Perched, and sat, and nothing more.
Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
“Though thy crest be shorn and shaven, thou,” I said, “art sure no craven,
Ghastly grim and ancient Raven wandering from the Nightly shore—
Tell me what thy lordly name is on the Night’s Plutonian shore!”
Quoth the Raven “Nevermore.”
Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning—little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door—
Bird or beast upon the sculptured bust above his chamber door,
With such name as “Nevermore.”
But the Raven, sitting lonely on the placid bust, spoke only
That one word, as if his soul in that one word he did outpour.
Nothing farther then he uttered—not a feather then he fluttered—
Till I scarcely more than muttered “Other friends have flown before—
On the morrow he will leave me, as my Hopes have flown before.”
Then the bird said “Nevermore.”
18. Script draft
Startled at the stillness broken by reply so aptly spoken,
“Doubtless,” said I, “what it utters is its only stock and store
Caught from some unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden bore—
Till the dirges of his Hope that melancholy burden bore
Of ‘Never—nevermore’.”
But the Raven still beguiling all my fancy into smiling,
Straight I wheeled a cushioned seat in front of bird, and bust and
door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore—
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking “Nevermore.”
This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom’s core;
This and more I sat divining, with my head at ease reclining
On the cushion’s velvet lining that the lamp-light gloated o’er,
But whose velvet-violet lining with the lamp-light gloating o’er,
She shall press, ah, nevermore!
Then, methought, the air grew denser, perfumed from an unseen
censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
“Wretch,” I cried, “thy God hath lent thee—by these angels he hath
sent thee
Respite—respite and nepenthe from thy memories of Lenore;
Quaff, oh quaff this kind nepenthe and forget this lost Lenore!”
Quoth the Raven “Nevermore.”
“Prophet!” said I, “thing of evil!—prophet still, if bird or devil!—
Whether Tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted—
On this home by Horror haunted—tell me truly, I implore—
Is there—is there balm in Gilead?—tell me—tell me, I implore!”
Quoth the Raven “Nevermore.”
“Prophet!” said I, “thing of evil!—prophet still, if bird or devil!
By that Heaven that bends above us—by that God we both adore—
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels name Lenore—
Clasp a rare and radiant maiden whom the angels name Lenore.”
Quoth the Raven “Nevermore.”
“Be that word our sign of parting, bird or fiend!” I shrieked, upstarting—
“Get thee back into the tempest and the Night’s Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken!—quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!”
Quoth the Raven “Nevermore.”
And the Raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon’s that is dreaming,
And the lamp-light o’er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted—nevermore!
19. Script FinalOnce upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore—
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
“’Tis some visitor,” I muttered, “tapping at my chamber door—
Only this and nothing more.”
Ah, distinctly I remember it was in the bleak December;
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow;—vainly I had sought to borrow
From my books surcease of sorrow—sorrow for the lost Lenore—
For the rare and radiant maiden whom the angels name Lenore—
Nameless here for evermore.
And the silken, sad, uncertain rustling of each purple curtain
Thrilled me—filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
“’Tis some visitor entreating entrance at my chamber door—
Some late visitor entreating entrance at my chamber door;—
This it is and nothing more.”
Presently my soul grew stronger; hesitating then no longer,
“Sir,” said I, “or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you”—here I opened wide the door;—
Darkness there and nothing more.
Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before;
But the silence was unbroken, and the stillness gave no token,
And the only word there spoken was the whispered word, “Lenore?”
This I whispered, and an echo murmured back the word, “Lenore!”—
Merely this and nothing more.
Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
“Surely,” said I, “surely that is something at my window lattice;
Let me see, then, what thereat is, and this mystery explore—
Let my heart be still a moment and this mystery explore;—
’Tis the wind and nothing more!”
Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately Raven of the saintly days of yore;
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door—
Perched upon a bust of Pallas just above my chamber door—
Perched, and sat, and nothing more.
Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
“Though thy crest be shorn and shaven, thou,” I said, “art sure no craven,
Ghastly grim and ancient Raven wandering from the Nightly shore—
Tell me what thy lordly name is on the Night’s Plutonian shore!”
Quoth the Raven “Nevermore.”
Much I marveled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning—little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door—
Bird or beast upon the sculptured bust above his chamber door,
With such name as “Nevermore.”
But the Raven, sitting lonely on the placid bust, spoke only
That one word, as if his soul in that one word he did outpour.
Nothing farther then he uttered—not a feather then he fluttered—
Till I scarcely more than muttered “Other friends have flown before—
On the morrow he will leave me, as my Hopes have flown before.”
Then the bird said “Nevermore.”
20. Script final
Startled at the stillness broken by reply so aptly spoken,
“Doubtless,” said I, “what it utters is its only stock and store
Caught from some unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden bore—
Till the dirges of his Hope that melancholy burden bore
Of ‘Never—nevermore’.”
But the Raven still beguiling all my fancy into smiling,
Straight I wheeled a cushioned seat in front of bird, and bust and
door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore—
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking “Nevermore.”
This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom’s core;
This and more I sat divining, with my head at ease reclining
On the cushion’s velvet lining that the lamp-light gloated o’er,
But whose velvet-violet lining with the lamp-light gloating o’er,
She shall press, ah, nevermore!
Then, methought, the air grew denser, perfumed from an unseen
censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
“Wretch,” I cried, “thy God hath lent thee—by these angels he hath
sent thee
Respite—respite and nepenthe from thy memories of Lenore;
Quaff, oh quaff this kind nepenthe and forget this lost Lenore!”
Quoth the Raven “Nevermore.”
“Prophet!” said I, “thing of evil!—prophet still, if bird or devil!—
Whether Tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted—
On this home by Horror haunted—tell me truly, I implore—
Is there—is there balm in Gilead?—tell me—tell me, I implore!”
Quoth the Raven “Nevermore.”
“Prophet!” said I, “thing of evil!—prophet still, if bird or devil!
By that Heaven that bends above us—by that God we both adore—
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels name Lenore—
Clasp a rare and radiant maiden whom the angels name Lenore.”
Quoth the Raven “Nevermore.”
“Be that word our sign of parting, bird or fiend!” I shrieked, upstarting—
“Get thee back into the tempest and the Night’s Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken!—quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!”
Quoth the Raven “Nevermore.”
And the Raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon’s that is dreaming,
And the lamp-light o’er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted—nevermore!
21. Sound Effects
Sound Effect Needed How I Will Create the Sound
Book page turning Turn the page of a book
Fire place Download
Door knocking Hitting a wooden object
Walking on wooden floor download
Curtain rustling Rustle a curtain/piece of cloth or download
Wooden door opening “”””/ download
Wings fluttering Download most likely
wind Download
Ravens Caw Download
22. Resource List
Resource Owned/Cost What sound effect will it be
used for?
Youtube free All that will be required for
download
Youtube/mp3 converter free All that will be required for
download
York college Audio recorder Free (has to be
booked)
All audio that wont be downloaded
Adobe audition Free(owned by
college)
Edit the audio together
24. Production plan
Production element timescale
Gather sounds (including sound
effects and vocals)
5/12/19 - 8/12/19
Assemble the audio clips,
complete and upload product
9/12/19 – 11/12/19
Completion of and upload of
evaluation
16/12/19 – deadline (ideally by
18/12/19)
28. Research
• One of the strengths during my research is the wide variety of existing
products that I studied. Another strength is the practical experiments as I
think that I was able to complete them to a high standard. My research
helped my product as it was able to give me an in look into what I would
need in order to create a high quality audio reading.
• One of the weaknesses of my research is that I wasn’t really aware of
audio based products, so I didn’t know what to look for and examine
within the pieces. This may have affected my final project as I went in
blind in terms of what I was doing.
29. Planning
• A strength of my planning is that it was able to give me framing as to how I
should perform the chosen piece as well as where the sound effects need
to be placed in order to create a convincing soundscape in which the audio
of the story can take place
• A weakness of my planning is that possible I under planned the required
sound effects part either not realising the difficulty of acquiring those
sound effects or just resigning to download them online.
30. Time Management
• My time was managed well due to the the production time table I created
in the planning stage. The project was completed on time, however I do
think with more time it could’ve been made better, despite this I am
happy with the final products quality.
• If I had more time with my work I probably would have just fine tuned and
finalised the audio edits and pacing of the performance via editing the
length between vocal clips.
31. Technical Qualities
I think that my work has enough technical detail within it, which can be seen by the
multiple layers of audio as well as the individual volume of each clip. One technique
I’ve used to create a convincing soundscape is to have a constant ambient backing
noise which I learned about through the Foley practical experiments. I did use some
foley techniques from the practical experiment including the methods of how you
would record foley sounds and also what you need to do in order to reliably
produce the sounds.
I believe that my product is most comparable to the existing product “shortcuts” one
of the main similarities is the main focus on the vocal based audio within the two
products. One of the main differences is that my piece has an entirely diegetic
background whereas shortcuts only has an occasional non-diegetic soundtrack
32. Aural Qualities
Personally I think that my work sounds good in technical and literal terms. Mainly due
to the creative aspects of making the soundscape although I did not edit the script
from the original, so I suppose you could say it is less creative due to that. The aspect
of my audio product that I like is the voice over as it was fun to produce as well as
satisfying to hear all together. If I could improve my work I would improve the flow of
the vocal work, this could be improved if I had more time to more precisely edit the
track.
33. Audience Appeal
I’ve appealed to my target audience of 16-19 year old students. I have done this by
having a narrator that is within the same age demographic, this should help appeal as
it makes it more relatable. Another way that this relates to the target audience is
through a constant and engaging pace throughout the audio product.
Editor's Notes
Go over as many slides as necessary. Research at least 3 products.
Discuss the use of sound effects, music and performance. How have the producers suggested a location/time period and created a tone/feel
Try to break down what you can hear. How do the different sound elements work together? How do sound effects add to the drama? What part does music play in the work?
Try to listen to a variety of different types of radio programme. If you listen to drama and documentary, you will give yourself a better understanding of what exists and what is possible. It will also help guide your project.
Go over as many slides as necessary. Research at least 3 products.
Discuss the use of sound effects, music and performance. How have the producers suggested a location/time period and created a tone/feel
Try to break down what you can hear. How do the different sound elements work together? How do sound effects add to the drama? What part does music play in the work?
Try to listen to a variety of different types of radio programme. If you listen to drama and documentary, you will give yourself a better understanding of what exists and what is possible. It will also help guide your project.
Go over as many slides as necessary. Research at least 3 products.
Discuss the use of sound effects, music and performance. How have the producers suggested a location/time period and created a tone/feel
Try to break down what you can hear. How do the different sound elements work together? How do sound effects add to the drama? What part does music play in the work?
Try to listen to a variety of different types of radio programme. If you listen to drama and documentary, you will give yourself a better understanding of what exists and what is possible. It will also help guide your project.
Using Neil’s Toolbox, log all the resources you have used
Provide a brief summary of the story/stories you have chosen
Log your initial thoughts regarding the set brief- What stories could you use? How do you feel about the different potential formats? What are the positives about this project? What could be some difficult aspects?
Create a mind map of all the things you need to think about for your project.
Initial draft of your script. This should then be refined.
Initial draft of your script. This should then be refined.
What music could you use? This should be copyright free. Explore options online for copyright free/public domain music or make your own on Garage Band
Log your thoughts and feeling related to what you have produced. Discuss methods and tools you have used. Reference everything you have done today. Use screenshots
What were the strengths of your research? How did your research help your product?
What were the weaknesses of your research? What could you have done better/improve? What effect would this have had on your product?
Think about existing products as well as practical experiments
What were the strengths of your planning? How did your planning help your product?
What were the weaknesses of your planning? What could you have done better/improve? What effect would this have had on your product?
Did you manage your time well? Did you complete your project on time or would your products have improved with additional time?
What would you have done if you had more time to produce your work?
Compare your work to similar existing products and discuss the similarities and differences
Is your work technically detailed/complicated enough? What effects and techniques have you used? How did you create your effects? How did you record your audio? Did you use any foley methods?
Does your work sound good? Was it creative? What aspects of your audio do you like? What would you improve? How would you improve it?
Discuss the strengths and weaknesses
How have you appealed to your target audience? What specific bits of content would appeal to your target audience.
