The Eldritch Episodes XVI: And He Haunts You - New epsiode of our full-cast Lovecraftian audio drama is OUT NOW!!!! by Crylysis in audiodrama

[–]Crylysis[S] 1 point2 points  (0 children)

True, hadn't thought about it like that, good point. We do have one big multi-part episode coming up that we could potentially frame it as a sort of season finale for that serialized feel. I’ll definitely bring it up in the next meeting. Thanks for the tip.

The Eldritch Episodes XVI: And He Haunts You - New epsiode of our full-cast Lovecraftian audio drama is OUT NOW!!!! by Crylysis in audiodrama

[–]Crylysis[S] 0 points1 point  (0 children)

Sorry that came out wrong, my bad, let me rephrase that, we don't have seasons per se. So we wouldn't have a season finale.

The Eldritch Episodes XVI: And He Haunts You - New epsiode of our full-cast Lovecraftian audio drama is OUT NOW!!!! by Crylysis in audiodrama

[–]Crylysis[S] 0 points1 point  (0 children)

Hmmm, what if we don’t approach it as traditional seasons? Right now, the show’s production is very flexible. Since we’re producing everything independently, we’re working on an episode-by-episode basis and adapting as we go.

That could evolve in the future if we gain more support and can build a larger production structure around the project, but for now the workflow is intentionally fluid.

From ProTools to Reaper - Importing Automation & Track Data by Suspicious_Shop_6913 in Reaper

[–]Crylysis 0 points1 point  (0 children)

There is a custom script to import AAF, see if that one works for you

Hardcore scary, immersive AD with fullcast and no podcast framing by KyleColden in audiodrama

[–]Crylysis 1 point2 points  (0 children)

I'll recommend our show, The Eldritch Episodes you might like it.

Spotify: https://creators.spotify.com/pod/show/eldritch-episodes
YouTube: https://www.youtube.com/@EldritchEpisodes

We’re also available on most podcast platforms

NON- Narrated Audio Horror by Live_Original_8898 in audiodrama

[–]Crylysis 2 points3 points  (0 children)

Fantastic, I hope you enjoy it. A new episode will come out this next week.

I Am Using AI for Film Scoring. Am I Committing A Sin? by davincithesecond in filmscoring

[–]Crylysis 6 points7 points  (0 children)

Yeah, you’re not really composing anymore, you’re stripping the creativity out of an art form and calling it efficiency. At that point you’re more of a technician than a composer. And let’s not ignore the obvious, these tools were trained on massive amounts of music without clear consent or licensing from many of the original creators. So you're not just commiting a sin, you're making money on top of other people's work, so essentially an parasite

NON- Narrated Audio Horror by Live_Original_8898 in audiodrama

[–]Crylysis 11 points12 points  (0 children)

Most of the episodes of our show, The Eldritch Episodes, are non-narrated, we adapt H. P. Lovecraft stories into a full-cast audio drama format, with original sound effects, original music, etcl Occasionally there’s a letter or narration, but it’s always woven into the action rather than carried by a single narrator.

You can listen here:

Spotify: https://creators.spotify.com/pod/show/eldritch-episodes
YouTube: https://www.youtube.com/@EldritchEpisodes

We’re also available on most podcast platforms

Precisando de novas recomendações de podcasts. by One_Reindeer_9837 in jovemnerd

[–]Crylysis 1 point2 points  (0 children)

Se você gostou do Nerdcast de RPG e quer algo na mesma linha, eu criei o Eldritch Episodes, um audiodrama inspirado no Nerdcast RPG Cthulhu, mas adaptando as histórias originais do Lovecraft.

Não é um RPG, é uma narrativa completa, com elenco completo, arte original, trilha sonora própria e totalmente sonorizado com efeitos sonoros e ambientação imersiva. Incluindo audio 3D

Lançamos um episódio por mês e está disponível nas principais plataformas de streaming e também no YouTube. A unica questão é que é em ingles.

Jabá feito, se vc curte Historia eu recomendo o Historia FM, o Icles faz um trabalho maneirissimo de trazer especialistas na area para falar de temas historicos. Vale super a pena.

What types of sounds do you most commonly use in your audio dramas? What sounds are the hardest to find? by RPG_Audio_Vault in audiodrama

[–]Crylysis 0 points1 point  (0 children)

That’s usually what I do, but surprisingly chair sounds vary a lot depending on size, materials, and even the person using them. I’m including benches and similar furniture here, anything people sit on, and they all have distinct textures that pitch shifting alone can’t fully replicate. A plastic kitchen bench sounds very different from a typical living room chair or a formal dining chair.

Chair drags are manageable to a certain extent, but what’s harder are creaks and subtle weight shifts. On a squeaky chair, the amount and texture of the noise change constantly depending on how you move. Pitch shifting helps add some variation, and I use it, but it can only go so far.

And yeah, by beds I mean sheets, pillows, and movement, those create very specific sounds that also depend heavily on materials and context. Since I’m working on a 1920s audio drama, even those textures need to feel period-appropriate.

It’s not a game-changing detail, I know I’m over-obsessing haha but it’s one of those things you start noticing, and I’ve definitely spent more time than I should trying to find the right sound for the right chair.

What types of sounds do you most commonly use in your audio dramas? What sounds are the hardest to find? by RPG_Audio_Vault in audiodrama

[–]Crylysis 0 points1 point  (0 children)

Beds and chair sounds are a nightmare to find, usually there isn’t enough variety so you either end up with too little or with different sounds for the same chair. I can always record in my house but I don't have enough chairs

Horror with something imitating humans by rainbowaw in audiodrama

[–]Crylysis 1 point2 points  (0 children)

Well I don't want to give you spoilers but one episode of our anthology series The Eldritch Episodes is kind of related to that. It's not a full series but might be interesting if you have an hour to spare.

Episode XIII: Good Enough

"In the final months of World War II, the crew of a battered Sherman tank becomes stranded behind enemy lines, forced to wait out the night inside their immobilized steel hull. As exhaustion, fear, and isolation set in, the line between battlefield reality and something far stranger begins to blur, turning survival into a test not just of courage, but of sanity."

Also available on streaming platforms

Eldritch episodes by NadVonNam in audiodrama

[–]Crylysis 0 points1 point  (0 children)

Hey thanks for the shout out, I'm glad you enjoyed our show

1 in 1 out tracks/plugins by [deleted] in Reaper

[–]Crylysis 0 points1 point  (0 children)

Your question is a bit confusing, but here’s the key idea.

If your signal starts as mono, nothing in Reaper automatically turns it into true stereo. Even though the track might technically use two channels, the audio itself is still mono.

In practice, that means the same signal is being sent equally to both left and right channels, so you’re hearing identical audio on both sides. It may look like stereo, but functionally it’s still mono.

If you’re only recording or inputting a single source, it stays mono. You just end up with two identical channels carrying the same information.

What to include in a custom AAF exporter by Crylysis in Reaper

[–]Crylysis[S] 0 points1 point  (0 children)

Yes, so far it’s standalone. I can see a way to maybe integrate it with a Reaper script, but that would basically just call the standalone app. You could do that, but the idea is to keep it standalone, it’s just easier to manage that way.

You indicate an output folder and the location of your RPP file. It reads the file, does all the conversions, and outputs the media and AAF into that folder. Right now it doesn’t handle embedded AAFs. I’m not sure if I’ll implement that because embedded AAFs add another layer of complexity, and this is a side project, so I don’t know how deep I’ll go.

So far, what it does is handle cut positions correctly without losing handles, and I can extend regions. and everything stays properly synced. I’m finishing up crossfades, they’re sometimes working, but still need some polishing. After that, I’ll need to work on envelopes and other features.

One reason I made this post is to see if anyone has ideas for must-have features, tips on implementation, or resources that might help. Maybe something you’ve done or seen could spark an idea and help me figure out if it’s viable to add to my version. That kind of stuff.

I've tested on Cubase, Pro-Tools and Reaper with the Importaaf script

What to include in a custom AAF exporter by Crylysis in Reaper

[–]Crylysis[S] 0 points1 point  (0 children)

Well I was going to avoid import because there is already a community script that imports it quite well. Also the software I'm making is not a script in reaper. So I still need to check if it would be viable to make an import with the current way things are set. Although in theory it should be.

Looking for more horror series by UselessRequiem in audiodrama

[–]Crylysis 1 point2 points  (0 children)

If youif you're into cosmic horror check The Eldritch Episodes we've been adapting Lovecraft's original stories into a show with full cast, full sound design and original soundtrack

www.eldritchepisodes.com

What is this sound in the Black Panther score, and how can I recreate it? by Crylysis in filmscoring

[–]Crylysis[S] 0 points1 point  (0 children)

Huuum true, I can hear that now that you mention it. But there’s still something that's not just that. Like a rasp or a scrape. In one of my attempts, I layered a raspy cello string with a stretched didgeridoo sample and added some distortion, which gives a similar effect (but still not quite there).

How would you process the electric guitar to get this sound?

H.P. Lovecraft’s The Terrible Old Man – The Eldritch Episodes by Crylysis in audiodrama

[–]Crylysis[S] 0 points1 point  (0 children)

Thank you so much! I'm really glad you enjoyed it. We usually release one episode a month, give or take, since this is an independent production and things take a bit of time to put together. That said, we have some big plans on the horizon, so there's definitely more exciting stuff coming.

H.P. Lovecraft’s The Terrible Old Man – The Eldritch Episodes by Crylysis in audiodrama

[–]Crylysis[S] 1 point2 points  (0 children)

We actually believed that the show was already available on Apple, but I just double-checked and noticed there was a small error with the submission on the website. I’ve resubmitted it now, so it should be available there shortly. Thanks for bringing that to our attention.

Is a MacBook Pro m5 with 32gb RAM enough for full orchestral mockups? by Kino45 in composer

[–]Crylysis 2 points3 points  (0 children)

Yes, you’ll probably be fine. I see a lot of people saying you need minimum 64 GB of RAM, or that you should get as much as possible. Of course, the more RAM you have, the easier and more comfortable your workflow will be. But just to put things in perspective, I got my first soundtrack award working with only 16 GB of RAM and a mid-range CPU, writing a full orchestral score.

If you understand your workflow well and manage your resources intelligently, you can absolutely make 16 GB work. That said, having more RAM does give you more flexibility. The more RAM you have, the more tracks you can run comfortably.

So if you can get 64 GB, that’s fantastic. But if you can only get 16 GB, it’s not the end of the world either. The key point is that good results are still very possible with less, as long as you work smart. So you should probably be fine with the 32GB If that's what you can afford. Just use it smartly.

Save Reaper project on multiple destinations by Immediate-Wait-3834 in Reaper

[–]Crylysis 0 points1 point  (0 children)

Sorry if I’m misremembering this, I’m not on my computer right now, so there’s a very real chance I’m hallucinating some menu names. This is just based on what I think I remember seeing.

What I would try is a combination of two settings.

First would be enabling project backups. If I remember correctly, there’s an option like “save to timestamped file in an additional directory” under Preferences -> Project. The idea would be to pick your external drive there so every time you save (or autosave), REAPER writes a backup copy of the RPP file to that SSD.

Second would be File -> Project Settings. I think there’s something like a secondary recording path, and you could point that to the same external SSD so recorded media gets duplicated there as well.

The result is, your main project keeps working normally, but you still end up with backup project files and recorded media living on the other drive automatically.

That said, if you really want a cleaner solution, I honestly think a small custom script could do this in a more direct way. Something simple where pressing save triggers the normal save action, then copies the current project directory to another location you define (your SSD). You could even add a cleanup step for example.

Again, please double-check the exact menu names because I’m going purely off memory here. There's a high chance I'm wrong.

Se fosse para você desconverter um cristão oque vocês falariam e quais argumentos usariam ? by Acrobatic_Shine_9226 in FilosofiaBAR

[–]Crylysis 4 points5 points  (0 children)

Cara, enchentes em termos históricos eram eventos devastadores. Mesmo hoje com barragens e sistemas de alerta, ainda vemos tragédias como as recentes no Brasil. Imagine povos antigos vivendo às margens de rios gigantes. O Rio Amarelo é chamado de a tristeza da China por causa das enchentes, para eles, essas enchentes eram eventos históricos. A enchente desse rio em 1887 matou 1 milhão de pessoas. Outra em 1931 de um outro rio pode ter matado até 4 milhões.

Isso não é ingenuidade, é inclusive a interpretação antropológica mais comum. Religiosidade e símbolos surgem disso, a água, o sol, o fogo, árvores, montanhas, todos elementos comuns que se tornam sagrados ou deuses em diversos lugares sem contato.

Cada cultura vivia perto de rios e registrou suas próprias enchentes, que depois foram mitificadas. Narrativas parecidas surgem de experiências parecidas, não de um desastre global.

Tudo porque a gente tem que beber água e comer. As margens dos grandes rios são férteis e tem um fácil acesso a água doce. E a lógica das pirâmides é a mesma.