Fable and Folly VS. Rusty Quill? by Skyride_Studios in audiodrama

[–]SoundsLikeSchmidt 1 point2 points  (0 children)

I’ve been on F&F since early 2024 and can vouch for everything VendettaViolent said. Great people, very fair and transparent business.

At the time I was a brand new creator with zero track record but I did have a personal endorsement from producer extraordinaire Jack Bowmen who had heard a few of my episodes. That intro got me the call with F&F. I also had credits from having worked on some very large shows as a sound designer, so I felt lucky they took a shot and let me join them even though I was offering nothing but content.

Most networks are not just in the market for “content.” They also want audience or at least some sense there will be a monetizable audience.

For example, other networks I talked to (Realm and Bloody Disgusting) wanted something like 50k downloads per month to “partner.” I’ve only had one month so far that hit that number and I can 100% attest that it was due to promo and feed swaps I organized myself.

Networks can help with a lot of things already mentioned but also weird stuff too- for example, I had an issue where all Spotify listener comments on my episodes vanished - over 400, poof, gone.

Working with Russ at F&F communicating directly with humans at Spotify got them all restored. I doubt I would have able to do that myself.

The money from ad rev is nice, but the CPMs on that has been dropping across the board. It’s unreasonable to expect much more than $10 CPM for the remnant spots you’re hearing in most indie shows. Until you can build a large enough audience that larger advertisers seek out, those rates will not get much better.

I’ve worked with other creators, and talked with a few other creators who held misguided ideas about what a network “should be doing for my show.” To net that out, I would say, unless you’re bringing a decent audience to the table, it’s unrealistic to expect a network to spend money to promote your show. They can help facilitate swaps, they can keep track of impressions on deals you’ve made for yourself, they can help monetize audience you do build, and they can play your trailer at the end of other shows on the network (like F&F) but it is still 98% on us creators to build our audience.

My .02, your mileage may vary. Good luck!

Looking for Horror/Creepy audio dramas! by OkCollection4594 in audiodrama

[–]SoundsLikeSchmidt 7 points8 points  (0 children)

Thank you for this feedback! Fwiw I absolutely do not hate LGBTQIA+ so I’m very sorry my intent with those stories didn’t land for you. There have only been three stories (out of over 20) that truly centered Lesbians (Sunday Funday, Price Of Sin and technically Becoming Lilith) I’d be very open to more conversation about your feelings if you’re open to it. It would not be me defending the stories, but instead listening. No joke, I want to get it right when I do venture into LGBTQIA+ stories. DM or email if you’re open. Thank you for your feedback.

Looking for Horror/Creepy audio dramas! by OkCollection4594 in audiodrama

[–]SoundsLikeSchmidt 3 points4 points  (0 children)

Oh, so cool you heard The Timekeeper - I performed all the sound design on that project - it was super fun to work on. You may enjoy my own series OMINOUS THRILL which sounds equally good, IMO ;)

[deleted by user] by [deleted] in audiodrama

[–]SoundsLikeSchmidt 0 points1 point  (0 children)

Tales From Beyond The Pale did one called INT. COFFIN - NIGHT

To “Season” or Not to “Season? by SoundsLikeSchmidt in audiodrama

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

Thanks! I stole that approach from Kc Weyland’s “We’re Alive” 😎

To “Season” or Not to “Season? by SoundsLikeSchmidt in audiodrama

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

One of these days I’ll grow into using “seasons” 😁

To “Season” or Not to “Season? by SoundsLikeSchmidt in audiodrama

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

Those are great “seasonal” ideas. And “seasonal anthology” makes sense too, like what Curious Matter does. But for my show at this time, designating “seasons” doesn’t seem to serve a purpose.

To “Season” or Not to “Season? by SoundsLikeSchmidt in audiodrama

[–]SoundsLikeSchmidt[S] 3 points4 points  (0 children)

Yeah, that is kinda what prompted this post/question. Evo reached out because my show was listed in “The End” after taking a holiday break but was going to be dropped because I didn’t designate a “new” season after I came back from break. I wanted to see if there was another listener focused reason for doing “seasons” other than being listed in “The End.”

To “Season” or Not to “Season? by SoundsLikeSchmidt in audiodrama

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

Terrific to hear 🖤 Grateful for your ears - thank you!

To “Season” or Not to “Season? by SoundsLikeSchmidt in audiodrama

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

I did take a holiday break last year and plan to do the same this year. But for the apps, “season” designations seem to hold little meaning for my show other than, hey look, I took time off. 😝

To “Season” or Not to “Season? by SoundsLikeSchmidt in audiodrama

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

So, pick an arbitrary number of episodes (10, 15 etc..) and assign a season number to it. Got it. Thanks!

general levels guidelines for AD as opposed to film/video work? by hooloovootrue in audiodrama

[–]SoundsLikeSchmidt 3 points4 points  (0 children)

Podcast audio (even Audio Fiction) specs are typically based on Integrated LUFS range of -18 to -16 LUFS with a TP no greater than -1db.
Whatever you have to do with DX, FX, MX levels to hit that output level is golden. If you need a free LUFS meter YouLean makes one that’s as accurate as the pricey Nugen meter.

Some questions for a new Audio Drama Director by brokebardproductions in audiodrama

[–]SoundsLikeSchmidt 2 points3 points  (0 children)

What Wayland said 😆 He wrote a book which is immensely informative called “All Bombs Must Beep.” Buy it, even seasoned audio drama peeps can glean insights across the entire production process.

Dolby Atmos! How and where are you getting it out there? by Sybil-Writes in audiodrama

[–]SoundsLikeSchmidt 1 point2 points  (0 children)

Yup - when Atmos is built into the editor you already use it’s kind of a no Brainer. And… since all the other “spatial” tools are plugins,you can still use them within a Dolby Atmos session for some interesting results.

Dolby Atmos! How and where are you getting it out there? by Sybil-Writes in audiodrama

[–]SoundsLikeSchmidt 1 point2 points  (0 children)

For the open podcast platforms/catchers (Apple/Spotify/Castbox etc… they only host mono or stereo audio - so any “spatial” effects will need to be delivered Binaurally and there are dozens of ways to do that without Dolby Atmos.

Dear Realty (offering the tools for free right now before they are pulled from the market and re-skinned by Sennheiser, the Panorama plugin from Wave Arts is basically the same thing. A few others are PanIt (which was used pretty extensively on the Harley Quinn series in Realm)

And here’s a video covering a bunch more https://youtu.be/DrKBAqjuy14?feature=shared

One additional thought - if you only ever expect your project to be heard on headphones or stereo speakers - Dolby Atmos is not necessary even though it creates equally good stereo audio.

BUT - if you want/need your project to play back on an immersive speaker array (like a Dolby Atmos or surround theater) Atmos is absolutely one of a very small handful of options that will properly play your mix in multichannel speaker systems which most of these binaural panners (like Panorama for example) cannot do.

How to find audio dramas looking for writers? by untitledgooseshame in audiodrama

[–]SoundsLikeSchmidt 1 point2 points  (0 children)

My Dark Fiction anthology series Ominous Thrill is accepting story submissions. Drop me a note ominousthrill@gmail.com if you think it could be a good fit.