This show has been a cherished source of intel, tips and tricks for basically as long as I can remember. It’s also creative and wide-ranging - you can tell Mr. Rosenthal is keenly aware he is making a podcast about making podcasts (and radio). Everything is careful. And I’ve always appreciated that. Any time I feel uninspired or just want 20 minutes to reflect and learn about the craft, I’ll invariable turn to this show and come away satisfied.
That said, I felt compelled to write (in the spirit of positive dialogue) about the Jan. 17 episode. It’s rare, but I heartily disagreed with each of the critiques - and kudos - Mr. Rosenthal made about the featured podcasts.
1. All There Is With Anderson Cooper
- To my ears, Anderson Cooper sounded scripted beyond. I actually had a hard time listening because it felt performative. Crying into a microphone while reading a script is just unprofessional… especially coming from such a polished, tv journalist. It felt gratuitous, especially knowing this very powerful media celebrity was doing yet *another* deep dive into well-trodden personal territory.
But one thing I immediately enjoyed was the use of sound effects. It created a living tableau that would otherwise have been just more self-inflicted sad reminiscing. It gave body to a performance. I thought the sound effects totally worked.
2. Bjork: Sonic Symbolism
- Mr. Rosenthal went on for a good while about Bjork’s gifts as a musician - and the production value of her music. Then he went on to lambast the podcast for failing to properly mic Bjork. With much respect to Mr. Rosenthal, it just felt like an uncharitable read on the style choice. Bjork experiments, she eschews orthodoxy, so why wouldn’t that carry over into her production choices for podcasting. In an era where slick audio is the norm, I found the decision to keep the mic at a distance almost refreshing. It made the interviews feel voyeuristic and raw, rather than polished and corporate, especially when juxtaposed with the impeccable sound design.
3. Outlaw Ocean
To start, I believe the show was made by Ian Urbina and his team and CBC wasn’t involved directly in the production. I could be wrong… and that’s kind of beside the point.
I really took issue with Mr. Rosenthal’s assessment of the narration.
I think it was perfect. It was so unlike the usual scripting/tracking my ears hear on true crime podcasts. Nothing overwrought or coy, no disingenuous “serious voice.”
The subject matter of this series is intensely disturbing, intensely serious. I loved that he narrated as if he was being interviewed, with questions cut and answers stitched together. I thought it was a graceful choice. Had he strayed from that structure and put more “feeling” into it, I don’t think I would have listened as closely. The subject matter commanded that it be conveyed in a flat affect, in a style that sounded authentically unscripted. Then, layering on that unrelenting, moody ambience - to my ears the combination was a deftly executed trick of compelling horror. It made me want to listen and keep listening even while it broke my heart.
All this to say, I am indebted to Sound School/How Sound and only give these thoughts because of all it has given me.
Keep going! Keep opining! Even if I disagree, you always provide an abundance of nourishing food for thought. Thank you.
