Is that what attracted you to the medium? That’s kind of the incredible thing about this podcast and a lot of good podcasts: it doesn’t really need a lot of capital, for one thing, or a lot of technical know how to make a really well-crafted product. That makes that a lot easier now." I’m still making these discoveries that someone who does this professionally would have already found out. I am still pretty much an amateur at it and there’s lots of moments where two years into making Night Vale, suddenly it was like, "oh, that’s what that button is for. I’ve been experimenting with audio editing software since I was a kid. I would mess around it because I was 10 and it was a fun thing to mess around with. Soundforge, it was like $400 or $500 and he used it for his professional stuff. Since I was little, he had audio editing software back when it was quite expensive, pretty much the only audio editing software you can get. Were your audio editing skills self-taught? It’s not something any of us are interested in leaving behind just because more people are listening. Cecil figures out the performance and I think that’s kind of what we enjoyed about the project from the start. Jeffrey and I have this absolute control with how its written and it’s just the two of us that bring it out. JF: It has always been a very small independent production. It’s also very comforting to have a system that you know what you’re doing and you know how to work within that system. Joseph and Jeffrey write these amazing scripts, Joseph sends them to me and I record them and send them back and he edits them all together and adds sound and does the credits. We have the “if it’s not broke, don’t fix it,” mentality. Has your approach to the show changed at all since it became popular?ĬB: From my end of performance, not really. At this point it’s a show that’s really designed for the live environment. JF: We’ve done it a lot since then and Cecil has found moments that Jeffrey and I have rewritten to boost what was working. We did it the first time in Seattle in January and we’ve done it, Cecil, how many times do you think? Thirty times since then? The experience that we tour right now, which is “The Librarian,” we’ve been touring since the start of this year. JF: We write it to be a live show and Cecil calibrates what he does to the fact that there’s an audience there. It’s a lot of fun.Īre these live shows crafted different than a regular episode? Also, meeting people in those places and give them an experience that we’re really proud of. It turned out to be a really delightful place that I wouldn’t necessarily have gone to if we weren’t touring. It’s the same thing when we tour the U.S., going to Oklahoma City. It’s really great to go to do something there. I don’t think I’d ever go to Ottawa on a vacation. JF: It’s really interesting to go places I wouldn’t go on vacation, necessarily. The energy that comes with doing a live performance-it’s a great rush. What’s your favourite part about being on the road?ĬB: It’s always a lot of fun to travel to places I’ve never been to before, meet fans who maybe listen to the podcast by themselves and get to watch them experience what it’s like to meet other fans. Writer Joseph Fink and narrator Cecil Baldwin (pictured above) sat down with Swerve Going Out Editor Jon Roe to talk about the live show and podcasting. Last summer, Welcome to Night Vale, a twice-monthly podcast about a fictional town where the citizenship is largely unfazed by a five-headed dragon running for mayor and a whole civilization of miniature people beneath the bowling alley, briefly dethroned NPR podcast juggernaut This American Life on top of the iTunes podcasting charts. Podcasting is one of the few media formats in which amateurs can go toe to toe with the professionals.
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