Telling Stories with Sound π
How NPR's Throughline uses sound design to illustrate current & historical events
Hi Besties!
I learned so much during my quick trip to Podcast Movement last month, and this week, I want to share my takeaways from perhaps the most impactful presentation I attended: The Sound of Story by Ramtin Arablouei and Rund Abdelfatah, co-hosts and producers of NPR's Throughline.
It stuck with me because Iβve been thinking a lot about soundscapes and how to make the most of the mediumβs strengths lately β even (maybe especially) when Iβm working with straight interview tape, Iβm trying to find ways to zhuzh it up.
βThe production is the front and center part of the show, and we like to think of ourselves as the hosts as background [to the story, production, and sound].β -Rund Abdelfatah
How it started:Β Rund AbdelfatahΒ andΒ Ramtin ArabloueiΒ were both producers and sound designers at NPR, helping to pilot various shows. They realized they had a lot of common interests and just started making a show that tapped into all of those interests.Β ThroughlineΒ was a passion project, so they worked piloting it for about two years and then got the green light.
How itβs going:Β NowΒ ThroughlineΒ is a Peabody Award-winning show. Since it sits in the cross-section of journalism and entertainment, they push the boundaries of what people in the traditional news world would consider appropriate in terms of the use of sound. And their philosophy is that there is a use for sound elements in pretty much every story youβre telling.
Sound elements include everything from archival tape to sound design to music to silence.
Define the βmusicalityβ of your show. What does it sound like?
In a talk show, the way itβs cut together often provides a musicality. Even in a chatcast likeΒ Bodega Boys, thereβs a rhythm in the back-and-forth nature of their banter.
The other end of the spectrum is a show likeΒ Throughline, which is scored and sound designed from top to bottom.
And in the middle might be something likeΒ How I Built This, an interview show notable for its savvy use of music to aid the storytelling.
When youβre working on sound design, ask yourself:
What purpose is it serving? Do you need it?
How is it interacting with the other elements of the show?Β
How can sound help you break your story into scenes and guide your transitions? (They storyboard as you would for a movie.)
What is the top-line story youβre telling?
What is the deeper story youβre telling?
And what is the emotion that youβre evoking in the listener?
Ultimately, itβs an experimental process with a lot of trial and error.
Here are four ways you can use sound to elevate your storytelling:
Soundscapes
Think of it like looking at a landscape painting: Youβre taking in the whole image, then your eye is drawn to focus on the foreground, then zooms out into the distance. The viewing experience is the interaction of all of those elements, and a soundscape is doing the same thingβpainting a picture for your earβgiving you the big picture, and then at some points, drawing you in to pay attention to certain things. Soundscapes are immersive and help transport you inside the story.
EXAMPLE: The Dark Side Of The Moon
For the intro, they wanted listeners to feel like they were inside of a space launch and also connect with the metaphysical experience that people have had throughout history of looking to the sky and wondering what it would be like to go there.
They used voice-over from Jules Verneβs science fiction novel from the 1800s (before going to space was a possibility, when it was just an idea in peopleβs minds) over actual space launch archival and newsreel SFX, plus scoring and a rumbling sound that is elevating and building the momentum.
PunctuationΒ
Use it literally as you would in a sentence when youβre writing. Youβre using it to punctuate an idea. Youβre either starting a new idea, ending an idea, or emphasizing something. In sound design, silence can also be effective punctuation.
EXAMPLE: The Shadows of the Constitution (2020)
At the top of the episode, they bring to life βpenumbraβ β an abstract concept important to the episode β through a sort of ASMR-style guided meditation.
Penumbra is βthe partially shaded outer region of the shadow cast by an opaque object,β according to the dictionary. A Supreme Court Justice used that term to describe the space between what the constitution says and how itβs applied to the law and our lives.
Rhythm
Rhythm is punctuationβs cousin. The rhythm is the melody; it sets the tone. For their show, the rhythm is set by the writing and the way that they incorporate guest tape. Everything else is built in to complement or contrast the rhythm thatβs coming from those components.
EXAMPLE: Afghanistan: The Center of the World
This episode features an epic of Ancient Afghanistan, so the vibe they were going for was harkening back to a legend of old with the poetic, lyrical feel we associate with those stories.
Donβt always be 100% literal with SFX β thereβs a moment where the narration is βhis sword fell from his hands,β but they didnβt use SFX of a sword falling; they accentuated it with music instead.
Emotional soundscape
A soundscape can be built to generate empathy and emotional resonance. This is a controversial tactic in the news business β you have to be aware of how much emotional manipulation youβre incorporating. Itβs a subjective line that you have to walk, but when you can do it well, it creates a heightened, better listening experience.
EXAMPLE: Lives Of The Great Depression
This episode brought to life the stories from the Great Depression, so they thought it was appropriate for the listener to have an empathetic response; thus, using sound design and music to enhance the emotional resonance was essential to the storytelling.
Quick tips:
Generally, you want to hear the sounds before you hear the words/sounds described.
Unpredictably is good.
You want the sounds to blend into the texture of the rest of the episode β plug-ins and EQ are your best friend for that.Β
Write while listening to instrumental music in the tone youβre going for.
Share examples with your editor, so you have the same frame of reference.
Max Richter, Hania Rani, Hans Zimmer, and Radiohead are some of their favorite composers and influences.
Thank you so much to Ramtin Arablouei and Rund Abdelfatah for this super helpful lesson! And thank you to Focusrite for sponsoring this breakout session.
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Soβ¦ ROLL CALL! π£
Whatβs driving the musicality for YOUR show?
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