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RADIOPLAY magazine radioplaycontests.com
Page 1
Cover Art by Lee Labit.
Page 2 Kung Fu Action Theatre Advertisement.
September 2008 Vo l u m e I I s s u e 2
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This is the current page. It lists the Staff who worked on this issue, and the Issue Summary.
Page 4
From The Admin’s Desk, which is a letter from the administrator of Radioplay Contests to the readers of the magazine.
Page 5
The Comic Summary, which features the most recent comic strips that were posted at the forum.
Pages 6-7 Interview with the Afterlives creator.
Page 8-9 Stevie K. Farnaby’s sound design article Part 1.
Pages 10-13
Two tutorials which could help you gain new techniques to apply to your productions.
Magazine Staff
Production Manager - Lee Labit Page Designer and Page Formatter - Alexa Chipman Editor - Fiona Thraille Contributor - Stevie K. Farnaby
What Is A Radioplay? A radioplay is a form of play in audio format. The first radio plays were broadcast in the 1920s. These days, amateur producers produce radioplays (or audio dramas) but they are rarely broadcast on radio stations. All articles are copyrighted by their respective authors. RADIOPLAY magazine is (c) 2008 Radioplay Contests. All Rights Reserved.
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Welcome everyone to the second issue of Radioplay Contests. This month, we have tutorials on cleaning audio files for two different pieces of software: Garageband and Audition. The cover story is an interview with the creator of a production called Afterlives. In the forum, the Voice Actor Crush thread was revived by Crono04. You should definitely check it out here to see the hilarious responses that he made as well as those from other members who added in more humor to the thread. Also, it broke the record for the most replies in a thread on our forum. As of writing this column, it has a total of 45 replies. The previous record was 39 replies, about the first comic, Waiting For Auditions. Speaking of hot threads, Alexa’s Maudelayne production seems to be the most popular series on the forum. The average threads+replies on a specific episode of a radioplay is about 5 discussions. The thread for Maudelayne Episode 7 has 29 while Episode 6 has 22, which is way more than the average number of discussions. How much of a response will Episode 8 get? Well, stay tuned... A new member with the username, the_observer, has a lot of questions on how to make radioplay / audio drama productions. His questions include whether he needs a recording studio to produce his play and whether it is advisable to produce them on CDs and sell them to bookstores. Thanks to UltraRob, FuzzyFace, and Pedrith for answering his questions. That’s it for this month. We’ll have a Halloween theme in our next issue, so if you like scary stuff, then you should look forward to it.
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What Are You Listening To?
Alexachipman: I have most definitely had many conversations like that UltraRob: Add me to the list too. Been there many a time...sigh... Teacup: If someone asks about my hobbies, it ends up going something like: Radioplays. Oh. You mean the ones on radio4. Well, most of these are on the Internet. Internet radio? Internet radioplays. Like podcasts. Podcasts? Radioplays, but you can put them on your mp3 player. I just put music on mine. More comments here: http://www.radioplaycontests.com/index.php/topic,1187.0.html
False Assumption No Comments
Guess The Trend
FuzzyFace: A few things come to mind: 1. # auditions received 2. # listeners 3. # enthusiasm shown by the VAs / producer Teacup: Listener feedback? Number of radio productions? (Suggesting most series don’t make it past ep2)
Plagiarism?
More comments here: http://www.radioplaycontests.com/index.php/topic,1221.0.html SingleAgain: There will always be common usage phrases in our language, but those things are really
public domain and you would hopefully realise that they are not your property. Other than that, I think that you have a right to at least look into other lines that they write to make sure that they are not really taking huge chunks from you. AlexaChipman: It annoys me more when someone steals a character or concept than specific wording. More comments here: http://www.radioplaycontests.com/index.php/topic,1250.0.html
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Afterlives is a series that was created by Alan McDonald. The first episode was released in March of 2007. Currently, thirteen episodes have been released. These episodes are divided into two seasons. Season 1 has six episodes while Season 2 has seven. As mentioned on the website, Afterlives.net, there will be a third season for the series. Interview with Alan McDonald By Lee Labit 1. Is there any special thing or event that motivated you to start producing Afterlives? I was writing TV pilots that were only getting so far in the commissioning process and fancied having a real go at running my own series - so I decided to do it off my own back and write an audio drama for distribution online. I figured it couldn’t be too difficult - how wrong I was. Still, I’ve learned a lot across the run so far. 2. Do you have a favorite character in the series? Standard writer answer, I’m afraid: they’re each my babies and I love them equally. That said, I love telling Dave’s stories as he has such a rich past. My favorite dialogue belongs to Sal and Barry. The former does great innuendo, the latter delicious sarcasm. 3. Give us a brief summary of how you produce each episode, from receiving the recorded lines to posting on forums about each release. Initially, I’ll plan a whole series at once, then write the first three or so episodes. I’ll then do a read through with the cast and make changes before we record. Writing is ongoing during the recording process and we generally record one episode in a single day’s session. All recording happens at my home. I use friends who have acting experience and direct it there and then. Sometimes it takes more than one session if I have a problem getting everyone in one place at one time. The season 2 finale holds the record for multiple recording, standing at 5 different sessions! I’ll then go on to cut and add music/sfx myself - this can take one to two weeks, depending on the complexity of the episode and other demands on my time. When I’ve finished the cut, my sound engineer Daniel comes around and helps me with sound balancing and mastering. Finally, once we have most of the season’s episodes complete, we launch, putting up a new episode every week and publicizing through our site and other forums. I’d love to spend more time on outside forums but these days I often find myself too busy with my own work and email contact from listeners. It’s a nice position to be in. 4. How many more seasons will Afterlives have? One. I’m toying with the notion of simply doing a 3-part finale, but I do have a full season 3 plan, too. It depends how I feel about the time commitment in a few months after my post-season 2 break.
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5. If you got any injury in the future that wouldn’t let you speak clearly temporarily, would you delay the production or assign Dave’s character to someone else? Ooh! Good question! Hmm. It depends. I could write an episode that didn’t feature him at all, or write in a reason for his voice to change. That’s easily enough done when you don’t have to see the character. Indeed, this season Daniel (who plays Barry) had to cancel on a recording session, so I rewrote the upcoming episode to have Barry imprisoned and removed from a large part of the story, lowering the amount of recording we would have to do later. It’s a fun writing challenge. 6. There is a long time between the release of the last episode of Season 1 and the first episode of Season 2. Will this be the same for Seasons 2 and 3? Hopefully not. I wasn’t really planning on returning to the show after season 1 but I started to get emails asking if it was going to happen and then the story kicked off in my head. I couldn’t not do it, at that point. This time, though, I already know where season 3 is going - the season 2 finale ends with a little pointer in that direction. My plan is to start season 3, in whatever form it will take, around winter, releasing in spring. More like a 6-9 month break than the year between seasons 1 and 2. The show takes a massive amount of work and I have other writing commitments - especially now. We’ll see. 7. How did you pick the names of your characters? There wasn’t a particular process. I wanted Dave to have a name that would be odd for an angel, and followed the same thinking for Barry. Eve had that temptation link which worked well for season 1. Kyra was just an interesting-sounding name and Sal had a pleasant economy to it. Both Tor and Matthew were the first names that came up. They stuck. 8. Do you receive fan mails? If so, could you tell us the best one that you received? Yes and I’ve just received it! It arrived after the penultimate episode of season 2 (episode 12) and opened with the line: “Wow. wow wow wow wow.” The kind listener then went on to show that she understood exactly how pre-planned the story is and she had made all the connections. It’s really gratifying when something that starts in your head gets other people excited. 9. Is making this series your favorite hobby? Writing is my favorite thing to do, bar nothing. I enjoy recording - it’s never anything less than fun and we have hours of outtakes - and it’s really rewarding to hear the episodes come together. I do, however, find the cutting and editing process a bit arduous. I’m too much of a control freak to have anyone else do it, though. The writing is the bit I love the most, as the story unfolds in my mind and I know months before anyone else where it is all leading.
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10. What is your favorite episode in Season 1? Hmm. It changes. I love the flashbacks in episode 4 - still amongst the best stuff we’ve done - but the B plot is a bit silly. Probably episode 5. It was the closest we came in season 1 to reproducing exactly what I had in mind when I wrote the script. That said, I would say every episode of season 2 is an improvement on the first run. The whole thing is just much slicker now and I’m really pleased with the story. 11. Do you know any shows that are similar to Afterlives? Not really. I suppose it’s the open premise of Doctor Who meets the character dynamics of Farscape with the humour of Buffy. Wow - I’ve been pitching to production companies a lot recently. I think it’s rubbing off... 12. Did you advertise Afterlives offline (local newspapers, local radio, etc.)? Both a local and a national paper covered us over the summer. Having a professional actor on board for season 2 - and one who had just finished a film, no less - really raised our profile. There’s a bit of buzz around us at the moment. Long may it continue. 13. Are you planning on making a different show soon or will you focus on Afterlives for at least one more year? I continue to work on screen and novel projects. As far as online goes, Afterlives for one more year, then something different. The Afterlives story finishes very conclusively with season 3, so that’ll be it. I’d love to do something more real-world next, I think. Also, I’m keen on using video and doing a web-show that way. There’s one script I have that I’m pitching right now with a writing partner for the web. It’s a genre piece again but very different from Afterlives. 14. Do your relatives listen to Afterlives? If so, could you tell us some of their comments? My cousins and friends love it. My Dad listens if I download it for him but he hasn’t caught any of season 2 yet. My Mum is very supportive but not at all a genre fan so it isn’t really her thing. My sister just had her first baby so I’m hassling her to listen while she’s in the house. 15. Do your production skills help you with other things in your life? It’s made a massive difference to my general computing skills running a website teaches you a lot. I had to learn both web design and sound recording for this project and those are handy things to know. From a storytelling point-of-view, I am a million times more knowledgeable about what works now and what doesn’t. One of our season 2 stories was written by a different writer, someone I’m friendly with. I acted as script editor and the things I’d learned from my own mistakes were invaluable in guiding him with his script. He turned in a really good story in the end, so I must’ve done something right along the way.
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16. Do you have a specific time of day reserved for making your productions or do you just make them whenever you have some free time? Sundays for recording, evenings for cutting and editing. Writing whenever I can make the time. If I’m close to a deadline, every free minute goes to Afterlives. 17. If you could have all of the voice actors in the world, who would you include/replace in your current (Season 2) cast? Replace?! My actors would kill me! Hmm. Well, dream cast, purely fantasy here ... David Tennant as Dave. Actually, no, me as Dave. I can’t let go. =) Ron Perlman would make a great Barry. It’s really tough for me to imagine anyone else playing these parts - I very much write for the voices I have now. 18. Besides different storylines, is there anything that is new for Season 3 (such as a new theme song, longer/ shorter episodes, etc.) that listeners have not heard of in Seasons 1 and 2? Ooooh, yes! I’m shaking the format up, although I’m not telling how at this point. Suffice to say, the world of the show is changing, which will alter the story-of-the-week approach we’ve taken up to this point. Episode lengths will be much the same if we do a whole season, will likely be a bit longer if we do 3 finale specials instead. I would love to do a new version of the theme song but it’s an extra expense to record that in a studio. I’ll look into it. It would be the same song, though that’s tied to the show now, as far as I’m concerned. A different mix would be nice. I’m a big fan of shows that shake up their credit sequences. 19. Did you learn to make productions by yourself or did someone guide you or you went to a school to make these kind of productions? Daniel, sound engineer and devil-voicer, is a self-taught musician and sound engineer. I myself used to be in a band, so I knew a bit already. The rest Dan taught me and still helps with. If you know how to direct, you already have an idea of how the sound should work in a drama (use of music for emotional impact, for instance). I needed to learn the mechanics of it, though. 20. So far, there has not been an episode where the characters play a sport. Will you make an episode with a sports activity in the future? That’s quite random - I like it! Quidditch would be fun, if it wasn’t for the hideous copyright mess that would ensue. I’ll have a think. There’s no reason there shouldn’t be a sporty afterlife out there. Kyra would totally dominate!
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radioplaycont e s t s . c o m
Sound Design for Modern Radioplays Some Advice for Beginners… By By Stevie Stevie K. K. Farnaby Farnaby
PART 1
Introduction For those who don’t know me, I’m a qualified Music Producer / Sound Engineer, and made the switch to Audio Drama Production about a year ago. I’ve literally not looked back since. No other creative medium allows for such a diverse range of radically differing slices of fun. I suppose, I’m best known for my Production of the Maudelayne series on the Brokensea site, for playing Conan the Barbarian on the Queen of the Black Coast series, and my Electric Grasshopper music E.P. Although, I’ve provided voices, sound effects, and music for numerous other shows, such as Dr. Who,Torchwood 1901, Kelmah, Planet of the Apes, Logan’s Run, Grog and Gryphon, Gate, Ulysses, Jake Sampson, Harry Potter, The Prisoner, and am currently Producing a 5-part series based on Escape from New York. This article is intended primarily for beginners, but may be helpful to those more experienced also. Sound Design falls into 3 distinct categories, Character Design (especially for Mythical / Alien Characters and Monsters), Background Ambience (for the differing Locations), and of course Sounds Effects (For the Action sequences).
Some General Advice I’m going to start here, by offering some key advice that’s appropriate and often critical for all areas of Sound Design :1. Where possible, form a close working relationship with the Writer. For an Audio Dramatisation to work effectively, it’s important to stick to the Writer’s original vision. The Writer will often provide invaluable insights into the characters and locations, that you just can’t get anywhere else. On the Maudelayne series for example, the characters are based on actual mythology, and the locations are real places. My friendship with the incomparable Alexa Chipman, has directly led to the characters and locations on the series all being so much more believable, than they would have been otherwise (I’ve never been to Oxford, and am largely unfamiliar with the mythologies explored in the series). If you’re unsure of anything, don’t ever be afraid to ask the Writer for clarification. It’s the end result that’s important here. Not what you perceive to be how others feel about you. In my experience, when you ask for clarity, a writer will be delighted to see that you’re taking the project, and more importantly, their writing that seriously anyways. 2. Familiarise yourself with the script. Are there any SFX cues, descriptions of locations / characters there, to glean valuable insights from ? Prior to starting Production on each scene, read that scene in its entirety, and maybe make a list of all the Sounds and suchlike required. That way when Production commences, you’ll have everything ready, in advance. 3. Know all of your various software packages, and really take the time to get to know their capabilities and features. The more you know, the more range and scope you’ll have etc. And the more strings you’ll have to your bow. 4. Leave your Ego at the door – LOL. Not everything you do will be liked, or indeed will fit the project you’re working on. It’s extremely likely that you’ll be asked for the odd change here and there. A good example would be a few episodes
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back on Maudelayne, I created a river of molten Lava which was really heavy bass-wise, and caused the dialogue to indecipherable. I was asked to tone it down a little. This of course made sense, as it’s the characters and their interaction that’s important. Sound effects are basically icing on the cake. Important in terms of adding to the telling the story, but absolutely not the most important part. 5. Experiment, and try new things. As a Producer, I’m constantly trying to push back the boundaries of what’s possible in Audio-based dramas. Free your mind, and give the old grey matter some exercise. Think about what’s appropriate for the series, the episode, the scene, and the characters. 6. And finally, have fun. Keep things lively and entertaining for yourself, first and foremost. If you’re not enjoying what you’re doing, this will come across in the final drama. A good way to achieve this is not to take on too much work in one go. Keep the number of Productions you’re working on to a manageable level. Set yourself realistic goals and targets. i.e. I’ll regularly set a target of translating 2 pages a script a day into Audio. Be conservative on your estimates for completion of projects too. And finally, if you need some help, ask for it. In my experience, there’s always folks around willing to lend assistance. No sense putting yourself under unnecessary pressure, and spending numerous hours worrying when a simple email can sort things for you.
Some Advice on Character-based Design Before even beginning, get to know the character that needs effects, and bear in mind, that most don’t need any effects at all. Ask some simple questions. How old is the character ? Where is character from ? Is the character Mythically based or Alien based ? What is the character doing in the scene, and where are they ? 1. If your character is in say a cavern, you may wish to add a little reverb to the lines, to give that echoey vibe. If they’re in a corridor, again you could add a touch of reverb, maybe pan the voice over to the left or right, and turn the volume down on their dialogue, to give the impression that they outside the room where the main action is taking place. 2. If your character is an Alien, you could simply add a whole range effects to the dialogue. I’m quite fond of adding delay, chorus, and flange type effects. I often reverse the dialogue and change the pitch up and down as well, to really give the feeling that the character is absolutely not from this world. For interest’s sake, and for Dr. Who fans, for Cybermen and Daleks, you’d basically add a particular type of effect called a Ring Modulator. Be very careful here, though, when adding effects to voices. Too much in the way of effects, and the character / dialogue can’t be understood. 3. Mythical characters aren’t quite as easy to do well. If you add effects to the dialogue, you often wind up with a robot, rather a character that’s based in say Hawaiian mythology. A voice more akin to Dr. Who / Star Wars, rather than fantasy. My technique with the mythology based characters on Maudelayne, is to add a sound effect underneath each of their lines of dialogue. I take quite a bit of time getting this right, as I know there are folks out there, who really look forward to hearing how I create them. A good example of where I’ve used this technique would be for the Norns in Maudelayne Episode 7. These characters basically weave people’s life threads throughout history, and in some cases cut a person’s life thread entirely (Thus cutting their life out of existence altogether). So I got hold of a sewing loom sound effect, and a recording of a piece of piano wire being scraped, which I then blended together. I then added flange, a little stereo reverb to give some space, and finally reversed the finished sound. I’ve under layered this sound effect beneath each line of Norn dialogue. As there are, if memory serves, three Norns in this episode, I created three variations of the same basic sound underlay at differing pitches (The Norn with the deepest voice, got the deepest pitched SFX under layered etc).
To be continued in the October Issue... 9
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Garage Band
Noise Reduction Techniques in Garageband By Lee Labit In this tutorial, you’ll learn three different techniques to make the voices of your voice actors better when using Garageband. Before you attempt to fix the voices of your voice actors, you have to think about whether their audio files really do need to be improved because sometimes, when you tweak an audio file in this software, it just gets worse or it gets better in one way and gets worse in another way. Step 1. In order to tweak files in Garageband, you have to open up the track info tab. You have two ways to do this. a) Click the ‘Track’ option in the menu and choose “Show Track Info”. b) Click the second last button on the playback control. The image of the button shows an “i”. Check the image on the right for a reference. Step 2. Open the Details tab which is located on the bottom of the Track Info tab. Step 3: There are three ways that I found to make the voices clearer. I’ll go over each of them briefly. a) Speech Enhancer - This was an effect that was introduced in Garageband 3.0. This version (3.0) of Garageband is part of the iLife 06 software. In order to activate it, click the drop down box which is under the Compressor setting. The default action is very good and I’m satisfied with the result about half of the time. If you’re not satisfied with the result, click the icon (which looks like a pencil in a diagonal position) on the very right side of the image. It will open up a window with three settings which are Reduce Noise, Microphone Type, and Voice Type. The last two seem to produce very minor improvements that you should not bother experimenting with if you have a tight deadline. The setting to Reduce Noise is self-explanatory. If your voice file has a quiet background and you still want to improve the voice quality, then drag the setting to the left. Drag the slider the other way (i.e. to the right) if the voice file has a lot of background noises that you want to filter out. The more that you set the setting to the right, the more that it filters out the background noises and makes the voice of the voice actor louder/better. However, it also makes it “metallic” as Fiona would describe it in her tutorial. This is what I meant in my second paragraph that it gets better one way and gets worse the other way.
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Noise Reduction Techniques in Garageband cont. By Lee Labit b) Reduce S setting in Equalizer The Equalizer effect has many different pre-defined settings located on a drop down box and one of them is called ‘Reduce S’. I do not know what the ‘S’ stands for but I am guessing it means static since it eliminates that effect when you apply this setting. c) Treble Reduction - This effect is also located on one of the drop down box like the Speech Enhancer. This one eliminates echo/metallic effects. I use it mainly when recording my voice on the software since there’s a slight echo (or it feels like I’m inside a room which is not desirable if the character that I’m voicing is somewhere outdoors) that my microphone pick up when I record my voice. The default setting is good but I choose the medium setting most of the time. There you have it. You can mix-and-match those settings to see how effective they are when combined. I tried a few times to use all three of those settings on one track but it didn’t give me a good result. So, just use one or two of them per track.
Sites of Radioplay Producers Who Are Active Members of Radioplay Contests
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Cleaning Up Actors’ Lines in Audition: DC Bias, Noise Reduction & Breath Pops By Fiona Thraille Before mixing a production, producers need to make sure they have clean lines to work with. Even actors with the very best equipment will still send lines which need at least a little noise removal. Some producers let actors clean their own lines, but doing it all yourself can end up in a more consistent sound, with less risk of the metallic swirling that comes from over-enthusiastic cleaning. Audition is also particularly good at noise reduction compared with some other programs. Let’s have a look at how to fix three main problems that can affect actors’ lines: 1) DC Bias issues 2) Noise Reduction 3) Removing breath pops DC Bias Issues With a few actors’ sound files, when you look at the quiet part of the file, you can see that it doesn’t lie flat along the middle horizontal line (the negative infinity dB). This is due to the microphone and it needs to be fixed before you do anything else. On the Edit viewpoint screen, click. Effects> Amplitude> Normalize (process) and a gray Normalize box will come up. Untick the Normalize to option. Make sure only DC Bias Adjust is ticked and at zero and press return. The sound will now be on the middle line. Repeat with all the actor’s sound files (here F3 is your friend - it’s the redo last action button). Noise Reduction Make sure you’ve asked actors in advance to give a few seconds of ‘silence’ - just them sitting in front of the microphone but not speaking or breathing. So it should just be the room ambiance and the computer fan, usually. You can then take a sample of this and get Audition to remove it from their lines, which gives a cleaner sound.
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radioplaycont e s t s . c o m
Cleaning Up Actors’ Lines in Audition: DC Bias, Noise Reduction & Breath Pops Cont. By Fiona Thraille On the Edit viewpoint screen, select 2-3 secs of a quiet part of the file that the actor has provided. You can do this by left-clicking and then dragging the mouse sideways, to highlight a section. If you want to adjust that section more, you can left click and drag any of the little triangles on the corners of the selected area. When you’re happy with your selection,look on the top menu bar and click Effects> Restoration> Noise Reduction (process) and a gray Noise Reduction box will come up In the top black box is a picture of the sound file in traffic light colors. In the bottom black box is a movable line. By clicking on it, you can create little points which allow you to bend it to fit the picture above. When you move part of the line, the traffic light colors move up and down in the picture. Basically, you want to have as little green in there as possible. For basic noise removal, click the ‘Select Entire File’ button and then experiment with sliding the Noise Reduction Level slider around. You can click the ‘Preview’ button to hear what the file now sounds like, and when you’re happy, click the ‘OK’ button for it to do its magic. With Noise Reduction, less is usually best. Just a little too much can lead to a metallic distortion which becomes even more obvious when the final file is exported, so save an extra copy of the original ‘raw’ files and experiment a lot. Breath Pop Removal Insisting your actors use pop screens will save you a lot of time as a producer. There’s a great site with instructions on how to make one cheaply here: http://www.jakeludington.com/project_studio/20050321_build_your_own_microphone_pop_screen.html Even with a pop screen, the odd breath pop can sneak through. This is when the microphone picks up air blowing which distorts the sound and reminds the audience they’re listening to something recorded on a microphone. They are usually easy to spot in the sound file as a wildly whipping loop shape. Breath pops fall into two main categories: those that can be removed to some extent, and those that are so mixed with the sound that they can’t. If you can’t remove them, you need to ask the actor to redo them, or if that’s not possible, sticking a well-placed sound effect at the vital moment can help to distract from it! To try removing the pop, on the Edit viewpoint screen, use the magnifying glass buttons on the Zoom menu on the bottom right to get in as close as you can to the pop. Left clicking and dragging to select the main part of the loop, use the little triangles on each corner of the selected area to make fine adjustments. When you remove that area, the two ends of the sound wave are going to join up, so if you can get them as close as possible to each other on the vertical line, then they will do so seamlessly. When you’re happy with the selected area to be removed, press Ctrl+X to delete it or just the Delete button on your keyboard. Listen to the result and see whether it has gone, or whether you’re going to have to get in touch with your actor for a redo!
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