The Official Adventures in Odyssey Podcast

Guest (Male): In an age of screens and social media, looking through a physical magazine feels extra fancy. But so many magazines for teen girls are iffy, to say the least. That's why I subscribe to Brio magazine from Focus on the Family.

It's full of fashion and beauty tips, inspiring stories, and articles on things like body image and spiritual growth, all from a biblical worldview. Subscribe to Brio at focusonthefamily.com/magazinesforkids. That's focusonthefamily.com/magazinesforkids.

Bob: Howdy, Odyssey. I'm Bob.

Jesse: And I'm Jesse. Welcome to the official Adventures in Odyssey Podcast.

Bob: Album 80, Rewritten, has finished airing. So it's time for one of our favorite podcast traditions. Jesse and I step out of the host's chairs and hand the podcast over to the team.

Jesse: Traditions are meant to be repeated and changed. This time, it's not the usual team.

Bob: Right. It's not the writers this round. It's the people who make Odyssey sound like Odyssey.

Jesse: Today's Q&A is with the production team, the sound designers behind the episodes. Listeners called in with questions about how the sounds are created, how scenes are layered together, and how these guys pulled off some of the biggest and smallest moments in recent episodes.

Bob: All right, Odyssey sound designers, take it away.

Chris Diehl: Thanks, Bob. And before we go through introductions, let's hear that first question from Carissa, who lives in Hartford, Connecticut.

Guest (Female): How many people does it take to do sound design, and what are their jobs?

Chris Diehl: That's a good question, Carissa. Let's just go through and explain what our jobs are first. My name is Christopher Diehl, the production manager for the sound design team of Adventures in Odyssey.

Rudy Haer: The boss of all of us. What does the production manager do, Chris?

Chris Diehl: I sit around and I drink coffee and put my feet up on the desk.

Rudy Haer: Sounds fun.

Chris Diehl: And listen to the shows and say, "Do it better." I actually produce shows here and there.

Rudy Haer: I'm a little bit the odd man out here. My actual title is the mastering engineer. This is Rudy Haer, aka Fireman Rudy. I'm sort of the last step in the process. Once the sound designers finish their shows, they come to me and I master them for whatever format they're going out in.

Different formats require different things, and so I master them to those different formats. I also make sure that there aren't any mistakes that made it into the show in the last pass of producing the shows.

Chris Diehl: So the last set of ears before this show goes out to our listeners.

Rudy Haer: That's right. I wear a number of different hats. I'm the archivist for all of the audio-related stuff. I try to do anything that would help the sound designers stay with doing sound design on the shows without having to pick up too many extra responsibilities.

Chris Diehl: Has that included cleaning up rat droppings from the foley room?

Rudy Haer: Rat droppings. Well, we are exaggerating a little. It was mouse droppings, but it was a lot of mice. And don't ask me how I know this—mice really enjoy eating candles. I did not know that. But don't ask me how I know. Moving right along.

Luke Genot: Hi, I'm Luke Genot, one of the sound designers. I'm responsible for putting together the show after we record it, recording the show too.

Zach Schneider: I'm Zach Schneider. I am also a sound designer, much like Luke, just slower. We do all the same things. We edit all the voices, do the foley, add sound effects, and mix the final shows, which we then give to Rudy.

Chris Diehl: So that's what our jobs are. But the question is: how many people does it take?

Zach Schneider: One, two, maybe three.

Luke Genot: Three. Have you ever had four people on a show?

Zach Schneider: Could be four. I think it takes all of us ultimately to produce a show.

Chris Diehl: Our next question is from Elliot from Oregon.

Guest (Male): How hard of a job is sound designing, and what kind of qualifications do you need to be able to do that?

Chris Diehl: I'm going to toss this over to who's going to catch it. Zach. He caught it.

Zach Schneider: How hard of a job is sound design? It's very difficult. Yes. Super. Well, it's both a very technical and creative kind of job.

In terms of qualifications, anything that you can learn to do creatively, things like music or if you ever actually do any editing. Also being able to think creative thoughts, plan out things like pacing, ways to make the audience feel more engaged, whatever sound effects you're adding.

Then there's also a lot of technology that goes into recording and editing and all sorts of stuff that are in our tool bag. So it's both creative and technical. But how hard is it really? I don't know.

Luke Genot: Qualifications or official credentials aren't quite as important as getting some good work experience. If you're interested in doing some sound design, maybe try experimenting with creating some of your own projects or find a project to volunteer on. I started making my own little productions with a tape recorder when I was four. I just kept experimenting and learning along the way.

Zach Schneider: Child prodigy, might I add.

Chris Diehl: Getting your hands dirty.

Luke Genot: Or your ears in this case.

Chris Diehl: Onto our next question. It's Rachel from Chambersburg, Pennsylvania.

Guest (Female): I really want to get into audio storytelling and I love editing, but sound design really intimidates me. So do you have any recommendations on resources for learning how to begin?

Chris Diehl: That's a great question, Rachel. Honestly, the interesting thing is we all came to what we're doing on different paths. Zach, can you explain a little bit how you got here?

Zach Schneider: My general advice for most people is to just, if you want to do something, do it, which it sounds like you're already doing some editing. Just find the tools that you need, and they're pretty readily available now. Find some way to record and edit and then just keep doing that.

For me, I got into it because I loved watching behind-the-scenes for movies and TV shows and stuff that I liked. So that led me down the audio path of movies and filmmaking.

What I started doing was I would watch something and then see if I could recreate it on my own. So that's a great tip if you want to try sound design: find something that already exists and then see how you can mimic it or recreate it yourself. In doing that, you'll learn parts of the process that you need to then create your own sounds later on.

Rudy Haer: When you're recreating something that exists, isn't that called plagiarism?

Zach Schneider: Not if you don't distribute it. If you do it for your own learning sake, then it's fine. It's practice. It's like, am I plagiarizing Mozart when I play it on the piano? No. I can't play Mozart on the piano anyway, so it wouldn't be anyway.

Luke Genot: Growing up, my family was part of a ministry that had a radio station. So we listened to a lot of audio drama, a lot of radio. I got to get into the studio every once in a while, go on air and things like that. That was a lot of fun, and I wanted to do more of that. Like I said earlier, I started experimenting with creating my own little productions and then the apprentice position opened here at Focus.

Chris Diehl: And then we stole him. Nabbed that kid. So with that, because you jumped in so early, what kind of stuff did you use? What kind of resources did you use in order to actually create what you made?

Luke Genot: Cassette tapes, but I wouldn't recommend that necessarily anymore. It's a little harder to find that. There's a lot of just really basic free software that you can get started with. GarageBand is a nice one if you're an Apple user. Audacity is relatively simple and it's free. Even the software we use, Pro Tools, has basic, inexpensive versions that you can download and experiment with.

Rudy Haer: They can all be intimidating when you first step into them. But you get in and you just start using it and you'll start learning some of the basics. It'll come along. And be able to search online for things like, "I'm using this program and how do I do this?" There's all kinds of great tutorials online for being able to do that. There's a lot of great info out there.

Chris Diehl: Rudy, the electrical engineer at one time, how did you come into all of this?

Rudy Haer: I came into it much later than Luke did. I was more like forty, not four. I had a career before this, but I wanted to get into dramatic audio. Once I realized what I was interested in, my training—I'll jump back to what was important—I was being trained without even realizing I was being trained.

I was into playing piano, was taught as a classical pianist. I always had a lot more fun getting away from the sheet music and just making up my own stuff, playing by ear basically. I didn't know I was being trained for sound design at that time, but looking back on it, I definitely was.

That was just training my ear to be a critical listener. Does this sound good? Does this chord progression sound good? What does this make me feel when I hear it? Creating a feeling through the music definitely goes into the job that I do now with mastering.

I'm listening for, is the cadence of those footsteps appropriate for the emotion that the character is saying? There's so much music-based stuff that goes into the critical ear that it takes to be the mastering engineer.

Once I knew that that's what I wanted to go into, I ended up going through a college program that taught me a lot of audio production. Shout out to Cedarville University, if that's okay to do here. They had a great audio production program. There are a number of colleges that have audio production programs. But as we've already said, you don't have to go that route. There are multiple routes to doing good sound design.

Chris Diehl: There's several ways. I came in a little bit between both Zach and Rudy, except mine was on the music side and working in the music industry. Honestly, some of the resources I used to help learn was doing live sound at my church.

Sitting down behind a console and just learning how the signal flow worked, how sound moved through, what made a good mix in an environment. There's multiple ways, multiple resources you can use to get in. Honestly, getting just involved in it, and there's a lot of communities out there that there's groups that just really enjoy audio dramas and sound design.

They just get excited about this stuff and listening to each other's stuff and critiquing each other's stuff, trying to hone each other's talents. It really helps. That's one advantage that we have of having this team here is listening to each other's stuff and helping each one of us refine what we do.

Rudy Haer: I wanted to say too, for Rachel's question, she said she loves editing but sound design intimidates her. By editing, I'm assuming you mean voice track editing. The more experience you get with that, the better. That's the absolute bedrock of our show. We have to be good at voice track editing in everything that we do. Everything else is built around the voice tracks, and so if you're getting good practice with voice track editing, you're actually working on the most foundational part of all of this.

Chris Diehl: Let's move on to our next question. It's from Joseph from Alberta, Canada.

Guest (Male): I'd like to know about how many sound effects you have for your board.

Rudy Haer: It's a lot. Is "a lot" an acceptable answer?

Luke Genot: I looked it up, guys.

Chris Diehl: Oh, you did? I tried to look it up.

Luke Genot: Hold on. Let's all just—I want to take a guess because I know the last time I looked at the number... 173,000. Rudy, Luke, you guys going to throw your numbers in?

Rudy Haer: I would have actually gone quite a bit higher than that just guessing off the top of my head, but I could not find the number and I looked.

Luke Genot: I think we have close to two terabytes of sound effects.

Chris Diehl: He's going for size. Amount of data. You guys are both correct. It's 173,847.

Luke Genot: Are you serious? I actually got the number.

Chris Diehl: Luke's also right because we have 1.8 terabytes of sound files stored currently.

Zach Schneider: And does that include our music as well, like all our music cues?

Chris Diehl: That doesn't include music.

Rudy Haer: Going on to our next question. It is from Rachel, who lives in Fremont, Nebraska.

Guest (Female): I was just wondering how many people work on sound design per episode?

Chris Diehl: That's a good question. When you're listening through the show and you get to the end, and Chris comes on and she gives her theme kind of explaining a little bit about the show and might give us a lesson, after that are this thing called the credits.

Within that, it usually lists who wrote and directed, and then it'll list who sound designed the show. A lot of times you'll hear maybe one name, you could hear two names, and that's usually about how many people work on an episode.

Each one of us is assigned a show and we take that show and we produce it from the beginning to the end. There might be times that we get a little bit of help in the middle of it, but for the most part, that person works on the whole show. Now sometimes you'll hear a multi-parter and you might hear Zach Schneider and Luke Genot, and they do work together on that. But for the most part, each person, each one of us works on a show by ourselves.

Luke Genot: I might add that Rudy here works on almost every episode with us in the foley room. He records our foley sessions for us, engineers the foley and helps oversee that.

Chris Diehl: He's really good at critiquing us. He's like, "You might need to redo that."

Rudy Haer: It's fun to make them do things over. That's actually my favorite part of the process because it's very collaborative. A lot of our time is spent just alone in our studios working on the shows. But when we do foley, it's at least two of us in the room. It's very collaborative. Great question.

Chris Diehl: All right, let's move on to some of our favorites. The first question is from Sam, who lives in Florida.

Guest (Male): What is each of you guys' favorite episode ever?

Zach Schneider: Favorite episode ever, so one that you didn't necessarily work on. What would your favorite show be? For me, it changes, but I think my first favorite episode, my very first favorite, would probably have to be "Licensed to Drive."

Luke Genot: It's a classic. It's cliché, but "The Time Has Come" is my favorite episode. The writing, the acting, the sound design especially, the music is just a beautiful episode.

Rudy Haer: I have to go for two, and the second one might actually be a cheat. But for a super fun episode to listen to, "Do or Diet" always makes me laugh. But for story and sound design and the whole thing, "The Green Ring Conspiracy." Just the story arcs that were started there and the creativity of the storyline and the sound design that went into all the big scenes in it. I just love it overall.

Chris Diehl: Mine change a lot. So a lot of times it's maybe one I just listened to. So I just got done listening to the three-part "Malachi's Message," and that was such a great three-parter. It was a really good episode.

All right, moving on to another question. This is from Grant, who lives in Winchester, Virginia.

Guest (Male): What was your favorite episode to work on?

Chris Diehl: To work. I'm going to let me start off here. Sometimes the ones that are your favorite to work on are sometimes the ones that are the most difficult to work on and you're dreading it as you go through it because it's so much work. But then you have so much gratification when you're done with it.

I've got a few. Today, I'm going to say "Walter's Flying Bus." That's the one I'm going to say today. If you ask me again tomorrow, I'm going to have a different one. But that one had a lot of animals in it. It had an elephant. It had a flying bus.

Zach Schneider: And Walter.

Chris Diehl: But we had some cool stuff in it with some chanting and I actually got to have my son come in and be part of that, which was really cool to have him be able to come in and record with him on some of that stuff. So that's my answer for today.

Rudy Haer: For me was "Failing to the Finish Line," mainly because—and this is from a sound design perspective—our sound effect server failed us. And so we ended up getting to do a very fun adventure.

We needed—if you know the show, you need the sound of a go-kart in the show. Our sound effects server had sounds of go-karts, but it did not have sounds of go-karts by themselves. It was more like you're at a racetrack or something like that with multiple go-karts. And so the sound effect server we couldn't use.

So we had to get our own go-kart sounds. Fortunately, there's a great go-kart racetrack out east of Colorado Springs here a way. Our team went out and talked to the owner and he let us come in early when we would just be the only ones there. We put microphones all over a go-kart and we all got to go out and race the go-kart on the track, recording all the different parts of the show that you hear in the show.

Anytime we're involving engines or go-karts or anything like that that we actually get to go speed, I'm saying it was just super fun. So it was more selfish that we got to go play on go-karts than anything else. But that was a very fun episode to work on.

Luke Genot: "The Best is Yet to Come," Eugene's send-off episode, that was a special one to work on for me.

Zach Schneider: For me, I think probably the show "Virtu-O-So," virtual reality. It just had so many fun sound effects to create and things I could do with it being part video game, part virtual reality. So that one was just a whole lot of fun. Volcanos in the background.

Chris Diehl: Had a giant gorilla in it.

Zach Schneider: It had a giant gorilla and an elephant. It was a good time. All right, moving on to our next question. It is from Clara, who lives in Spring Harbor, Michigan.

Guest (Female): What was your favorite episode in Album 80 to make and why?

Chris Diehl: I'm going to throw this over to Zach and Luke because they're the ones that pretty much sound designed those episodes.

Zach Schneider: For me, I think it was either "Face the Unknown" or "Face the Truth." Because for both of those shows, there were some really weird moments in the script where you suspend reality for a little bit. Anytime you get to do that with sound effects and sound design, I think it's really cool. Plus I like the way the story kind of wraps up for Renee.

Luke Genot: And I really enjoyed working on "This is My Story," just because of how it all came together. I was just really happy with the effects and foley, and I especially loved the music score that Conor Siobhan put together for the show.

Chris Diehl: All right, our next question's from McKenna, who lives in New Hampshire.

Guest (Female): What is your favorite sound to record?

Chris Diehl: Favorite sound to record. Okay, as the—hold on, this is it, everybody. Just all together now. That was it. Silence. Silence is really difficult to record that quiet.

Rudy Haer: That was really awkward. What are we waiting for?

Zach Schneider: What were you going to say, Rudy?

Rudy Haer: Well, I was going to say—and as we've said, I'm usually the recording engineer in the foley room. And so my favorite sounds to record are usually the fights and the scuffles because it usually involves a sound designer hitting themselves on mic and then I can just say, "No, that wasn't hard enough. You got to do that again. Harder. Harder." And you know, we could have gotten the right sound several takes ago, but hey. Sure, yeah. I see how it is.

Luke Genot: There's something special about recording someone walking into Whit's End. We have a nice wood surface in the foley room that we use for the Whit's End floor. And so when you act out walking in the front door and walking up to the counter, you get to imagine you're at Whit's End, and that's really fun.

Zach Schneider: I like the quiet of sitting and recording a location sound. Even if the location itself is like a work site and not very peaceful, there's something really cool about just sitting and listening to the world around you. I like those ambient sounds, the environmental sounds. We don't get to record them very often, but when we do, I think it's fun.

Chris Diehl: So I'm assuming this is not talking about voices from voice actors, we're going to talk about actual sound effects. But I'm going to lump in crowd recordings as a sound effect because it's a lot of fun to get a group of people in, especially when they're engaged with it.

You just sit and listen to them and it's fun hear what they have to say in the background. You're like, no one's ever going to hear this really because you're going to bury it into your mix somewhere. But it's an entertaining time to watch and listen to this group perform against lines that they're hearing from the show that they're recording with.

Rudy Haer: I feel like my answer was much more violent than any of your answers.

Chris Diehl: All right, Anna Grace from Louisville, Kentucky has a question for us.

Guest (Female): What is like the weirdest sound you had to do when you were recording an episode?

Chris Diehl: The weirdest answer. Yeah, this is a tough one because I feel like there's so many different ones.

Zach Schneider: There are a lot of different types of weird, but to me anything that doesn't exist in the real world is kind of weird. There was one scene in "28 Hours" where I had to do an electric car peeling out, which on paper doesn't sound that weird.

But electric cars don't do that. If you've driven in an electric car, they accelerate very smooth. They don't peel. The tires don't skid on pavement. So creating that was a little bit of a cheat. I was cheating reality a little bit, but that was a weird sound you will never hear in the natural world.

Luke Genot: The ketchup and whipped cream fight in "Make No Mistake" was kind of weird. It was just kind of messy. Lots of ketchup everywhere. The foley room smelled like ketchup for multiple days after we recorded it.

Chris Diehl: Well, I'll go along that line is the banana fight. It was with Camilla and Matthew and it was just a mess. I'm assuming you threw away the T-shirt you were wearing during that. I think I did. I didn't use that again.

Rudy Haer: I think weirdest was—and this was during Darien's Rise series that Chris did all of the sound design on that—but there's a scene in there where a button gets shot across the room, just flicked out of somebody's hand across the room.

I went back and listened to it a couple days ago, just that sound effect, and thought that I don't think what we recorded made it into the show because there wasn't time for what we were recording. So it only happened in the foley room. But we set up a line of mics across the foley room and shot multiple pennies and buttons and things trying to capture the flight of something across a room. And it was just fun to think through how are we going to do this and the sounds we got out of it were pretty weird. But not everything that gets recorded in the foley room makes it into the show and that was one of them.

Chris Diehl: All right, let's look at some of the latest episodes that we've worked on. Lucas has a question from Martin, Georgia.

Guest (Male): When Buck falls to the ground after being hit in the head with a baseball, what was the process of making the montage of voices and singing that eventually leads to the decision of him knowing who he is and who he is not?

Chris Diehl: That's a good question. You know who worked on that one was Luke.

Luke Genot: In the original draft of the script, Kathy Buchanan, the writer of the show, had jotted down some ideas of what she wanted that montage to sound like. Then Nathan Hoobler took her draft of the script and poured through pretty much every single show featuring Buck and wrote down which lines we should use and in what order according to different themes and the best pacing.

So then I took what Nathan had written out and went back to the original mix and recording sessions for all those Buck shows, including the song "Amazing Grace" from "Best Is Yet To Come," and pulled those clips and edited them all together.

Nathan and I went back and forth on a few versions for how fast the clips should go and the order of them. Then I added a ton of special effects like echoes and reverbs and delays and sound effects like whooshes, reversed smashing glass, and droning wind. Then John Campbell composed an amazing music score to put with it all. And that's kind of how we built the montage.

Rudy Haer: It was pretty impressive. It does not surprise me that there's a question about this because in the playback of the show when the team was all together, there were lots of kudos given for that montage. It was good.

Chris Diehl: Okay, moving on to the next question. It is Caleb from Lancaster, Pennsylvania.

Guest (Male): How often do you change the background noises for Whit's End or other crowd noises? Because I notice especially in a lot of the older episodes, those noises were the same.

Chris Diehl: Good ear. What if he hears the laughing goat? Yeah, over the years we have slightly altered the sound of Whit's End. We've recorded new crowds that could be used in Whit's End. We still use the original, but now it's layered with some other sounds at the same time just to give it some variation. And honestly, there are times that we've even changed the empty sound of Whit's End.

Luke Genot: True. We tweak things pretty regularly, like changing the size of the Whit's End crowd or adding in more freezer hum if it's a quiet day at Whit's End. For example, I started including a morgue freezer sound effect in the background and as far as I know, that hadn't been done before.

Chris Diehl: We're going to have to talk about this. It's been in a lot of shows now. A freezer's a freezer, Jesse. This is the sound that you're looking for.

All right, let's move on to our last question. It's from Austin, who lives in Lakeland, Florida.

Guest (Male): What is something that most people don't know that would surprise them about sound design?

Chris Diehl: About sound design. That not every sound is what you think it is.

Luke Genot: I was genuinely shocked when I started working here and started foleying with Rudy that the stools at the Whit's End counter are supposed to be bolted to the ground. They don't scoot around. They're in one place. That surprised me.

Rudy Haer: They start scooting the stools, I said, "No, no, no. We don't do that here."

Chris Diehl: That is true. We have to think about what the environment looks like and sounds like. Until you actually start doing it and you have to think, "Oh wait, I've got to now live in this world that has been created." You don't think about the fact that the stools are bolted down.

Luke Genot: You don't think about how many steps there are from the front door to the counter all the time.

Chris Diehl: We do have to sometimes suspend reality too. I mean, there's things that we do that if you tried to do them in real time, you wouldn't be able to perform half the stuff that happens. Like unwrapping a present. They get unwrapped very quickly in Odyssey.

The one joke I keep teasing Kathy Buchanan about, because she has a show where Ryan walks Jules up to her porch and then gives her chocolate chip cookies and orange juice. I'm like, where did this bottle of orange juice come from? Did he carry it in his jacket the whole time they were at the dance? I mean, what happened here? So there's stuff in there that does surprise us sometimes.

Zach Schneider: Something that surprised me about sound design when I first got into it, or I guess as I continue, is how much math is involved. Like there's a lot of physics in room noise and how things echo and how your ear hears certain sound effects whether they're low or high. So tailoring all of the sounds to your listening audience actually kind of requires you to understand a little bit of math, which was a little bit of a surprise getting into it.

Rudy Haer: Not calculus, but mostly physics. I don't know if this fits into the surprise category. Well, maybe this part does. The sound designer that does the show, they do all of the footsteps and all the foley for every character in that show.

So if it's a little child or an elderly old person or somebody walking in high heels or anything, it's that sound designer who's making those sounds, with one exception. There's this fireman in the show. His name is Fireman Rudy. When Fireman Rudy, aka me, started getting a line here and there in the show, Luke decided that any foley that Fireman Rudy does in the show, I have to be the foley artist for that.

Luke Genot: It's the rule. It's the only voice that actually matches the feet.

Rudy Haer: So I have to get up from my engineering chair and put on headphones and the appropriate shoes and go do my own foley. So all of the foley for Fireman Rudy, at least in Luke's shows, is actually me doing the foley.

Chris Diehl: Well, we thank you so much for those questions. It's been fun going through some of these and, you know, we always look forward to people exploring and wanting to understand more about what sound design is and what we do. So thanks for those questions. They've been great. Thanks, everyone.

Jesse: Those guys are great. And now I want to go listen to Album 80 all over again to hear everything they were talking about.

Bob: It's not a bad idea, Jess. Because we have another announcement. Voting for the Avery Awards for Albums 79 and 80 is now officially open.

Jesse: This is our annual award show to honor the show and to honor our fans for voting.

Bob: As usual, you can vote for categories like best actress, best actor, best scene, best sound design, best script, and there will be a few special categories this year.

Jesse: Voting is open right now on our website. Head to adventuresinodyssey.com to make your voice heard.

Bob: And while you're there, you can revisit all the shows in Album 79, 11th Hour, and Album 80, Rewritten, in the club. We'll have links to get them on CD and download too.

Jesse: But that's all for this edition of the official Adventures in Odyssey Podcast, a presentation of Focus on the Family.

Bob: Visit adventuresinodyssey.com or call us at 1-800-A-FAMILY. I'm Bob.

Jesse: And I'm Jesse. Reminding you that with God in your life, every day's an adventure.

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