Third Coast Audio Library :: All

The best "real time" radio sounds live and spontaneous, but requires forethought and structure. This session focuses on how to do "stand up" in the field -- what works and what doesn't. Year: 2007

In certain radio stories, sounds exist only in the mind of the storyteller and can't be physically recorded -- like dreams, memories, and predictions. How do you create a soundscape that brings "the sounds inside" to life? Year: 2007

In a time when commercial interests continue to stake a claim to audiences' attentions on the Internet, artists continue to explore the narrowcast as a vehicle for simultaneously cultivating an audience and developing a body of work. Year: 2007

Everyone's telling their story these days –- in blogs, podcasts, on YouTube. But what makes one story a yawn or self-indulgent and another one compelling? How do you tell a personal story as a radio documentary? Year: 2007

Listen in as teen producers from around the country present a survey of their work, with bonus features: the sounds they love to listen to, with commentary on why, and tape that didn't make the final cut in production, with commentary on why not. Year: 2007

Listen in as teen producers from around the country present a survey of their work, with bonus features: the sounds they love to listen to, with commentary on why, and tape that didn't make the final cut in production, with commentary on why not. Year: 2007

A well-crafted scene, heard on the radio, opens a window onto a new world and allows the listener to fly right in. Claire Schoen explores the process of creating scenes -- showing real people living their lives -- for an audio documentary. Year: 2007

Beyond being atmospheric and scene setting, music can play an active role in audio pieces. David Greenberger has worked with a wide range of musicians and composers for his radio monologues, which are adapted from conversations he has with the elderly. Year: 2007

In collaboration with the Association of Independents in Radio (AIR), this session addresses how to successfully pitch radio stories and series ideas to stations, networks, and other acquirers of independent work. Year: 2007

In collaboration with the Association of Independents in Radio (AIR), this session addresses how to successfully pitch radio stories and series ideas to stations, networks, and other acquirers of independent work. Year: 2007

Flying across the last 50 years of international feature production is like looking out of an aircraft at night. Looking down you see the illuminated cities, the many shining villages, but far more than everything else you see the sparkling spots of individual talent. Year: 2007

The established elements of Feature productions have been words, music, actualities, and effects. Year: 2007

Documenting somebody else's life is one of the hardest challenges producers face in their work. Over an extended period of time relationships intensify, stories often change drastically, and the line between personal and too personal blurs easily. Year: 2007

Documenting somebody else's life is one of the hardest challenges producers face in their work. Over an extended period of time relationships intensify, stories often change drastically, and the line between personal and too personal blurs easily. Year: 2007

What inspires those who inspire us? Seasoned producer Jay Allison shares work that inspired him a long time ago and inspires him today, work that contains a healthy measure of invention and play -- key ingredients of creativity, even in a serious world. Year: 2007

For the 2007 ShortDocs Challenge, the Third Coast was inspired by and collaborated with the Dollar Store Show - a regular reading and performance series in Chicago. Year: 2007

Perfect your pitching skills and present your ideas to program producers and editors — or just listen in — as AIR (Association for Independents in Radio) pulls back the curtain to let us in on how stories make it to the airwaves. Year: 2008

Perfect your pitching skills and present your ideas to program producers and editors - or just listen in - as AIR (Association for Independents in Radio) pulls back the curtain to let us in on how stories make it to the airwaves. Year: 2008

From CF and SD memory cards back to 24-track - with stops for MD, DAT, and cassette - Noah Adams rambles through 30 years of radio production, playing the stories that inspired his own work and that of countless others. Year: 2008

Greg Allen, the creator of Too Much Light Makes the Baby Go Blind -- the show which has spawned nearly 10,000 short plays -- conducts a workshop on generating new material, exploring new forms, and beating writer's block. Year: 2008

Some respond to praise, others to badgering, some the frontal assault, others when you sneak up from behind. Brooke Gladstone offers a few interrogation tips (and some audio examples) on how to get your guests to crack and make them like it. Year: 2008

Art forms such as film, literature and even TV, generate rich bodies of critcal writing that push the boundaries of what creators do and why, and gives audiences new ways to appreciate the work. Year: 2008

Fifty years ago, folksingers Ewan MacColl and Peggy Seeger collaborated with BBC Radio producer Charles Parker to create an amazing body of work - the Radio Ballads. Year: 2008

A bad editor is a curse. Having a good editor is a blessing but can often be a luxury. Deborah George explains how to work effectively with the editor you've been dealt and how to be your own editor if you don't have one. Year: 2008

Microphones cannot capture situations as they are percieved. A car crash on tape lacks everything that the experience of an accident amounts to: the surprise, the holding of breath, the shock, the sadness. Year: 2008