ej400 wrote: ↑June 27th, 2019, 5:48 am
I was really thinking I'd get some PL OK's, but then thought I probably wouldn't. Some of these were just tongue twisters, as it's already a little hard reading the writing of the past. Additionally, this play is so darn confusing!
<laughing>
I know, it's not the easiest play and the English is quite antiquated. (but hey,
you chose this huge role
)
The background noise was because I was reading from papers, that way I can find my lines easier off gutenberg, and have an hour of silence looking for my next line. I know, I know, it's an extra step.
I don't mind the print-out (although for such huge parts, it's a waste of paper
) but it would be good if you could be careful not to turn pages while you record your lines. As you say yourself, if you wish you can take an hour to record, so a few extra seconds of silence while you rustle with the paper can easily be cut out. But not if the rustling appears in the spoken text.
I'm going to try and redo the PL notes using my mp3, this way it doesn't sound like Everyman where Sogliardo has a serious voice problem
<laughing>
it's always best to re-record one entire sentence, or part of a sentence, that way you can easier adjust the volume and sound. Always listen to what you recorded before and try to train your voice to say it the exact same way (without the error of course
)
Ok and I finally also finished the final act...and there are many notes here as well, sorry about that. Your editing phase should have caught many of these already, so I was wondering. Do you listen in a noisy room, maybe on the loudspeakers ? I listen on earphones, and maybe it would be a good advice to edit with earphones as well, you may catch the noise better there.
So final notes. Here it would really be advisable to start from the end, so the time-stamps stay the same, otherwise you will not find anything back again. Also it would be helpful if you could give me the new time-stamps, to make the Spot PL easier. In such a big section, I am grateful for all the help I can get.
Act 5:
> change
sample rate to 44,100
>
at 0:01: “nay but intend me” –
thump in the final part
>
at 0:37: “I confess you to be of an apted and doc
ible humour“ – you say “doc
tible”
>
at 0:49: “in
trinsecate” – you say “in
tristicrate”
>
at 3:51: “It is a strange outre
cuidance” – you say something like “outre
anduance” – I was wondering whether you are reading from the Gutenberg source. The “cu” could well become an “an” in an OCR typo. Maybe that explain such similar errors here
>
at 4:43: “and withal stepping off, fall on his bosom” –
rustling again
>
at 5:42: “
Enter none but the ladies and their hang-byes.” – you say “
either”
>
at about 5:47: missed line: “
Welcome beauties, and your kind shadows.”
>
at 6:53: “they are here properly accommodate to the nuptials of my scholar's
'haviour to the lady Courtship” – here’s a textual misunderstanding. You say “having” but this is actually the abbreviation of “be
haviour”, so you say it like “behaviour” without the “be”. It means the “scholar’s behaviour”, so
no pause between these two words would make the meaning clearer
>
at 7:03: “Madame
Phantaste” – you say “
Fast Taste”
, now this really made me smirk. A case of Freudian slip ?
>
from 7:30-8:17: from “so keep up your ruff” till “Ulysses-Polytropus” all this
can be cut out, as you are repeating it all once again after this. BTW the second version is really much more fluent, and the extremely difficult names came out excellently. Kudos for that performance. I liked it very much
>
at 9:17: “
viz. the bare accost;” – also here, please retain “
viz” instead of “or in other words”
>
at 9:36: “by the help of his
mercer, tailor, milliner,
sempster, and so forth” – “mincer” instead of “mercer” and “sepcer” instead of “sempster”
>
at 9:57: “
viz. For the Bare Accost” – also here, say “
viz” please
>
at 10:21: “ap
pearath no man yet” – you say “ap
parent”
>
at 15:04: “I
do accept him” – you say “do
not”, which is the opposite
>
at 15:13-15:18: between “prepare yourself sir” and “challenge me”, you can
cut out the long break, it’s all in an uninterrupted speech block
>
at 16:01: “I would not wish you a weaker.—Sound, musics.” – two
clicks could be cut out
>
at 16:14: “The second bout, to conclude this weapon.” – same
clicks here, maybe a loose cable ?
>
at 16:23: “Judges, award the prize.” – again
clicks
>
at 17:07: “shall never pass their deities un
adored” – you say “un
ardored” if I’m not mistaken, maybe you could check this
>
at 17:28-18:01: optional ! “"Signora, ho tanto obligo per le favore resciuto da lei; che veramente desidero con tutto il core, a remunerarla in parte: e sicurative, signora mea cara, che io sera sempre pronto a servirla, e honorarla. Bascio le mane de vo' signoria." – you mixed some Spanish rules in here (this is Italian). Do you want me to do you a soundfile to correct some spots or do you want to keep it that way ? I know Todd won’t care so much for accuracy in foreign languages, especially because maybe Amorphus is not so fluent in them either LOL I just wanted to give you the option whether you wanted it correct or not. Your choice here. In most of the words you were quite near accuracy, it’s only a few that are wrong
>
at about 18:04: two missed quotes: “
You become the simper well, lady.” and “
Now, to our "Solemn Address. Please the well-graced Philautia to relieve the lady sentinel; she hath stood long.”
>
at 19:54:
stumble: “
Stay, what are the ingredients to your fucus?”
>
at 20:05: “lay it on” -
loud clap here, which nearly gave me a heart-attack
>
at 21:20: “in all civil and hum
ane courtesy.” – paper
rustling at the end, also you say “hu
man” instead of “humane”, which is a difference in meaning
>
at 23:57 and
at 24:06:
repeat of: “Forgive it now: it was the solecism of my stars.” – you can
cut out one of the versions and leave the one you like best
>
at 26:05: “From 'squ
iring to tilt yards” – you say “squ
irting”
>
at 26:18: “From be
lying ladies' favours” – you say “
bellying”, but it’s be-
lying (=contradicting)
And that concludes the PL notes...now I definitely need some food.
Sonia
excellent job on Moria. She seems to have everything tight in hands in these scenes. 
<sadface> I almost want to try again because it would almost take longer to correct these, than to just redo the whole thing. I don't even think I checked these over, if I did edit them. But you'd prefer I just redo the certain lines. I'm confused as to why there's so many notes, that's all.