COMPLETE [DR SF] Danger in Deep Space by C. Rockwell -lz

[Stuart]

Danger in Deep Space, by Carey Rockwell

All audio files can be found on our catalog page: https://librivox.org/danger-in-deep-space-dramatic-reading-by-carey-rockwell/

The year is 2353. Tom Corbett is a cadet with the Space Academy, training to become a member of the elite Solar Guard. Sent on a top-secret mission across the stars, Tom and his fellow crew members discover the nature of true loyalty, as they battle against danger in deep space.
(Summary by Stuart Bell.)

1. Is there a deadline?
   Target completion date of this project: September 2010 – but try to send your recordings as soon as you can. If you cannot do your section, for whatever reason, just let me know and it’ll go back to the pool. There’s no shame in this; we’re all volunteers and things happen.
2. How to claim a part, and 'how it all works' here
   To find a role to record, simply look at point 5. below at the sections. All the ones without names beside them are “up for grabs.” Read the guidance notes in the following few posts, and then click "Post reply" at the top left of the screen and tell us which role you’d like to read. Read points 6. to 8. below for what to do before, during and after your recording.
3. New to recording?
   Please read our Newbie Guide to Recording!
4. Where do I find the text? The original text comes from Project Gutenberg, but please instead use the custom scripts linked beside each role, below.
5. Please claim roles (the numbers in the first column below)! Please note: All Librivox recordings are in the public domain. When you submit your recording, you will be placing your recording in the public domain as well.
   If this is your first recording, please let me know under which name or pseudonym you'd like to appear in the LibriVox catalogue. We can also link to a personal website/blog.
   

   Magic Window:

   
   
   BC Admin
   
6. BEFORE recording: Please check the Recording Notes: http://librivox.org/forum/viewtopic.php?p=6427#6430
   Set your recording software to:
   Channels: 1 (Mono)
   Bit Rate: 128 kbps
   Sample Rate: 44.1 kHz
7. Please read all the text printed in the dark red font, in the relevant script.
   Please remember to check this thread frequently for updates!
8. AFTER recording:
   Save files as 128 kbps MP3 dangerindeepspace_[role]_[#].mp3 (all lower-case), where # is the chapter number.
   For example, if recording audio of Chapter 3 for the part of Astro, you might call your file dangerindeepspace_astro_3.mp3. Feel free to include more than one chapter, as long as it's clear from the filename what's included.
   ID3 V2 tags: Not needed for individual parts.
   Transfer of files (completed recordings)
   Please always post in this forum thread when you've sent a file. Also, post the length of the recording (file duration: mm:ss) together with the link.
   • Upload your file with the LibriVox Uploader (when your upload is complete, you will receive a link - please post it in this thread): http://librivox.org/login/uploader
     
     (If you have trouble reading the image above, please message an admin)
     You'll need to select the MC, which for this project is: lz - lezer
   • If this doesn't work, or you have questions, please check our How To Send Your Recording wiki page.

Any questions? Please post below or PM me.

[Stuart]

Hard to choose which character to record, isn't it? Here's a handy guide to each role, in descending order of commitment.

In addition, although many of the characters are men or boys, I know that there are some great character actors on Librivox: male or female voices are equally suitable in many cases, as long as the parts are read appropriately for the role! Also, feel free to pick both a large and a small role, as long as the two voices don't appear together in any scene.

The three lead parts
I would recommend that these be recorded by experienced Librivoxers, as each has so much text to read, and it's especially critical that the sound quality is top-notch as a consequence.

• * The Narrator
  Lots of text for this part, creating a context, and defining the mood and pace of each scene.
  * Major Connel
  The major is a very tough, army-like figure, who exercises strong discipline over his crew. He barks orders and almost always shouts, but he cares greatly about the safety and welfare of his crew. Not a role to pick if you've got a quiet voice -- Major Connel is loud!
  * Tom Corbett
  Tom is a young space cadet, with a bright future as a commander in the Solar Guard. His role is on the command deck of the spacecraft Polaris, in charge of the ship's guidance and communications.

The four supporting roles
These roles also have a large amount of dialogue, so it's also important to be certain that you can record good quality audio for these.

• * Roger Manning
  The young cadet in charge of the spacecraft's radar, with a casual drawl, Roger is a little bit hot-headed, sometimes getting into trouble by not thinking through the consequences of his actions. He is unaware of his own intelligence, and saves the day on more than one occasion.
  * Bill Loring
  Bill is a heavy-set spaceman in his mid-forties who has been suspended for bad behaviour. He is a bully, and is quite happy to kill in order to achieve his aims.
  * Mr Shinny
  An old, once disgraced, spaceman. At first we think he's in league with Bill Loring and Al Mason, but eventually we discover that he's very much his own man, and has a great deal of respect for the Solar Guard.
  * Astro
  The young cadet in charge of the spacecraft's power deck (its engine room). Astro is the equivalent of 'Scotty' in Star Trek, except much larger in size and louder in volume. He comes from Venus, is very dependable, is bubbling with enthusiasm and has a fiercely competitive rivalry with Roger Manning.

The other parts
These parts are all also extremely important to the story, but have less complicated scripts and are less time-consuming to record.

• * Al Mason
  Al is Bill Loring's accomplice in crime. He is small and nervous, and has a tendency to whine. He does everything that he is told to do by Bill, and respects and is scared of his violent nature.
  * Captain Strong
  The space cadets' training supervisor, the Captain is a kindly father figure, who is very relaxed and gets on well with his trainees.
  * Alfie Higgins
  Alfie is a very serious space cadet, extremely academic, quite geeky, and very hard-working. He is rarely phased by Major Connel's tough demeanour, and is considered by everyone to be a genius.
  * Terry Scott
  An officer in his late 20s, who shows the cadets around a space station. Friendly, and very proud of the space station, he initially strikes the cadets as a little dull for not travelling the galaxies.
  * Captain Stefens
  In charge of traffic control at the space station, Captain Stefens has a no-nonsense attitude, but is swiftly impressed by Tom Corbett's ability to learn. He is a military officer with a clear and efficient delivery of orders.
  * Commander Walters
  The chief of the Space Academy -- scrupulously fair, and considered to be one of the greatest spacemen of all time. This part involves reading a letter from the Commander, informing Captain Strong of the cadets' mission, and so sets the scene for the entire book.
  * Captain Jenledge
  Responsible for the engine room in the space station, and in fact the designer of the entire station.
  * James Jardine
  The captain of a spacecraft hijacked by Bill Loring and Al Mason. Jardine has a few lines before being shot and then blown up...
  * Enlisted Guard
  Working as Captain Strong's assistant on Earth, the Guard features in one scene only.
  * Leland Bangs
  The co-pilot of James Jardine, Bangs also doesn't last long...
  * First Skipper
  This is a voice that comes back to Connel in a reminiscence -- the wise voice of the first captain under whom he served.
  * Spaceport Control
  A very small part, involving communication with the Polaris spacecraft as it takes off for its mission in deep space.
  * Central Communicator
  The tannoy for the space station.
  * Restaurant Voice
  An automated system that asks how the cadets would like their food cooked.
  * Jet Liner San Francisco
  The jet liner's pilot has a single line, requesting clearance for the craft from traffic control.

[Stuart]

First, if you've already signed up to be a part of this project -- thank you! It should be fun If you haven't yet signed up, why not?! Quick, quick -- post a reply in this thread now to reserve the role that you fancy!

That said, this is an unusual project, with lots of different voices, and so it might be helpful to read these guidance notes. I know that many people here have lots of experience with such things, but hopefully a few reminders will be helpful in any case!

• * Please, please read as much of the context as possible, to work out how the dialogue should be read. The Narrator's script contains the entire book -- but even in individual scripts I've kept the words between your own lines greyed out in each chapter. Often, you'll be able to pick up the characters' general moods from the surrounding description -- but also the narrator's words will often provide clues of how your character is speaking.
  If the narrator says, "he yelled" just after your line, then lean back and holler! If the narrator says, "He spoke in little more than a whisper", then get close up to the microphone and keep your voice hushed and quiet. Similarly, sometimes you'll find that a character is sad, elated, excited, surprised or angry -- again, read around the context, and try to imagine yourself in that situation before speaking.
  * Make sure you keep at least 1-2 seconds of quiet before and after each phrase. In practice, I'll be superimposing your lines on top of those of other people, so it's important to have that background noise before and after each little bit of dialogue. I always find that it's really helpful to imagine, in your mind, the other characters reading the lines before and after yours -- that way it's easier to sound like you're replying to someone, or interrupting them, or being stopped in mid flow.
  * Try to pick a location that is quiet and echo-free, and keep reasonably close to the microphone, without the sound distorting. When reading a chapter on your own on Librivox, it often doesn't matter too much if you've got a bit of echo in the room, or noise outside. In this recording though, it could sound really odd if one person is in a room that sounds so completely different to that of someone else.
  * Do please keep in touch -- it might be that I need to ask for small little re-records later on, when I know how your lines are fitting together with those of someone else. It's really important that I can get in touch with you in a few months from now.
  * It's much better to drip-feed chapters, as and when you have time, rather than to upload everything at once.
  * If you're unsure how to read a particular line, either post in the forum, or just record that line in a couple of different ways. You can even tell me of your uncertainty in the recording! Personally, I find it helpful to re-record the very beginning of a script after I've recorded lots of audio, because it takes me a while to warm up into a part.
  * Sometimes you'll find that you're saying the same phrase more than once. Don't be tempted just to leave me with one version -- if someone says, "Yes sir!" several times, read it each time it appears -- the context will be different in each case, and it will sound more natural if you sound slightly different every time.
  * Finally, the book is amusingly over-the-top and cheesy -- anyone who really likes hamming up their parts should feel free to give full vent to that acting in this recording! It should be good fun to do

[Stuart]

Lezer has already kindly agreed to MC this project, and we've talked a little about this project in advance. It's actually a book, but it lends itself quite well to being read as a collaborative play, with different people reading the voice of each character -- I think it should be fun!

A little note on copyright: the novel was published under a pseudonym in 1953, but is widely considered to be in the public domain. Project Gutenberg include the text, because the copyright in the USA did not appear to be renewed, and thus the rule of the shorter term applies in most countries. Thanks to everyone who gave me advice on this, by private message!).

[lezer]

Hello Stuart,

Here I am - project is in the database, and the MW is ready for you to fill in the details. This looks like a really fun project!

By the way - are you planning to do the editing yourself, or are you looking for an editor? And about prooflistening: are you looking for a PL-er to listen through the individual recordings before they are edited together?

Anna

[Stuart]

Fantastic -- thank you, Anna! MW now set up

I'll do the editing myself; and at this stage I think I'm going to hold back on separate PL-ing, as I'll need to listen carefully to each recording before any editing work in any case. If I find that there are particular difficulties where a PLer could really help though, I'll post about that separately, I think -- though of course, any feedback that anyone has as the project progresses would be very helpful!

[dii]

Woaah, science fiction! Though I've never taken part in drama recording, I'd love to begin and this novel sounds awesome [although it's full of men roles, hard to find one which suits me ]. I'd "play" Al Mason if it's OK

Dii

[Stuart]

Sounds a fantastic idea, Dii -- Al's part is rather funny, too, so I think you'll enjoy it!

Woo, that means three roles assigned only minutes after posting in the launch pad :-p Thanks Dii!

[OnaLaptop]

I'm a total newbie, but I'm up to the task! Sounds like fun.
I'd like to read the part of First Skipper (18) - all 28 words.
Thanks for the project!

[chocoholic]

May I please be Spaceport Control?

[Stuart]

Hi OnaLaptop -- welcome to Librivox! Hope you have fun here -- I suspect you will You are most welcome to be the 'First Skipper' -- an excellent 28 words to ease yourself into the site! Feel free to drop me a line if you need any help getting everything sorted the first time around.

Oh, and as it's your first project, what name would you like me to use for you in the catalog? Many people use their real names, or at least their first name, in there -- but that's by no means compulsory! Some people like a link back to a personal website in the catalog too -- just let me know what you'd prefer. As an example, here's my own entry in the catalog:
http://librivox.org/newcatalog/people_public.php?peopleid=1870

And hi, Laurie Anne -- thanks muchly for coming on board as well! Spaceport Control is now yours -- any dreams of being an air traffic controller (or in this case a space traffic controller) can now be lived out in the world of audio

Thanks folks!

[OnaLaptop]

Re: First Skipper Part (18)
From: OnaLaptop

Name: Jody Bly
Site: http://www.OnaLaptop.com

Thanks again, Jody

Hi OnaLaptop -- welcome to Librivox! ...
Oh, and as it's your first project, what name would you like me to use for you in the catalog? (snip)
Some people like a link back to a personal website in the catalog too... (snip)

[Wronskian]

Hello everyone!

Having discussed the role with Stuart, I am putting my name down to be the narrator. (I am the 'provisional assignee' mentioned in the magic window!) I look forward to hearing how the other roles fill out!

And 'wronksian' is just my friendly convenient username - please put my contribution down under my real name, Sam Holloway.

[Stuart]

Thanks, Jody: magic window updated, and you're now added to the catalogue.

Thanks also to Sam: he and I have worked on other audio projects outside of Librivox before now, so I'm pleased that he's been lured over to Librivox, too (everyone is in the end, y'know) I've assumed that you will want your last.dj web address in the catalogue, Sam!

[jdault]

OK, having been approached by Stuart, I'd like to throw my hat in the ring for Tom Corbett...

You can check out my previous stuff by going through my website at www.davidault.co.uk

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