(MM2) Production Notes

Wow. A truck of personal chaos crashed into my life over the last 24 hours. Sorry this episode is a few hours late! That probably won’t happen again.

I must mention that Bram Bakker began a Metropolitan Man podcast of his own a couple months ago, which I was unaware of. :( I feel terrible, I didn’t mean to step on his project. I wish him the best, please take a moment to check it out if you’re interested in another take on this story. He is very graciously providing the voice of Perry White for my version, thank you Bram!

SFX: Door Open/Close, 1940’s Office, extra typewriter, typewriter bell, wind, beach, short whoosh, longer whoosh, elevator, Rooftop 1, Rooftop 2Rooftop 3, footsteps

Intro/Outro – Handlebars, by Flobots
Luthor Manor – Boccherini’s Minuetto, Mozart’s Eine Kliene Nachtmusik

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  1. I really like how NSPB is working with you. I throughout enjoined his voice work in the Worm audiobook.

    Quick suggestion, so take it or leave it, but I think you might be overdoing it with the background music in the Lex Luther scenes. It might be better to start his scenes with the violin music and slowly fade it over the course of a minute or so.

    Also, I just got through binge listening to all of your Bayesian Conspiracy podcast and quite enjoyed it.

    • Thank you! :)

      >I think you might be overdoing it with the background music in the Lex Luther scenes.

      This is possible. I will ask for further opinions.

      Also, anyone else who may be reading this – opinions on Lex music?

      • I did feel like the Lex music got a bit repetitive over time, but it definitely helped with differentiating the flashback parts from the other. It’s almost the audio equivalent of an establishing shot. But I could definitely see it fading out quickly as the conversation progresses (and be replaced by a different establishing backing to show transition back into the flashback).

        One other minor nitpick: The rooftop1 sound has a siren in the background, and since I primarily listen while driving, I *hate* when audio I’m listening to has that. I don’t know if it bothers anyone else, and don’t change just for me, but…

        • Oh man, I also really hate sirens in audio, for the same reason. I can’t believe I did that to my listeners! I’ve altered the episode to remove the siren, sorry about that.

      • Listening to it now, and I think I’ll agree that it’s overdone a bit. Using it with every Lex scene (or maybe just the scenes within his home) can get a bit repetitive. Getting a bigger variety of violin music of somewhat similar style to go with those scenes would probably help that a bit.

  2. Oh boy, now I get to mentally divorce the sunny and naive little girl, Hermione Granger, from the fiercely professional and cynical Lois Lane. This might be a bit more difficult, given the /much/ greater disparity between them than the difference between Lex and Quirrell. I’m not sure how much of an issue I would have if I hadn’t listened to MoR, but I suspect the voice would still be a little dissonant with the character. That said, I’ve overestimated that before.

    Still good stuff, though.

    • You know, I *really* worried about that. There’s this conflict between not mentally-whiplashing your audience, and not type-casting the people you work with. Both seems unfair. I finally went with the “no type-casting” thing, hoping that a pause of 10+ months between the end of MoR and Louis Lane’s arrival would help. At this point it’s too late to go back. I hope it’ll be a short transition!

      • I realized Lois Lane was Hermione after second listening of chapter 2, after listened HPMOR 3 times so transition is working or my ears don’t work properly.
        I want to point out I have HPMOR and MM chapters in my phone for listening and MM has general lower volume than HPMOR and it is a little difficult for listening specially in bus (or I just must go to see an otolaryngologist). Great work!

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