Join Nashville-based singer and audio drama creator Newt Schottelkotte in a musical trip to a small town with some big secrets. Where the Stars Fell is a semi-serialized audio fiction supernatural fantasy and part of the Fable and Folly network. In this episode, hear touching stories about how Newt wrote and performed the country-folk song ‘Here With You’ as an outro theme for episode 18 of the series. An immersive listening experience. Headphones recommended. SHOW NOTESWhere The Stars Fell audio drama https://wherethestarsfell.com/Newt Schottelkotte home https://newtschottelkotte.com/Caldera Studios home https://calderastudios.me/MUSIC CREDITSMusic: John Denver - Annie’s SongMusic: Hozier - Wasteland BabyMusic: Tyler Childers - Lady MayThe Mountain Goats - It Froze MeBECOME A PATRONPatrons get bonus episodes, early access, full video interviews with contributors, a listing on the Wall of Fame, immersive podcast editing tutorial video livestreams and resources, access to the show’s hidden back catalog, bonus material for creating your own show and a massive thank you! Become a patron and support the composers of audio drama! https://patreon.com/howimakemusicABOUT THIS SHOWDiscover new fiction podcasts in an immersive, sound-designed listening experience with their music composers. In this show, we challenge audio drama music makers to break apart a song, soundtrack or composition and get into why and how it was made. Immersive listening. Headphones recommended.Follow How I Make Music in your favorite app https://pod.link/howimakemusicShow notes, transcripts and patron credits https://howimakemusic.comHow I Make Music is created by John Bartmann https://johnbartmann.comSupport the show

Join composer and showrunner Mike Atchley in a musical trip into the skies of fantasy tabletop roleplaying game audio drama Dice Tower Theater presents: Dawn of Dragons. Young heroes bound in love and kinship are forced on a quest to discover the truth behind the magic of dragons and seek those that stole it. In this episode, hear how the epic fantasy music of Dice Tower Theater is inspired by re-constructed DnD gameplay recordings. An immersive listening experience. Headphones recommended. SHOW NOTESDice Tower Theater audio series https://dicetowertheatre.com/Good Ham Productions https://www.goodhamproductions.com/MUSIC CREDITSMusic: Glenn Danzig - Retreat And DescentMusic: Jo Blankenburg - Garador’s FlightMusic: Richard Wagner - Ride of the ValkyriesBECOME A PATRONPatrons get bonus episodes, early access, full video interviews with contributors, a listing on the Wall of Fame, immersive podcast editing tutorial video livestreams and resources, access to the show’s hidden back catalog, bonus material for creating your own show and a massive thank you! Become a patron and support the composers of audio drama! https://patreon.com/howimakemusicABOUT THIS SHOWDiscover new fiction podcasts in an immersive, sound-designed listening experience with their music composers. In this show, we challenge audio drama music makers to break apart a song, soundtrack or composition and get into why and how it was made. Immersive listening. Headphones recommended.Follow How I Make Music in your favorite app https://pod.link/howimakemusicShow notes, transcripts and patron credits https://howimakemusic.comHow I Make Music is created by John Bartmann https://johnbartmann.comSupport the show

Join Emmy Award-winning composer Marcus Bagala in a trip to the bottom of the ocean for magical realism audio drama Stone Island by Gimlet Media. Set in present-day Maine, Harry is followed by a journalist who aims to uncover the truth of his harrowing encounter with dark beings from a terrifying storm. In this episode, hear how peaceful ocean field recordings set Marcus off on a journey to write, produce and score a two-part story set in his childhood homeland. An immersive listening experience. Headphones recommended. SHOW NOTESStone Island audio series https://open.spotify.com/episode/3ka100351RGSDxA1LuXejHMarcus Bagala home https://www.marcusbagala.com/Youth In A Roman Field band https://www.youthinaromanfield.com/MUSIC CREDITSMusic: Schooner Fare - Will Ye No Come Back AgainMusic: Townes van Zandt - LungsMusic: Gustavo Santaolalla - The Last of Us soundtrackMusic: Mark Korvin - The Lighthouse soundtrackTRANSCRIPT http://howimakemusic.com/episode/WHY BECOME A PATRON?Patrons get bonus episodes, early access to all future episodes, full video interviews with contributors, a listing on the Wall of Fame, access to the show’s hidden back catalog, bonus material for creating your own show and a massive thank you!Become a patron https://patreon.com/howimakemusicABOUT THIS SHOWDiscover new fiction podcasts in an immersive, sound-designed listening experience with their music composers. In this show, we challenge audio drama music makers to break apart a song, soundtrack or composition and get into why and how it was made. Immersive listening. Headphones recommended.* Follow How I Make Music in your favorite app https://pod.link/howimakemusic* Show notes, transcript and credits https://howimakemusic.com * How I Make Music is created by John Bartmann https://johnbartmann.comSupport the show

Join acclaimed composer Christien Ledroit in a trip into popular dark sci-fi audio drama The Program audio series. In a future time, protagonist Mira is a scientist whose work rattles the establishment. In this episode, hear how Christien combined mid-pandemic choir recordings and an electronic score to tell the story of Mira’s explosive discoveries. An immersive listening experience. Headphones recommended. TRANSCRIPT http://howimakemusic.com/episode/ABOUT THIS SHOWDiscover new fiction podcasts in an immersive, sound-designed listening experience with their music composers. In this show, we challenge audio drama music makers to break apart a song, soundtrack or composition and get into why and how it was made. Immersive listening. Headphones recommended.* Follow How I Make Music in your favorite app https://pod.link/howimakemusic* Show notes, transcript and credits https://howimakemusic.com * How I Make Music is created by John Bartmann https://johnbartmann.comBECOME A PATRONPatrons get bonus episodes, early access to all future episodes, full video interviews with contributors, a listing on the Wall of Fame, immersive podcast editing tutorial video livestreams and resources, access to the show’s hidden back catalog, bonus material for creating your own show and a massive thank you!Become a patron https://patreon.com/howimakemusicSupport the show (https://patreon.com/howimakemusic)SHOW NOTESThe Program audio series home https://programaudioseries.com/Christien Ledroit home https://cledroit.wordpress.com/Support the show

Join Windfall co-creator and composer Adam Raymonda in a fun-filled trip into audio drama sitcom Forgive Me!. A Catholic church called St. Patrick’s is the backdrop for an anthology of stories from a range of colorful parishioner characters, from the zany to the troubled, all rallying around the long-suffering Father Ben. An immersive listening experience. Headphones recommended. SHOW NOTESForgive Me https://roguedialogue.com/fm-aboutAdam Raymonda http://adamraymonda.com/MUSIC CREDITSMusic: Jon Brion - Knock Yourself OutMusic: Blink-182 - All The Small ThingsMusic: Radiohead - CreepTRANSCRIPT http://howimakemusic.com/episode/ABOUT THIS SHOWDiscover new fiction podcasts in an immersive, sound-designed listening experience with their music composers. In this show, we challenge audio drama music makers to break apart a song, soundtrack or composition and get into why and how it was made. Immersive listening. Headphones recommended.* Follow How I Make Music in your favorite app https://pod.link/howimakemusic* Show notes, transcript and credits https://howimakemusic.com * How I Make Music is created by John Bartmann https://johnbartmann.comBECOME A PATRONPatrons get early access to all future episodes, full video interviews with contributors, a listing on the Wall of Fame, immersive podcast editing tutorial video livestreams and resources, access to the show’s hidden back catalog, bonus material for creating your own show and a massive thank you!Become a patron https://patreon.com/howimakemusicSupport the show

Join Australian violinist and composer Irene Zhong in a baroque-meets-hip-hop trip into urban fantasy audio drama The Godshead Incidental. To create the theme tune for the show, Irene was Influenced by experimental hip hop group Clipping, found sound sampling, irregular time signatures and their classical music roots. An immersive listening experience. Headphones recommended. SHOW NOTESThe Godshead Incidental audio drama https://godsheadincidental.com/Irene Zhong https://www.irenezhong.com/MUSIC CREDITSMusic: Clipping - ShooterMusic: Sylvan Esso - Hey MamiMusic: Dessa - Children’s WorkTRANSCRIPT http://howimakemusic.com/episode/ABOUT THIS SHOWDiscover new fiction podcasts in an immersive, sound-designed listening experience with their music composers. In this show, we challenge audio drama music makers to break apart a song, soundtrack or composition and get into why and how it was made. Immersive listening. Headphones recommended.* Follow How I Make Music in your favorite app https://pod.link/howimakemusic* Show notes, transcript and credits https://howimakemusic.com * How I Make Music is created by John Bartmann https://johnbartmann.comBECOME A PATRONPatrons get early access to all future episodes, full video interviews with contributors, a listing on the Wall of Fame, immersive podcast editing tutorial video livestreams and resources, access to the show’s hidden back catalog, bonus material for creating your own show and a massive thank you!Become a patron https://patreon.com/howimakemusicSupport the show

Join classically trained pianist and composer Caleb Ritchie in a lighthearted trip into anthology audio drama Thirteen. Island witches, ocean marimbas and Rachmaninov all formed the basis for the composition ‘Barrier Islands’, a piece for which Ritchie chose instruments based on the sound of water. An immersive listening experience. Headphones recommended. TRANSCRIPT http://howimakemusic.com/episode/SHOW NOTESThirteen audio audio drama https://thirteenpodcast.com/Support Woe.Begone on Patreon https://www.patreon.com/join/thirteenpodCaleb Ritchie music https://www.calebritchie.com/MUSIC CREDITSMusic: Etude Tableaux Op39 No2 in A Minor - Sergei Rachmaninoff (Lugansky)Music: Secret of Mana Opening Theme by Hiroki KikutaMusic: Your Welcome Voice by Dan GibsonABOUT THIS SHOWDiscover new fiction podcasts in an immersive, sound-designed listening experience with their music composers. In this show, we challenge audio drama music makers to break apart a song, soundtrack or composition and get into why and how it was made. Immersive listening. Headphones recommended.* Follow How I Make Music in your favorite app https://pod.link/howimakemusic* Show notes, transcript and credits https://howimakemusic.com * How I Make Music is created by John Bartmann https://johnbartmann.comBECOME A PATRONPatrons get early access to all future episodes, full video interviews with contributors, a listing on the Wall of Fame, immersive podcast editing tutorial video livestreams and resources, access to the show’s hidden back catalog, bonus material for creating your own show and a massive thank you!Become a patron https://patreon.com/howimakemusicSupport the show

Join Woe.Begone creator and composer Dylan Griggs as we explore composition 'Painted Glass' and take a trip into the mind of the sociopathic fictional series character Mike Walters. With influences ranging from The Postal Service and Bon Iver to alternate reality games, 'Painted Glass' is a rich and varied indie love song which musically conveys the inner workings of a troubled mind. An immersive listening experience. Headphones recommended.TRANSCRIPT 00:00 INTRO The piece of music we're listening to in the background is called Painted Glass. It's a narrative intermission song, which I wrote for a time-travel mystery story Woe.Begone today. We'll break it down and get into why and how it was made. You're listening to How I Make Music, where audio drama composers get to tell their own stories. In this show, we break apart the music of a fictional podcast and take a trip into how it was made. My name is Dylan Griggs. I'm a showrunner, actor, writer and musician from Kentucky. And this is How I Make Music. Welcome back to How I Make Music, Painted Glass from the audio drama Woe.Begone by me, Dylan Griggs. Thanks for listening in. 01:40 ABOUTYeah. So my name is Dylan Griggs. I am the, I guess showrunner is the appropriate word because I'm the actor, writer, soundtrack, artist, editor, all of that stuff for a show called Woe.Begone. Woe.Begone is the story of this guy named Mike Walters who discovers a mysterious and violent online game called Woe.Begone. Mike is a danger to himself and others to put it lightly, who is in love with someone and is very concerned about that and what that can mean for their relationship. Horror sci-fi mystery with some comedy, roughly in that order. The show isn't for everyone, there are some violent moments. There are some moments that might cause discomfort in some people. I record the whole soundtrack for that episode, from front to back in response to the things that happened in the episode. I've been doing indie music since I was like 13, 14. I just have this workhorse mentality as far as getting songs done. I really like breaking format. I wrote a whole bunch of electronic music as a teenager. And then I put it away for a long time and became a de facto rock musician. Bere's a rock track from my band Sadloaf. I started playing around with Ableton as a way to write the show. I feel like it sets me apart a little bit to have so much music and so much focus on music. It's a very fast paced...there's a lot of ‘go with your gut’ story writing and songwriting. Honestly, everything is written in a week. It also became a way to trick people into listening to my music because in order to listen to the episode of Woe.Begone, you have to listen to my music.04:27 INFLUENCESThere is an immediate comparison to be drawn between Painted Glass and The District Sleeps Alone Tonight by The Postal Service. They are the same tempo and in the same key. That was totally on accident. I like the sort of organ-y sounds that The Postal Service song has. We're going home at the end of every bar, essentially. Yeah, going home. It's like a full release of tension. It's what you imagine as the last note of a song where everything is completely resolved and there isn't any tension to glean from it. You're completely at rest. There's a pedal tone of like the F the whole time. We're very grounded.When I grew up, I didn't have anything but a computer for the first couple of years that I was making music and I got really into Telephone Tel Aviv, where they're doing these sort of, I guess, simple melodies, but they've got these drums that are sort of IDM. And they're not afraid to be abrasive with the drums. Like the drums are the key instrument in the song. It's almost like a breakcore. And so I love that whole album Fahrenheit Fair Enough.So, yeah, I don't know how to say thSupport the show

Okay. The piece of music we're listening to in the background is called Pandemonium. It's a theme from Among the Stars and Bones, an audio drama about a team of xeno-archaeologists investigating alien ruins on a distant world. Today we'll break it down and get into why and how it was made. I love doing voiceovers. You're listening to How I Make Music, where audio drama composers get to tell their own stories. In this show, we break apart the music of fictional podcasts and take a trip into how it was made. My name is Oliver Morris. I'm a composer from Bedfordshire. And this is How I Make Music. Welcome back to How I Make Music, Pandemonium from this audio drama Among the Stars and Bones by me, Oliver Morris. Thanks for listening in. 1:36 ABOUTAmong the Stars and Bones is a xeno-archaeological horror show. Chris, the writer, he was like you did the theme for Modern Fae and I was like yes I did. I didn't know a lot about it other than the fact that it was a xeno-archaeological horror show, which was just the best combination of words that I had heard in a pitch document ever, because you’ve got xeno for aliens and then archaeology. So I was very excited to make this piece of music that was going to build and grow along with the show. The show itself is about a bunch of xeno-archaeologists who get together to go investigate this ancient dead alien civilization. They find relics from it, and then they start to get convinced that the relics are controlling them in ways and it goes to some wild places for sure. Take us to outer space! Chris Magilton is the writer of Among the Stars and Bones. Oh no, wait, hold on. I've mispronounced that already. Go me. Chris Marlington Chris McClinton. Hold on. I feel really bad. Chris Magilton. Magilton. Magilton. Chris Magilton. Chris Magilton, the writer, and he also plays Ben on the show. I only know him as ‘ungodly hour’ because that's the time that he always contacts me. Sorry Chris.4:13 GETTING STARTEDI own approximately 27 guitars. I play keys. I do at all. My intro into composing properly was for my podcast Kane and Feels, Paranormal Investigators. Kane and Feels, Paranormal Investigators, a horror noir audio fiction show. Which is just very funky from beginning to end. That's how I kind of got my start in composing. I'm a fiend. I just I make music. I can't stop. It's nicotine and music. Those are my two vices. 5:20 HALF LIFE GAME INFLUENCEWhen we started kind of composing, I asked Chris if there's anything he wanted it to sound like and he was like, well I do really like the Half-Life video games. I love the soundtrack of Half-Life, which are these wonderful, industrial synthetic beats. Play scientists with a crowbar, it's one of the more bizarre opening concepts to a thing. You're like hitting undead zombies with a crowbar. Delving into the back catalogue of that was joy. Doing that sort of initial kind of figuring out of what the sort of the timbre of the piece was going to be like. I'm a big fan of an Australian band called Pond, who wrote a song called Giant Tortoise. Huge, soul-evaporating baseline. And I was like, how soul-evaporating a baseline Can I come up with?7:10 MARIMBA BITCRUSHER The piece itself is a waltz. So it’s in 123. So we had these piano lines. One of the piano lines we eventually switched over to a marimba. We used bit crushing on it until it sounded like something that a servo could sing something that a piece of machinery could sing. You can get like orchestras of servos now. Somebody will play Smells Like Teen Spirit on 50 dead hard drives from computers. Were sort of building up the rhythm section, trying to make it sound as digital as possible, trying to make it sound as kind of inorganic as possible. without actually succumbing to a boom clap. This hi hat that's just going to and a couple of little toms sound like they come Support the show

Discover new audio drama by music. How I Make Music is where audio drama composers get to tell their own stories. Visit https://howimakemusic.com and subscribe in your podcast app. TRANSCRIPTThe piece of music we're listening to in the background is called The Trial. It's featured in the soundtrack from the fiction podcast Marsfall. Today we'll break it down and get into why and how it was made. You're listening to How I Make Music, where audio drama composers get to tell their own stories. In this show, we break apart the music of a fictional podcast and take a trip into how it was made. My name is Sam Boase-Miller. I'm a composer, producer and voice actor from the US and this is How I Make Music. Welcome back to How I Make Music, The Trial by me Sam Boase-Miller. Thanks for listening in.1:06 ABOUTMarsfall is a sci-fi/fantasy story about the first colonists to settle on Mars. We follow them starting in the year 2047. So maybe 2047 is actually the year that we’ll get people on Mars. Mini helicopter that's flying around from the Perseverance lander. And yeah, it's pretty incredible the strides that we're making. Life imitating art!The scene takes place in the trial for ANDI, our colony AI. It's his trial for closing the door on a particular colonist who was about to create havoc for the rest of the colony. That philosophical debate, the trolley debate: should you pull the lever and try to avoid most people knowing that you'll kill one person? Or should you just let the trolley kill all five people to save the one. So this was the trial that we're all of our main characters kind of come together for the first time. And in this scene, we hear interjections from several of our characters.2:52 CELLOI started playing cello in school. Sort of like a string music petting zoo. My good friend at the time was playing viola. And so I thought, I really want to play viola. So I expressed this to the director of the orchestra and she was like, “no, you don't want to play viola. Your hands are big. You should play the cello.” So I was already at nine years old being told what to do! Like what musical instrument I should be taking up. It's actually the closest instrument (other than the trombone) to the range of the human voice. Both really, really low and it also gets into that high coloratura kind of soprano end of things4:38 P-FUNK & INFLUENCESI'm a big George Clinton fan. And part of what I love about Parliament Funkadelic is that they’re very imaginative harmonically and melodically and rhythmically. Yeah, I just I love that era. funk music from the 70s. Right around, you know, ‘75, ‘76. The orb is an electronic music group, I really got into their ethereal and ambient music where you're just like taking on a whole journey. The place where you end up is certainly very different from where you started.6:03 ERIC SARASMy co creator and music editor, he's director extraordinaire, Eric Saras. He's also one of our writers of the show, he and I first connected through music, we both went on an orchestra tour to China together. And as you can imagine traveling to another country and touring and performing music brings people close together pretty quickly. And so I met him and we realized that we were very similar in our outlook on music, and that just got a lot of things kind of kicked off creatively. We wanted music to be featured really heavily. He kind of realized that there was more or less these like kind of pillars or buckets that the majority of our music was falling into. And we called them a numbering system essentially like one through six being silence to total music taking over and being the focal point of the scene. So going through that and knowing that ahead of time helps me really plan. Okay, my workload, is this seen a one or is it a six? Or Support the show