Episode 9 The Doctor and the War on C.A.C. XI – Written by Adam Brooks.
Originally to be set in feudal times as The Doctor searches for the ‘cursed’ golden flower in Japan but now offworld in the distant future as humans conquer interstellar travel post “Thornhill capacitor” mentioned in Episode 8. Some time and several unscripted adventures have elapsed since then. Soundscape features a field recording of the outback, and the help of Jaspreet Singh who is studying sound design in the UK and has permission to access to THE ENTIRE BBC SOUND LIBRARY
Carolyn Rutter, Jaspreet Singh, Trevor Sneath
Narrator – Dian Smith, Terry – Michael Rutter, Butler Bot – Adam Brooks, Doctor -Rowena Dinsmore, Clone Soldiers – Carlos Anon, Geldon -Trevor Sneath
Introducing one of the City Park Radio volunteers Dian Smith as the narrator. Adam had started voicing the part himself but we managed to stick with the idea that it is the Doctor herself from the future telling us her story after casting Dian. Dian’s been just the best at getting the big workload involved with this done since she can do her own recording at the studio. I definitely don’t think we could have made it without her!
178673__vedas__fight-fighting-men https://www.freesound.org/people/Setuniman/sounds/135774/ splash https://www.freesound.org/people/LiamG_SFX/sounds/334258/ droid
82883__noisecollector__tumbling-baby-wave-a440 extended version – our Dimensional Crack (repeated and the central slips stretched) – this was sooo cool! It’s made from the images of babies ultrasounds with Coagula image synth.
Note: our sfx library is cumulative – hear a sound not listed? Its likely clipped from a previous episode – just scroll back through the episodes.
Royce has given us quite a dark little contemplative 2 parter and some new pictures 🙂
I’ve wrapped it in two soundscapes – one’s epic violins and soaring vocals Alex Doan’s ‘ Beyond the Horizon’ a heavier version of his ‘Between Mirrors’ . The other version has Kevin Macleod’s “Summer Rain”, which someone described as suitable for a samurai’s deathbed reflections. Here’s the first:
and the second
The male muse – is he really just there for our female Doctor’s amusement? The brief for this episode was Terry get taken as a slave.
Poor Terry functions as the script writer’s male muse – what situation can he man-ouvre into that is a galactic mile away from his nuveau-hipster urban comfort zone. If you have watched Breaking Bad think Jessie Pinkman. Kudos to Michael for the taking the punches and the falls as well as delivering a very natural performance.
Narrator – Dian Smith
Doctor: – Moira Seward
Terry: her companion a 20 something male earthling – Michael Rutter
Butler-Bot:service droid attached to the luxury suite of the QUESTR – Adam Brooks
ALIEN POLICE 1 (Douglas Barbieri) and ALIEN POLICE 2 – part of the West King of Sandal’s armed forces (Damien Crompton)
ALIEN VILLAIN – named Veedoo who is buying slave workers (Richard Butler)
SLAVER – named Mindoo (Royce Gale/Pentaghast)
MARKET SELLER – who has the stolen Questr (Adam Brooks)
market walla – Carlos Anon
The credit roll now also includes 3 robots from http://www.fromtexttospeech.com as the alien police Harry, Daisy and Emma, and i’m really rather in love with Harry ( English male voices – don’t ask. )
scene: interior – the doctor’s mind In which we travel to Gallifrey past via cranial link array and once again meet the soothing sounds of City Park Radio presenter Bill Carney, the doc’s grandfather, and John Brooks reprising his role as the teacher. Don’t forget to put on your own cranial link ( headphones). I’ve staged the actors in stereo around the soundscape.
Narrator – Dian Smith, Doctor Two – Moira Seward, Terry – Michael Rutter, Child Doctor – Rowena Dinsmore, Bully Boy – Damien Crompton, Bully girl – Amber Rack, Best Friend – Adam Brooks, Mysterious Old Man – Andrew Cruikshank, President – Bill Carney, Teacher – John Brooks and featuring as the Giant Rat-El snake monster – Pebbles the German Shepherd
In addition to voicing the egg eating monster, Pebbles the pup – looking quite the part here, contributed this photo which was synthed using Coagula software into the Questr distressed noises for the final scene. Rather appropriate for an episode that riffs on Scooby doo. Urban Dictionary notes Robin from the Batman tv serial of the 1960’s was the first popular use of the exclamation ZOINKS!
Note: our sfx library is cumulative – hear a sound not listed? Its likely clipped from a previous episode – just scroll back through the episodes.
Try headphones – I’ve been mucking about with the stereo thing again. For this episode we return to Gallifrey right back to where it all began. I finally found a track for the Dr Two theme reminiscent of Murray Gold once again – amazing! BIG HUGE THANK YOU to Alex Doan for allowing non-profits to use for FREE*. ( definitely please buy some of their stuff if you like our work and want to support us by supporting them – I do )
we can’t use clowns
In the lead up to designing the soundscape for this I was listening to a tutorial episode of the radio drama podcast, which was aimed more at the script level, saying how creepy kids are – and we have four of them in this episode yay. They also mention for extra creepiness use a dead kid! but its G rated so I decided to go for a Scooby Doo sort of feeling by mixing in cartoon style sounds to break up the epic music and dark drones. Particularly useful is the reprise of the Bensound track which Trevor used in episode one for the two young timelords **
Narrator – Dian Smith, Doctor Two – Moira Seward, Terry – Michael Rutter, Child Doctor – Rowena Dinsmore, Bully Boy – Damien Crompton, Bully girl – Amber Rack, Best Friend – Adam Brooks, Mysterious Old Man – Andrew Cruikshank
Note: our sfx library is cumulative – hear a sound not listed? Its likely clipped from a previous episode – just scroll back through the episodes.
Theme intro music courtesy Benjamin Rossiter
dr who music box by kind permission of Tony Diana (so perfect, music boxes are kinda creepy 🙂
*Between Mirrors by Alex Doan courtesy of Alex Doan. It’s not a long track but I had something on my shortlist by Alex Mason*** which extends the feeling. Not being a musician I have no idea why it seems to fit – tempo? key? strings? all of the above?
This episode should be listened to with headphones as I’m experimenting with a binaural effect for the explosions achieved by splitting the stereo track and shifting one channel of a stereo track ever so slightly off and sometimes duplicating the track in the center as well.
Carolyn Rutter, Trevor Sneath
Narrator – Dian Smith, Geldon -Trevor Sneath , the Doctor – Rowena Dinsmore, Terry – Michael Rutter, Zevon – Adam Brooks, Kazuya – Royce Gale, Clone Soldiers – Carlos Anon, Manipulator – Adam Brooks, Terri – Carolyn Rutter, the male Doctor – Jaspreet Singh, Butler Bot – Adam Brooks, and introducing Doctor Two – Moira Seward
Note: our sfx library is cumulative – hear a sound not listed? Its likely clipped from previous episodes
The dynamic duo just got multiplied times two in this mirror effect story arc. The Doctor and Terry attempt to help Geldon prevent the ultimate catastrophe in the senseless war on CAC XI – will humans just never learn?
It’s all about gender in season two – we have a large cast now so although we still have mostly male villains we can pitch a few more female voices in alongside the Doctor and the Narrator but still have a nice balance. Here’s a male Dr and his Terri from a gender opposite whoniverse.
Amber has been acting since she was first cast as Flopsy in her kindergarten class production of ‘Peter Rabbit.’ She has many years of experience performing in stage (particularly musical theater) and film work, and has recently expanded her repertoire to include voice acting. She has worked since 2014 with the Doctor Who Audio Dramas since 1982.
On the Doctor’s Audio Adventures Amber plays the IS-Bot Izzy and a Gallifreyan child in Season 2.
A self proclaimed cat lady without any cats, Marie has been a geek since her parents purchased her a NES for Christmas in 1989. Marie has used her voice throughout her entire career in marketing from interviewing to giving presentations, and more recently turned to community broadcasting, reading news for 2ser‘s breakfast and morning programs in Sydney.
Originally from the UK, Marie enjoys wearing Vivienne Westwood and Lazy Oaf as well as watching Red Dwarf… and after being in Australia for two decades, has no plans to go home.
Call me slow but I’ve only just realised how much like a Disney Princess our doc is after re-editing episode 4 while listening to Emma Watson singing Belle’s song – you know they are both intelligent young ladies who are wanting so much more than their well meaning elders have planned. Which means the Timelady 2 really needs a nice BIG SONG!
Rowena Dinsmore has been the lovely voice of the Doctor for season one and continues until the climactic tenth episode in which Terry will meet Doctor Two played by the equally lovely Moira Seward.
Happily, being timetravellers, we get to hear Rowena as the child doctor for two further episodes.
Sooo about a timelady anthem – My pen has digitally dripped few teen angst style lyrics – nothing up to the mark of Halia Meguid who wrote/sang her way into Murray Gold’s soundscapes, but I am going to reach out to the Whoniverse and see what comes – perhaps someone will be inspired to theme the lady? Artwork for season two might require another request. She has a party outfit hinted at in episode 15.
and so she ran
eyes dark with tears
to find her friend
across the years
will you know me if faces change? say you you know me though times are strange
Although of course down under its different; Adam asked for ‘gritty’ and battle weary in Ep15/16 – so basically in australia we like you to lacerate your vocal cords first to achieve the required tone 🙂
Audible Approved Producer Caitlin Kelly recently appeared in an episode of ACX University and talked about the importance of vocal health. Her secret? A special tea that soothes her vocal chords. We invited Caitlin to share it with you today.
I have one “go-to” for when my voice is fatigued. It could be from a particularly rigorous recording session or from a night out with friends and a few cocktails. So, when I have vocal swelling from overuse or dehydration, I turn to a hot cup of apple cider vinegar and honey. This elixir was introduced to me in college by my vocal performance teacher, Alix Korey – a broadway diva who drinks coffee and smokes cigarettes all day – and it has been part of my vocal care regimen ever since. I think of it as hot bath and a warm hug for my throat. Here’s how I make…
oh golly miss molly who knew there were sooo many sci-fi podcasts? I’ve decided to trawl about and add links for all of these as time permits ( ie: no more until I finish ep10 ) since the award givers themselves have neglected to do it on their website ( i’ve been under a rock obviously with no idea either that people gave out awards for audio drama – so yes we’ll be putting our hand up for one of them thanks!) They were sometimes hard to track and warning – some contain very adult content and this is a work in progress not all links have been added yet
As with any teenager making that break from home things were quite emotional this episode. As she leaves Gallifrey for perhaps the last time I used what is a rather epic piece Land of the Wizard by Per Kiilstofte of Machinimasound.com licensed under creative commons license 4.0 In discussions with the script writers last year we decided on something reminiscent of the sweeping violins and drums of This is Gallifrey by Murray Gold as a theme for our doctor and i hope that piece fits the bill – you will hear it again in episdodes 7/8 as Terry’s hero theme too since he makes that transition as well from his comfy ‘home with mum’ life to saving a planet.
I’ve organised most of the music we use in a soundcloud playlist. – you can hear snatches of Tempting Secrets by Kevin Macleod in the matrix, Music for Manatees by Kevin Macleod, epic in length at 17 minutes, Dark Conspiracy (Izzy’s theme) and Anticipation by David Fesliyan
Also I took one freesound field recording of the yucatan full of pretty bird and chirpy insects , reversed it and applied Paulstretch factor 5/0.25 voila – alieny jungle matrix ambience. but it sounded absolutely frightful on small speakers over the radio via the Tunein App mo idea why but I have done away with it for Thursday’s broadcast and will never stretch anything again.
the Mastermind is using Tibetan Bells and Sounds from Outer Space, to hypnotise his subjects. tibetan singing bowl related to the radio frequency spectrum emmissions of planets of our solar system – more on this to come in episode 15! frequencies are:
Eight episodes later, although unfortunately leaning still very heavily on the material of the Brobrean Brothers Corporation we have managed to actually develop our own canon and must be careful to avoid plot contradictions in the Whoniverse. Might have to reorganise these webages wiki-style. Meanwhile –
Yay season two is underway and this time we are working with several remote recorded artists. The studio is still the best so our main characters are recorded there, but Terry is still has no spaceship so he continues at home between jackhammer blasts from the construction site next door. It’s a bit of a miracle sometimes created with cushions and blankets.
The audio for some reason is better in video – either using an actual video camera or weirdly using Recordable app on my Samsung tablet. This app takes a video of another random app screen ???? and then gives you the audio as a wav file. I tried the straight recording app or two and their audio didn’t stack up – go figure. He bravely actually recorded a portion of episode 8 while in hospital – luckily we needed canteen noises – but stitching this in amongst the other voices to sound reasonable was a small nightmare. Smooshing a shopping mall ambience behind it helped considerably, then adjust equalizer, normalize.
The backbone of the dialogue track is stitched together by one of the team. We rub out any overly long pauses, cut out the pops and breaths, the actors apparently need to breathe but its not always a pretty thing next to a mic, then add other pauses for drama.
Then follows creating a space for ambient background to talk to you is as important as the actual speech. We are subbing one sense for four others. check out this highly instructive TEDtalk if you are into soundfx.
Being on alien worlds poses a design issue – i often pick foreign ambiences with no recognisable speech. Avoiding obvious earth based technology cars, telephones, music, animals and so on is really hard. Episode 9 takes us to a desolate mining colony on the edge of the future human galactic expansion whose hills will be alive with ‘brown noise’. In audacity there is a silence/noise generator which I’m trying out for the first time to place a background ambience for the rock world rather than use a field recording.
Previously we had a lot of studio ambience which is unaturally quiet – you should always hear something, machine hums, wind, traffic, voices and birds. the slight rustle of your own clothing. Some of the remastering in season one takes care of this thanks to the many free foley effects on the internet ( see individual shows for links). Here’s a sample pack of room tones from a sound recorder whose work we have used in season one and two klankbeeld
Vive la revolution! – the internet revolution of the sharing economy! So here we are volunteering our time and talents to make this radioplay …. because well let’s face it’s not really ready for a ticket paying audience but it’s definitely heaps better thanks to these dudes, who don’t charge us any money. They do ask for donations and I’ve been very happy to slip them a cup of coffee sized kind of donation for making it possible for me to stave off alzheimers creating these little amusements for your listening pleasure, so if you enjoyed episode 3 please support City Park Radio and the following –
As we head in to the on air replays of a remastered Ep1 tomorrow and finalise the scripts for S2 I thought again of some of the inspirations for the Whoniverse. It began all those years ago with an australian script writer in the shadow of a possible nuclear war, with themes of child welfare, tribal conflict over technological advantage and aired the day after the assassination of president JFK.
Science fiction is a perfect medium to explore uncomfortable themes lightly for our general audience, without making fun of it. G rated being free to air, no visually graphic content. Radio gives us a lot of freedom and an unlimited wardrobe budget ( yay!) The corny fantasy aspects work in our favour here – no one is going to take it too seriously … and yet…
Tropes burned into the collective consciousness
Adam the chief script writer is rather young and living in the lucky country. He is of the generation of australians who are not convicts, refugees of war or bad economics, and yet those themes will be threaded throughout. In production EP1 working title was Terror of France since it is set in the Napoleonic era but before it hit the airwaves Paris was rocked by the first of a string of terrorist attacks! So it was a rapidly renamed Citizen of Gallifrey pts 1-4 (because titles are just hard ok?)
Terry the companion is accidentally shoved into the dangerous universe from his comfy hipster lifestyle. Unlike the usual BBC companions he’s neither courageous nor particularly bright, although he has a handy knowledge of what the actor Michael Rutter calls ‘pub facts’. But by ep8 I had him step up, up meaning a whole 93 floors, and help unite two economically divided races. The currency is water – the currency that literally underlies the conflict in the Gaza strip which sits over an aquifer.
What would Terry say?
Actually I think we only continue to teach Shakespeare at school so the generations have some common ground other than today’s weather. ‘Miles’ is still ok with millenials as ‘kilometres does not roll lightly off the tongue’, but ‘acres’ is largely out. So ‘miles of redbrick roofs’ it is.
A doctor who can say what she wants?
and then there is the whole fanfic thing of what does and does not upset auntie. I joined up to this production to have a go at script writing but also because i was INCENSED at the ageism and ownership of imagination that some people think the word copyright implies. Free speech is bandwith worth fighting for. So BBC freely broadcast into your home, set out to inspire young minds, and literally ‘capture’ their imagination. After making a false sense of friendship blossom, suddenly ‘auntie’ closes the trap on your 18 yo brain and shackles you to you can’t say/write/share that unless we give you permissions or you cross our greedy palms with silver? Before that…yeah we would love you to use a T’ardis in your school play – teachers please contact us? Not on my watch. Ironic video of Peter Capaldi talking to a young fan at comic con -ahh how much the world has changed now Auntie has to deal with a facebook enabled parent observing.
Back when i was homeschooling, Auntie wanted to charge someink like AUD $66 before postage for a vhs tape of the RI Christmas lectures – a series inaugurated by Michael Faraday as FREE public lecture. Meanwhile across the pond the HHMI foundation streamed their xmas lectures from the web or posted out a CD for nothing. Cue incensed letter to the RI followed by a sudden appearance of a benefactor and the free streaming, $6 CD at their institution too. So i thought we could have at least one grammatical use of the word doctor immediately followed by the word ‘who’ hidden in every script and perhaps a doctor who saves the world with a strongly worded letter to the editor … listen for them 😛 https://www.youtube-nocookie.com/embed/gDW4VUkvEfE?rel=0
The City park radio programming guidelines are strictly G so we had to invent an expletive Terry could say on air – he is after all a male 20 something bogan and aliens are shooting at him, so our actor Michael came up with flip! for our f word. The sound editor shall fire a handy blaster shot any time he tries that s word.
Testing the Translation Circuit
It’s science fiction so there are long technical explains and worse – alien words. The Questr is equipped with a handy translation device that magically works at a distance. So we can stick with english as the truly universal language, and use fake alien accents – the radio equivalent of a Dalek costume 🙂
However it’s always a surprise to a script writer as to which innocuous little words trip the tongues of the voice actors. Star shines will become shar stines, capacitors morph into capacitators, and time saving efforts turn into marathon recording sessions. After handling the periodic table with ease Rowena created the Thornhill capacitator, our take on a flux capacitor. So now its super special. “fruity tropical lime with a hint of hazlenut character” that was a little line i got off a bottle of Josef Chromy chardonnay and seriously regretted. Took a dozen takes and script writer was about to be strangled since the bottle was empty and we couldn’t just drown our woes.
Our script writers actually dodge creating alien names. just alien 1 alien 2 etc… They have no problems creating characters and convoluted plots but were so pleased I found this handy thing online fantasynamegenerators.com I haven’t yet tried hustling them into making up a language as involved as say Dothraki. Maybe season 3.
We’ve all heard the old story about how on Halloween night in 1938, Orson Welles’s radio adaptation of The War of the Worlds caused such panic across America that police raided the broadcast office demanding the fictionalised Martian invasion be interrupted. Whether apocryphal – as now thought – or not, the story demonstrated how, from the 1920s to the 1950s, radio drama was a powerful and popular medium.
But with the advent of TV, audio serials gradually disappeared from broadcast schedules in the US and Australia – and in 2010, when even the UK’s BBC Radio 4 was cutting back on its Friday Play, commentators wondered aloud whether video had finally killed the radio star.
But no – in fact, we are in the midst of a remarkable revival in great quality audio drama that is attracting millions of new listeners. Spurred on by new technology, business models and techniques for engaging an audience, there has been an explosion of audio drama production start-ups – with more than 200 independents currently active.
The fact is, audio drama never really died. Public service broadcasters – such as Ireland’s RTE and France’s ArteRadio – have kept the flag flying for new drama, while the UK’s BBC Radio 3, 4 and 4 Extra remain a significant cultural force with more than 10m listeners to their collective output. Equally, independent producers in the US had doggedly pushed out content through the distribution of tapes and CDs. But this is a costly process – and too frequently commercial broadcasters have calculated that the higher costs of drama don’t match well with the short slots required for advertising revenue.
Podcasting changes this in three important respects: there are little broadcasting or distribution overheads to be paid, no commissioning gate-keeper to be persuaded and, crucially, no limit to the potential audience. If an idea captures an audience’s imagination it can gain scale rapidly and go international. It’s this aspect that has seized the popular imagination, as fictional drama such as Welcome to Night Vale (2012) and the non-fiction crime podcast Serial (2014) have picked up millions of new listeners – and, in the case of Serial, made headlines.
Indeed, increasingly the name “radio drama” has become a misnomer. Public service radio broadcasters increasingly combine digital radio transmission with live internet streaming and platforms for accessing live content – such as the BBC’s excellent iPlayer Radio. New independent producers often work exclusively over the internet, combining transmissions with social media to bring the audience with them in building the story.
Click here for success
One of the reasons for the break out success of Welcome to Night Vale – a supernatural drama run on a shoestring budget – was its huge following on social media platforms, such as Tumblr, where the show’s mysteries were picked apart and deciphered.
Unshackled from a reliance on broadcasts, independent producers have really excelled in
devising new ways to get closer to their audiences. Quirky science-fiction drama such as The Bright Sessions and Wolf 359 engage their listeners across a dizzying range of channels, giving special talks and content to financial contributors. They also benefit from a regular flow of appreciative fan-art. Comedies such as Wooden Overcoats and The Thrilling Adventure Hour do live performances. You Are Here follows the adventure book model, allowing listeners to decide the plot.
Major producers such as BBC Radio have often struggled to catch up with the burgeoning independent scene – their output is just so broad and varied. As a consequence, BBC Radio has sought to emulate some of the tactics of independents, making separate iTunes and social media feeds for big names such as The Archers (now running in its 65th year) and special productions, such as the recent Tracks. Indeed, in order to build anticipation for the forthcoming adaptation of Neil Gaiman’s Stardust, listeners have been invited to submit their own illustrations.
Popularity into profits
Yet in this new landscape, big public broadcasts retain the major advantage of a reliable revenue stream. By contrast, one of the downsides of the free-to-air model is that popularity is no guarantee of sustainable funding.
Consequently, there has been a flurry of innovation to generate funding. Many UK audio dramas, such as The Light of September, Mars Corp and Wooden Overcoats, have relied on Kickstarter campaigns to pay for productions upfront, others, such as Greater Boston and ars Paradoxica, build popularity first then income through the Patreon donation service. Advertising revenue is another option – but this requires a certain threshold of audience size and can detract from the intimacy of the content unless the drama presents itself as part of the real world, as does The Black Tapes.
A commission from a broadcaster is of course the lowest risk option, but though the BBC has a mandate to bring new writers to public attention, the high level of submissions makes commissioning a drawn-out process. Yet as the infrastructure around the internet matures, networks have emerged to link producers with advertisers and promoters. Amazon’s Audible has also entered the market with the aim of commissioning eye-catching drama to supplement its audiobook catalogue.
Perhaps the most successful model among independent producers, however, must be Big Finish, the longstanding UK-based audio drama company that has obtained licences from big TV franchises such as Doctor Who to produce straightforward pay-per-download content. By taking advantage of the brand recognition, they are able introduce loyal fans to their extensive catalogue of content in other ranges and genres.
Thanks to competition between the public and independent sector, and the development of new funding models, there is a rich harvest of high quality drama for anyone who cares to find it. In the immediate future, the prospects for audio drama look strong as technological changes make this long-forgotten medium suddenly desirable among multitasking millennials. In a connected world, individuals can take a story from their phone, to their house, to their car without ever needing to break the flow of the story or take their eyes off the road.
Set on Gallifrey in the Rassilon Era, we meet the young Theta Sigma and her best friend, a boy, in trouble again at the Timelord academy. Rather than miss out on ‘the school excursion’ in the time capsules they seize an opportunity to head out of poorly supervised detention and climb aboard what will become “the Questr“.
Written By Adam Brooks
Cast: The Doctor and Narrator – Rowena Dinsmore, Best Friend – Adam Brooks, Students/soldiers/rebels – Brooke Malloy,Royce Gale,Carolyn Rutter, Teacher – John Brooks
Edited by: Adam Brooks, Carolyn Rutter and Trevor Sneath
Theme Music Played by Elvis Smith and Jack Willett
Adam wanted to explore the doctor’s youth and also to have a female protagonist. He set the story in what was mentioned within the Whovian canon as a favourite period of earth’s history. Being female and having no budget constraints with wardrobe ( big benefit of audio drama!) meant we could indulge in some frills, literally, to underscore her youth and femininity.
Sound FX *
[ White Noise ] Real Library Sound by REAL Sound
[Ambient Background Sounds] Museum visit by Sleepy Sheep
British Museum, Entrance Hall by MasterSoundEffects
St James's Park祐pring Afternoon
Classroom by Random/Pointless Videos
Ambient Medieval/Fantasy Town Sounds (Put on Loop) by Helix
Lord of the Rings ASMR - Rivendell - Ambient sound white noise by ASMR Rooms
City Park Sound Effects by CMIUC100
Market Place (foreign voices) by HQSFX
People Talking in Background Ambience
Park SOUND EFFECTS - Outside Ambience City Stadt SOUNDS by BerlinAtmospheres
Footsteps SOUND EFFECTS Good for outdoors, with extra people too
Footsteps - SOUND EFFECTS (creaky stairs and various others
Sci Fi Beeps by BerlinAtmospheres
High School Hallway Ambience by SoundEffectsFactory
23 FOOTSTEPS Looping Sound Pack [FREE DOWNLOAD] by SoundLikeTube
Knock On Door And Footsteps (Creepy House) by Nosferatu Sound Effects
Horror Sound Effect - Creaking Door Open (Drawn Out)
Horror Sound Effect - Horror Scream
Sliding Wooden Door by Sound FX
Door Sound Collection by Sound Effects Central
Sliding Glass Doors by Sound Effects
Button Press Sound
Sliding Closet Door Series by Free Sound Effects
Sliding Glass Door Opening by Audio Library - Sound Effects
Top 10. Most Terrifying Wild Animal Sounds by Hannibal Lectorr
5 Terrifying Animal Sounds by DeltaForge
5 Strange Sounds No One Can Explain by Beyond Science
Wild animal sounds for kids by nutolina
Engine room noise
Scream Collection - Female by Sound Effects Central
Footsteps On Stairs Sound Effect by Audio Productions
Footsteps Wooden Stairs Sound Effect by Audio Enabled
Wooden stairs squeak sound effect (normal speed) by Jojikiba
we’d like to wish everyone who has suported us a merry chirsmas and a happy new year, we hope to see you all next year, we’ll be officially on break as of Friday 23rd untill 3rd January cheers – The Doctor audio team
Episode 8 features the Nixi who inhabit the planet Nix, the unidentical twin to Brobree orbiting the twin suns – “circumbinary planets”. After writing my fictional solar system I found out that in 2012 such a system called Keppler-47 was discovered in the constellation Cygnus, and that binary suns are actually more common than singeltons like our sun, (which would actually be predicted by the electrical theory of star formation) So it’s no surprise that Gallifrey is also in a binary star system in the constellation of Kasterborous (both fictional btw).
Star in a Jar
In this episode I wanted to let Terry test another one of the Doctor’s theories and move out of his role as bystander. The Brobrean dome and the doctor’s idea is based on this video by David La Point called the Primer Fields “You will be amazed as a magnetic model of the dome at CERN is used to create a 100 mm diameter plasma Sun with a 300 mm diameter equatorial disc of plasma around it! All the plasma videos are actual footage with no enhancement or manipulation other than speed. In other words, this is real thing. Hard to believe, but it is all true.”