Crafting the Immersive Audio Book
Crafting the immersive audio book was an incredible experience and a good example of opening space for passionate people to come in and work their magic.
I met Ariel Highwind at Sal Romeo’s acting class in Burbank, CA where I studied for a year. I had been working on Horatio in the Wind for a few months and wanted to read it in class.
My nerves got in the way, I mumbled the story horrendously, so Ariel came to the rescue from the audience and finished reading for me. The effect on the class was instant, she handled the reading with such grace I knew I had to record her.
The first such recording took place in my house with a little blanket fort I set up in a mildly successful attempt to absorb noise. Ariel was amazing as ever, but the quality of the recording was at best questionable.
Fernando Arroyo is an extremely kind and intelligent person, and one of the most talented composers I know. I met him at a party in LA about three or four years prior and we had been friends for a while.
I showed him the audio book and he eagerly agreed to record it properly, compose the score you can hear now and finalize the immersive sound effects.
We met at Fernando’s engineer's apartment where the recording would take place and I sat back and watched the team work together.
It was incredible. In about three hours we recorded the dialogue properly. And a month later I had the immersive audio book you can enjoy now.
A year later, I lend the voice for the Spanish version of the book, also available on the site.
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The Story Behind the Story
From a very young age, likely soon after I started talking, I exhibited an unusual fear of dying. I’d often cry on my dad's lap because I knew one day I'd die.
Read more about the origins of Horatio in the Wind.
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© 2024 Horatio in the Wind.
Jose Oldenburg
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