Voice Over Tips

Colin Campbell · Posted: Sat Jan 27, 2007, 22:58 (GMT) Post subject: voice over Tips

Listen to voice over tips.. Episode 1.

Colin Campbell · Posted: Sat Jan 27, 2007, 23:38 (GMT) Post subject:

Episode 2. Mic processors.

J.S. Gilbert

As many of you know I have been critical of some posts that i have found are myopic at best and plain misleading or deceitful at worst.

Colin has kindly takent the time out to record 2 tutorials (and it would appear more are forthcoming) to assist in understandings the mechanics of setting up a recording situation that is suitable for use with auditioning and work situations such as V123.

This is not a criticism per se, but just a comment that Colin's background seems to be predominantly broadcast and his suggestions come from that background. He also seems to sufficiently understand the tools he uses and their purpose.

Personally, from my background (which is a hodgepodge of live audioo, studio applications, telephony, gaming industries and broadcast) I beleive it is better and more recommended to try to create a quiet space to work in rather than use a noise gate.

Most noise gates work on the principal that if a sound is below a certain volume, the gate will remain closed and the microphone will not pick it up. The problem remains that any noise that is present will carry along with the voice when the gate is open. As an individual who works in the gaming industry, I can tell you that subtle noises carried upon the voice - such as background sounds can seriously become artifiacts and other issues if any processing (and in games there always is processing) has to be performed. There are other issues with using gating techniques.

A better investment might be to try SE's Reflexion filter. I have one I use when I have to do ADR recording in the main studio and can't use the recording booth. Google Reflexion filter and you'll see the write-ups. It is currently $299 at most dealers.

Alternatively, using plywood and an old futon purchased from the Salvation Army to create sound baffles can work quite well. There are a number of helpful sites that can steer one in the right direction. Even in a professional studio a stray sound can get into the mix once in a while and it is important to have good speakers or headphones to handle critical listening.

Also - Neumann U87 microphones currently can be purchase online for between $1,600 and $1,800 routinely and are not over $3,000.
Anyone who is thinking of purchasing an RE20 or RE27 microphone owes it to themseves to audition a Heil PR 40. Modeled after the RE 20, it is less expensive, drives easier and has fairly identical characteristics to the RE 20. (No, I don't sell microphones)

There are also a number of other manufacturers that make what are called "mic strip" solutions, such as Joe Meek, Drawmer and others, which also feature levels of compression, EQ and de-essing. One word of caution - respect the fact that when you audition and work online in most cases you are the voice talent, engineer and director. As if it isn't hard enough to be voice talent by itself, we are now expected to understand audio engineering and apply it to ourselves. This is not something to be taken lightly. Colin is capable of presenting his voice extremely well on his auditions. If there are 4 or 5 voices that seem equally competent, Collin will get the job because the fidelity of his recordings is superior. Yes - it's about sounding great and sounding great. as in the quality of your read and the quality of the audio file.

As podcasting becomes more and more popular, we will no doubt start seeing more specific solutions to the issues of having to be chief, cook and bottle washer.

Thanks Colin and I look forward to voiceover tips 3.

--j.s.

George Karnes · Posted: Sun Jan 28, 2007, 02:10 (GMT) Post subject:

Colin-
I just can't tell you how helpful this thread is.

I usually hate it when somebody crossposts into a thread. IE; check out my thread yada yada yada. But I may not have found this without that so you are forgiven.

Many thanks from me and I am sure others as well.

Colin Campbell · Posted: Sun Jan 28, 2007, 02:13 (GMT) Post subject:

I apreciate your comments. We all come from different backgrounds. I am just trying to teach the basics for the non-initiated. I thought the mic-processor audio tip was particularly good since I was able to demostrate the differences in the sound. It is FREE ADVICE and as such comes with NO guarantee.

J.S. Gilbert · Posted: Sun Jan 28, 2007, 02:51 (GMT) Post subject: Not knocking you

Colin,
I wasn't knocking you but just throwing my 2 cents into the mix. In general I think it's solid worthwhile information. I think I actually complimented you, which is a rarity for me indeed.

Keep up the great postings

with regards to your #2 audio lesson I should also perhaps mention:

Most professional studios these days record everything at "12 O'clock" also known as "raw recordings" all the knobs straight up and no processing. They use plug-ins to correct the audio and this is the approach most of my brethren take. It's a lot easier to take a recording and after the fact play around with plug-ins de-essing (which is a form of compression), eq'ing and otherwise working to get the sound as good as possible. For example, someone could easily record an audition without fididlling and send it to an engineer friend or someone experienced in plug-ins to roll off the bass, punch up the mids and using an excellent tool such as WAVES Renaissance de-esser take out some sybillance.

The advantage to plug-ins that you can play with them to your heart's content and still keep an original version ofthe raw recording.

So, now it's great voice talent, great engineering and great computer programmer, that's expected of us.

Colin Campbell · Posted: Sun Jan 28, 2007, 03:18 (GMT) Post subject:

J. S... I respectfully disagree with that concept. Maybe because I am a bit of an old timer, but I want to feed into the digital to analog converter the best sounding audio I can before it is mangled into tiny bits and bytes. Digital audio is inheritly limited by "resolution." Now if you want to talk technical, keep in mind that I am now an IT director for a six radio station cluster and can talk digital audio all day long.

Colin Campbell · Posted: Sun Jan 28, 2007, 03:44 (GMT) Post subject:

It's so funny... you have less controversy talking about vocal deliveries than you do equipment. We have a lot of people on here that have no idea about the things we geeks take for granted. I'm just trying to help them. It is my true feeling that if you "do unto others..." or "as ye sew, so shall ye reap." (...and I am Republican in nature... go figure.)

Lynne Alston · Posted: Sun Jan 28, 2007, 13:31 (GMT) Post subject:

Colin,

Up until tip 3, I was following along just fine, now tip 4 would be very helpful with visuals, as you have seen with my other posts, I'm a visual learner, any chance of adding pics to the tips?

Tip 4, would you be talking about m-box in this category?

I appreciate this forum, being completely tech challenged, limited on time to take classes, Maybe with your help here, I'll gain a little more understanding of what's going on with the equipment I have or will purchase at a later date.

Colin Campbell · Posted: Sun Jan 28, 2007, 17:08 (GMT) Post subject:

Episode 3. I don't think there will be too much debate over having to have a good pop filter, but then again, I don't know. You are "affecting" the sound before it is digitized eh? Oh well, please accept in the spirit of the offering. No guarantees are expressed or implied. Simply my opinions.

Colin Campbell · Posted: Sun Jan 28, 2007, 17:32 (GMT) Post subject:

Episode 4. Controller vs. Interface. What are they? Intended for newbees. If you know what you're doing, you don't need these tips and have your own ideas.

Colin Campbell · Posted: Sun Jan 28, 2007, 19:12 (GMT) Post subject:

For Lynne...
Interface...
http://www.m-audio.com/products/en_us/FireWire410-main.html
PCI Sound Card...
http://www.m-audio.com/products/en_us/Audiophile192-main.html
Control Surface...
http://www.mackie.com/products/mcu/index.html
Control Surface and Audio Interface in one...
http://www.m-audio.com/products/en_us/ProjectMixIO-main.html

What I want when I have the money...
http://cgi.ebay.com/M-AUDIO-PROJECTMIX-PROJECT-MIX-MAUDIO-PRO-TOOLS-NEW_W0QQitemZ220073267450QQihZ012QQcategoryZ41784QQssPageNameZWDVWQQrdZ1QQcmdZViewItem

Lynne Alston · Posted: Sun Jan 28, 2007, 19:13 (GMT) Post subject:

Thank Colin, that should keep me busy for a while.

Todd Ellis · Posted: Sun Jan 28, 2007, 23:58 (GMT) Post subject:

Colin - Great information - and a LOT of it! Thanks. I agree with Gilbert on the "Noise Gate" question. In the words of Kris Kristofferson - "if you ain't got nuthin' you've got nuthin' to lose". When it comes to clean audio, you can't beat a properly designed room. Most of my clients request raw audio - no processing what-so-ever. That includes EQ and (in my opinion) Satan's Handmaiden - dessing.

Here's something that surprised me. I've been out of radio a long time, but did an old friend a favor the other night and did a shift at a Clear Channel station. I could not believe how LOUD the studio was! The floor must have been -30db. I was curious so I started looking around. There are 7 stations in the building + 2 production studios. They were all loud - and the main Production studio was the loudest of all. I was stunned.

Colin Campbell · Posted: Mon Jan 29, 2007, 00:11 (GMT) Post subject:

Well.. I've avoided the point long enough. I work for Clear Channel. Yes... radio studios can have noise. Now... our studios in the market where I work are exceptional for radio studios because we have a higher standard of quality than most in spite of the budgetary pressure. My best guess is that the noise was from computer fans. Well, that's my confession for the evening. What I want to say about my tips is that most of us are trying to do voice overs from home and as such don't have the luxury of a sound booth. So, we have to do the best we can at cancelling noise. I fight it all the time. If I can get some jobs, I will build a booth.