How many takes does it take?

Scott Pollak · Posted: Wed Jan 31, 2007, 22:54 (GMT) Post subject: How many takes does it take?

At the risk of exposing myself for the rank amateur I truly am, I thought I'd post this. The pros here already know this, but maybe some of those who are a bit more 'green around the gills' aren't aware that even for us 'seasoned vets' it's impossible to get a good take in ONE take.

I just voiced another of my local radio spots (which I also wrote). I'm attaching the raw file and you'll notice the many, many, MANY restarts and screw ups. The total raw audio for this :60 spot runs close to two minutes. The second attachment is the finished spot, nicely spliced and with compression added. Note, too, that I had to take out an entire paragraph at the end because the script ran too long. You'd think I'd know better by now!

But I hope this helps some of the newbies realize that you keep rewinding and rewinding and backing up and restarting to get a read where you want it. Even on those little brief audition demos we all send in.

Amy Snively · **Voice Talent** Joined: 04 Jul 2005 Posts: 1028

Yep, that's a fantastic representation of real life behind the mic! That's pretty close to what it looks like at my house, too!

Tom Greenlee · **Voice Talent** Joined: 07 Mar 2006 Posts: 945

That is exactly what it looks like on my end too Scott, but I also end up doing restarts not only for a better take or a messed up word but also because I'll have to clear my throat in the middle of a sentence and the like. lol

Scott Pollak · Posted: Thu Feb 01, 2007, 01:26 (GMT) Post subject:

.... and pausing for the phone ringing or the dogs barking or the heater/a-c kicking on or.............. Laughing

Colin Campbell · Posted: Thu Feb 01, 2007, 01:38 (GMT) Post subject:

Wow... you guys make too much work for yourself. I guess because I had done so much live radio in my younger days... I try to get through as much as I can without a "pickup.' I don't always succeed but one or two in a 60 is what I strive for. I'd like to get the whole 60 out in one take and that makes me restart a lot. I also feel that if I can get a bigger chunk put together cohesively, it will sound more... uh... well... cohesive. I say you go through the copy three or four times without concerning yourself of the final take and learn thouse nuances, then NAIL IT. Just my two cents worth.

Todd Ellis · Posted: Thu Feb 01, 2007, 01:43 (GMT) Post subject:

Yeah, um - I don't want to sound like a d***head or anything - but pretty much one or two takes and I'm done. Unless it's medical copy - or too much copy for the time. I usually break down long-form stuff into bite-size pieces - but if I'm on a roll - I just keep reading. Monday I did almost 3 pages of a 40 page read in one take. Again - that's "pretty much" - there are days I can't string two words together. Me Tarzan - You Jane.

Amy Snively · **Voice Talent** Joined: 04 Jul 2005 Posts: 1028

I think he's posting an extreme example as an illustration.

Personally, I run through it a couple of times before I open the mic, then I record. I usually get what I want within three takes, and there are often a couple of pick-ups here and there.

So my raw files, and I'm sure most of Scott's, sound more like the finished version + maybe a false start + a little more breathing + a pick-up (or two).

Colin Campbell · Posted: Thu Feb 01, 2007, 01:54 (GMT) Post subject:

That's it. Thant is how it's done. I guess one of the things I think of is that if I mess up in the middle of a phrase, thats damn hard to edit so I just start over.

Todd Ellis · Posted: Thu Feb 01, 2007, 01:57 (GMT) Post subject:

Amy - I am now a broken man ... I thought you were perfect Crying or Very sad

J.S. Gilbert · Posted: Thu Feb 01, 2007, 01:58 (GMT) Post subject: 2 minutes aint nothing

For those of you who haven't had the "pleasure" of going out to a studio to be recorded by agency people for a 30 second t.v. spot, let me tell you. Generally 6 people show up from the agency. Each of course has a different piece of direction for you, often conflicting. Since they've got you for an hour, they keep you for an hour. In between takes you sit in your sound proof fish bowl as they flitter about the engineering room. Hmmmm he said should not instead of "shouldn't" I like that. I don't like that. Let's see what the client thinks. Let's call the client. Can we fax the client? Maybe we should send the client an MP3 as an email attachment. We're looking for a non-announcery announcer with warmth but presence who is capable of promoting our strong branding interests.

My favorite piece of direction Usually on the 23rd take you'll get "We liked that alot. Could you do it for us one more time, only different."

No wonder so many of us drink.

I get a gig from my home studio, I'll record it 10 or 15 or 20 times if need be, becuase it's only me, myself and I. Ain't no second or 3rd pair of ears to bounce it off. I also will usually send the client 3 takes (raw vocals) to pick from. Now in the old days when the #1 editors tool was a razor blade, it was about a cool, clean 60 seconds. In those days, the agency guys only kept you around for a 1/2 hour.

Todd Ellis · Posted: Thu Feb 01, 2007, 02:04 (GMT) Post subject:

Gilbert wrote:

Colin Campbell · Posted: Thu Feb 01, 2007, 02:09 (GMT) Post subject:

I want it "ireverant" but "classy." I've been there dude. Reminds me of the Orson Welles session. "You people are such pests," "who is HE?" "you and your FRIEND." Love it. And of course my favorite line... "the correct delivery is the ONE I AM GIVING IT." If you haven't heard that tape J.S... go find it on this forum. It is just what you are talking about.

Amy Snively · **Voice Talent** Joined: 04 Jul 2005 Posts: 1028

I had to record a trio of :30's in a studio across town last week. In the session: The director, the writer, another writer, a sound engineer, and the disembodied voice of the client. And me peering out of the booth window, only able to hear a fraction of what they are saying ('coz they have to push a magic button to make the sound reach my headphones).

I stand there in silence, imagining how fun it would be if a timer would sound and $100 bills were to begin swirling around the booth. By then, my trance is usually broken by some new direction and a 'go' signal.

You'd think it would be unnerving, but I think it's fun. I don't have any/much ego about these things. My job is to make it sound good to them. I'm a service provider. They want it different? I smile and say ok. Even if the direction is crazy. And it often is.

And if I flub, I just pick up at a logical spot and keep going. (Attn newbies-- do not apologize, make excuses, etc. Just pick it up and keep going.)

And then, of course, after some playback action, they often say something that makes me giggle inside like "After all that, I think take 2 is what we want. Let's do it one more time like that for safety." Wink

George Karnes · **Voice Talent** Joined: 26 Dec 2006 Posts: 905

Amy-
If you have Jay Tillman sell your home, you can have lots of nice little bundles of $100 bills stacked all around you.

That was cool to listen to Scott. I go back and forth between reading the whole thing with messups and then editing it out and stopping and starting at logical points when I mess up. I need to get faster at the editing and just read it over and over the way scott did. I think it keeps your flow going better too.

Tom Greenlee · **Voice Talent** Joined: 07 Mar 2006 Posts: 945

OK....at the risk of sounding very amateurish which I'm sure I will after reading all your posts about getting it on the 1st or 2nd take. I was inspired by Scott to record one of MY typical recordings of a spot raw, then finished. following Scotts example except this is typical for me and this is real. lol Keep in mind you guys have been doing this for years....I've only been at it for less than a year. Laughing

The file with raw is my session with no edits. The file without raw in the title is the finished file with edits and compression and normalized.