Dan Friedman
Voice Over Coach & Demo Producer
828.551.0891
[email protected]
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Dan Friedman

Recording Magazine’s Room Acoustics Series Part 5

September 28, 2011 by Dan Friedman

Recording Magazine sends out a newsletter to its subscribers every few weeks. The newsletter is (coincidentally) titled “Sound Advice” and this month it features the fifth in a series about room acoustics. Room acoustics is one of the biggest concerns for Recording Magazine readers. I know that this is also a big issue for those of you in the voiceover world. I asked permission to reprint this newsletter (and will ask to reprint the others in the series as well) so that those of you with home studios can also benefit from the information. I want to personally thank Brent Heintz, VP/Associate Publisher for granting permission, allowing me to share this great information with you.

Please visit Recording Magazine‘s website and Facebook Page.

Catch up or skip ahead: Part 1, Part 2, Part 3, Part 4, Part 6, Part 7, Part 8.

Here is the fifth newsletter in the series on Room Acoustics:

Welcome to Sound Advice on Acoustics! For the past several months we’ve been dealing with the basics of controlling bass buildup in rooms, using ratios of room dimensions and active bass trapping and other room treatments. Bass is by far the hardest problem to deal with in tuning a room, and with it under control, we can now turn our attention to the mids and highs. Read on…!So far we’ve considered the effects of low-frequency waves in the room. There are other issues, related to the propagation of mid and high frequencies. When a mid- or high-frequency sound wave moves through a room, it eventually hits one of the various boundary surfaces (walls, ceiling, floor). When this occurs, the sound wave is either absorbed, transmitted, or reflected.

Absorption means that some or most of the wave’s energy is converted into heat. Transmission means that the wave has some of its energy passed—through the wall, for example. Reflection means that most of the wave’s energy is directed back into the room.

This will happen repeatedly as the sound wave hits various surfaces until all its energy is eventually dissipated.

A room where all the surfaces are completely absorptive sounds dead and unnatural, and is unsuitable for music-making or listening. Such a room, called an anechoic chamber, would be used for testing purposes, as in the manufacture of loudspeakers for example, to isolate the sound quality of the speaker under test from the room effects. An overly reflective room is also not ideal—too many reflections tumbling around the room obscure the clarity of music or speech (see below).

An ideal room strikes the right balance between the original sound from the source (i.e. instrument or loudspeaker) and the amount of reflected sound present. Furthermore, it is desirable for the reflected sound to be distributed as evenly as possible throughout the room, providing a comfortable and pleasant sense of ambience (liveness). This even distribution of reflected sound energy is called , and is generally desirable, as we’ll see. But along the road to this ideal room, there are many pitfalls that we’ll now examine.

Reflection of sound waves is the behavior we’ll be most concerned with in the next few paragraphs. Just as happens with lower frequencies, when mid- and high-frequency waves reflect back into a room, the positive and negative peaks of the direct (original) sound waves and those of the reflections will cancel and reinforce. This happens because the reflections are delayed in time relative to the direct sound, causing their positive and negative peaks to be offset from those of the direct sound, which results in the interference (see Figure 5 for an illustration of this).

FIG:5A AND FIG:5B
In describing this, if we express the duration of a single cycle of a wave in measurements of phase, the delayed reflections as shown in Figure 5 can be said to be “out of phase” with the original sound. This phase-induced delay, or phase shift, is inevitable in any normal reflective environment.The short wavelengths of mid and high frequencies means that these cancellations and reinforcements occur more frequently all throughout the room rather than being clearly localized to specific broad areas as with standing waves. In a typical room, many complex interferences like this at higher frequencies result in changes in the frequency balance of sound in that room, as illustrated on a frequency response graph in Figure 6. This is called a comb filter response.
FIG:6

While this resulting frequency response may look very ragged, in actuality our hearing systems tend to average out and largely gloss over these subtle, myriad cancellations and reinforcements, and instead may perceive this as a not unpleasant coloration of the sound in a casual listening environment.

However, a recording studio is not a casual listening environment. For example, we depend on what we hear in the control room to make important decisions about the way the sounds in a recording blend and balance. We need to hear exactly what’s in the recording, not a “pleasantly colored” reproduction. Consequently, we need to exert some degree of control over any such effects that impact the neutrality of the monitoring environment.

With all this knowledge under our hats, it is time to look at another fundamental (excuse the pun) aspect of acoustics: how we hear. Next time: a crash course in how our ears and brains interpret sound. See you then!

Filed Under: Audio Production Tagged With: audio engineers, Dan Friedman, home studio, Recording, Room acoustics, sound advice, VO, voiceover

My Second First Faffcon

September 27, 2011 by Dan Friedman

On Saturday night while most Faffers were out to dinner, Amy Snively, Pam Tierney and I sat in the mezzanine of the Crowne Plaza Hotel Harrisburg and talked. Among many other discussions, we talked about our favorite parts of the event and past events. I mentioned at one point that I thought everyone’s first Faffcon would be their favorite.
Let’s face it, if you’ve been to Faffcon, you already know you will be coming to a second and probably more after that. The only Faffcon I’ve missed (and therefore hope I will ever miss) is the very first in Portland, OR. It is the one Faffcon that set the stage for all others and I’m sure it will never be duplicated. However, just 24 hours after my conversation with Pam and Amy, I had an amazing experience that I will never forget.

Pam actually had offered to “hire” me to help her with her studio. We were going to go through her entire signal chain from “soup to nuts” (Pam… FOCUS!) ;-). But, as far as I was concerned, this was a great opportunity to continue faffing, so we invited others to join us in the mezzanine. About 20 of us spent over three and a half hours talking studio stuff. It was an incredible thrill for me to share my knowledge, and also learn from everyone who participated, in a truly unexpected Faffcon session. I was told later that this impromptu session captured the essence of the very first Faffcon exactly. How cool is that!

Like any “first,” everyone’s first Faffcon will probably always be their most memorable. However, and this is the true beauty of Faffcon, each session and event is filled with “firsts”, opening up the possibility to new opportunity, new connections and handfuls of “golden nuggets” each and every time. It is truly an inspirational event. I hope that everyone in voiceover gets the opportunity to experience these “firsts” for themselves.

And now some very special shout outs:

David Goldberg – I really appreciated the opportunity to work with you and to get to know you better this time around. I know we can make things happen and I’m excited about the possibilities.

Colleen Colin – Voicebank and Voice Registry provide such a vital service to our community, I’m thrilled to be a new member. Thank you for all you contribute to Faffcon and our industry.

Pam Tierney – Your adventurous spirit and sense of humor is infectious. Thank you for all that you do for Faffcon and for your friendship.

Paul Strikwerda – Your session on blogging was fantastic. I was inspired to write an entire blog based on just one thing you said (this will be forthcoming). I know that my blog will benefit greatly from your advice.

Peter O’Connell – Your improv sessions provided me with some of the best laughs I’ve had in years. They also got me out of my comfort zone and offered an experience that I will never forget.

Melissa Exelberth – Where would I be without you Melissa? Probably under a table at the Firehouse. Thank you for being such a good friend and pouring me into the rickshaw on Friday night and getting me where I needed to be. I’m not ashamed to admit how much fun that night was!

Corey Snow – It was a pleasure to meet you. I know we will be talking more and working on some things in the future.

Philip Banks – Thank you for just being there. It is incredible that you traveled half a world away to share your knowledge and experience with us. While that alone would have been enough, your support for my efforts and words of encouragement were greatly appreciated. Thank you!

Cris Dukehart – I think you may have been instrumental in opening a new door for me. Thank you for that. I really look forward to getting to spend more time with you in the future.

Liz de Nesnera – I am so thankful for your friendship, support, kind words and everything else… and yes… your demo deliveries ROCK!

Cindy Neill – It was a pleasure to meet you face to face. You are always a blast to work with and I’m happy to help you (directly or indirectly) any time you need it.

Tom Dheere, Trish Basanyi and Lauren McCullough – I loved hanging out with all of you on Friday and at various times throughout the weekend. You are all ROCK STARS!

Special thanks to my ProComm family:

Amy Snively
Amy Taylor
Cindy Neill
Mike Harrison
Rowell Gorman
Zak Miller
Bob Souer
Philip Banks
Melissa Exelberth

I love you all!

Bob Souer – Your generosity, expertise, and knowledge is simply unmatched. Thank you so much for all of your kind words, support, information and help with my personal journey as well as everything you do to help make this event happen.

and… our QUEEN BEE…

Amy Snively – Words really cannot express the level of appreciation we all have for what you do and for how you have enriched all of our lives by bringing us Faffcon. Thank you for allowing me to be a part of the Faffcon crew. It is an honor and a pleasure. You literally work to the point of exhaustion and WE LOVE YOU and THANK YOU for everything!!

I would also like to thank everyone who has ever purchased a copy of:

SOUND ADVICE – Voiceover From An Audio Engineer’s Perspective

Thank you so much for your support and kind words. Let me know if I can ever be of help.

Filed Under: Sound4VO News Tagged With: Amy Snively, Amy Taylor, Bob Souer, Cindy Neill, Corey Snow, Cris Dukehart, Dan Friedman, David Goldberg, Faffcon, Lauren McCullough, Liz de Nesnera, Melissa Exelberth, Mike Harrison, Pam Tierney, Paul Strikwerda, Peter O'Connell, Philip Banks, ProComm Voices, Rowell Gorman, sound advice, Sound Advice Voiceover From an Audio Engineer's Perspective, sound4vo, Tom Dheere, Trish Basanyi, VO, voice over, Voicebank, voiceover, Zak Miller

One Year, One Voiceover Book… A Whole New Chapter

September 1, 2011 by Dan Friedman

Dan Friedman, new chapterSince starting my webpage and blog, I have attempted to provide information that can be beneficial to several facets of the voiceover industry. I’ve written articles for directors, new talent, experienced talent and offered commentary on things going on in my VO life and in the industry. On this day (September 1st) last year, I published something that has had a profound effect on my life and has hopefully helped others. So today on the anniversary of the release of my book, Sound Advice – Voiceover From An Audio Engineer’s Perspective, I’d like to do something I’ve largely avoided, which is to write something about the book itself and how it has created a new chapter my life.

When I began writing Sound Advice – Voiceover From An Audio Engineer’s Perspective, I had no idea how it would be received by the voiceover community. I was nervous. But my mind was quickly set at ease when several letters and posts began to appear thanking me for writing it. While many of these letters were complimentary and some full of praise (for which I am so appreciative) two of my favorite letters came to me in just the last two months.

Submitted on 07/17/2011
Kelley Carruthers Buttrick
“Hey Dan, “Sound Advice” saved my bacon on Thursday. In the past, I would have freaked out at the problem and immediately called the engineer who installed the studio. Instead, I just did your first line of defense and unplugged and replugged the item giving me grief. It worked like a charm! Simple I know, but for someone who is technologically challenged like me, it was great! THANK YOU!!! See you at Faffcon!”

Submitted on 08/08/2011
Cindy Neill
“Hey Dan!
I just wanted to say Thank You for writing your book! I was getting a nasty hiss in my records this morning and started to freak out but I read through your book, calmed down, retraced my connections and settings and found the issue! When I’m not in an ISDN session, I’ve got to turn the ISDN pot down on my board otherwise, I get the hiss. Apparently I’d forgotten to turn it down after a session yesterday afternoon and thus, freak-out mode kicked in! But by reading through your book and following just the simplest of instruction, I was able to fix the problem on my own!!! YAY ME!! And YAY YOU for writing such an awesome book!!
Thanks Dan!”

These letters are my favorites because, almost one year later, people who have had the book are now turning to it and solving their studio problems. This is exactly what I had intended.

The only thing I knew when I began writing the book was that the information was needed. Over the years, voice talent had been calling me, asking for help with everything related to studios, recording gear and sound. Often the questions were very similar and I heard myself offering the same advice time and time again. Coincidentally, within a week or two, a couple of voice talent said to me “you should write a book”. At that time it was just an interesting idea.

I knew that voice talent didn’t want to go to school for recording and sound engineering. That would far exceed their needs. However, some knowledge of audio engineering was a necessity and there was no other source available that spoke to the needs of the voice talent. Many talent were actually afraid of their audio gear! The manuals and catalogs could be intimidating. Books about sound recording could not only be intimidating but overkill for anyone who simply needed to get a professional recording of their voice and perform some editing. After years of working with voice talent as an engineer, as well as years of working as a voice talent myself, I knew I could help. I wanted to help. What had started as an interesting idea, turned into reality.

Thanks to letters like those above I know that I have helped, but the biggest reward I’ve received from the book has been meeting and talking with so many of you. I’ve had the opportunity to meet hundreds of people I may never have met. I’ve been part of group discussions, online conferences and Faffcon2 (and Faffcon3 coming up). Many people in this industry have inspired me with their abilities, generosity, talent, and determination. I’ve made new friends who’ve been incredibly helpful and supportive. I’ve also met people who I was able to get added to the ProComm Voices talent roster, one of the finest group of voiceover artists anywhere in the world. I am so fortunate to be in such amazing company.

To everyone who has purchased or recommended Sound Advice – Voiceover From An Audio Engineer’s Perspective, thank you so much for your support. Getting the word out about a book is actually much harder than I ever imagined and I could not do it without your help. Please keep sharing and recommending it to anyone who you think could benefit from the information contained within its pages. I wish you all great success with your voiceover careers. Keep on talking and keep on listening.

Filed Under: Sound4VO News Tagged With: 4VO, Dan Friedman, sound advice, Sound Advice Voiceover From an Audio Engineer's Perspective, sound4vo, VO, voiceover, voiceover book, voiceover talent

Voiceover Gear, Quality and Rates… a Correlation?

August 13, 2011 by Dan Friedman

home studio, Dan Friedman, correlationTwo of the biggest ongoing issues in the voiceover world are gear and rates. It seems that voice talent (or voice talent wannabes) are always looking for the latest, greatest, smallest and cheapest piece of gear that is good enough to record audio. They also seem to want the ability to do this from just about anywhere. The issue of rates is always a big concern. Job offers for payments that fall considerably short of generally accepted rates frequent the internet. These offers are often discussed as being reprehensible or even laughed at on social media. So, is there a correlation between cheap gear and low rates?

Portability and the ability to respond quickly to client requests are key factors that drive the need for much of this gear. The desire to provide for clients is essential to your VO business and let’s face it, the gear is often pretty cool and some of it sounds quite good. But the environment plays a much bigger role in your overall sound and just because you can record from your car or a hotel room, doesn’t mean you should. Other than your voice and performance, nothing has a greater effect on your sound than the environment you’re in.

Consistency and quality are critical for great sounding productions. These can only be guaranteed when the environment is a professional one, usually a professionally equipped recording studio or home studio. Consistency is especially critical when it comes to revisions. Even musicians, who are the largest consumers of recording gear, know that most of this low-end gear is for laying down ideas and for doing pre-production. When they are ready to make an album, serious musicians will usually go to a professional recording studio.

One of the biggest complaints about the voiceover industry, from those who are in it, is that so many people think that voiceover is easy and anyone can do it. Well, it should come as no surprise that when people brag about recording from their car, on their smart phones and through the multitude of cheap pieces of plastic that are now available at the megastore down the street, outsiders may believe that this is not all that difficult. Newbies don’t always understand performance or quality, but they usually understand the concept of making money from anywhere for very little investment.

On the flip-side, clients who (to their detriment) don’t always care about quality are not going to offer higher rates if they think the job can be done anywhere and/or with nothing more than a USB microphone plugged into a laptop. Clients who know better are usually willing to pay for the quality and service that come with a professional talent, who records in a professional environment, on professional gear. They understand that, just like in their own businesses, to be among the best requires an investment in time and money. Clients can justify higher talent payments more easily when they know that the audio will be professionally recorded and will be consistent from one session to the next.

Having higher-quality equipment and a proper recording space helps you to justify demanding a higher price for your work. Good clients understand the correlation between your investment in training and gear and the value that results.

If you are a voiceover talent, who loves and respects this industry, you will hopefully continue to work towards providing the highest quality audio possible and consistency from one session to the next. This doesn’t mean that you should not provide for your clients in emergency situations… you should. It also does not mean that you must have the most expensive pieces of gear. It simply means that you will continue to seek out the best equipment for you and your situation until you reach the point that any change would not provide a significant improvement. Do not stop at “good enough.”

Filed Under: Studio & Gear Tagged With: audio, Dan Friedman, home studio, microphone, Recording, USB microphone, voiceover, voiceover talent

Voiceover Pick-ups and How To Avoid Them

July 13, 2011 by Dan Friedman

Dan Friedman, voiceover pick-upsIt happened today. I was asked which of the two voiceover talent the client had chosen would be better for a 12 minute narration. “Talent A” and “Talent B” are both seasoned veterans and have great voices and deliveries. The difference is that “Talent B” requires a great deal of time for editing pick-ups, mistakes and fumbled words. On a project this long, the additional time that will be required to work with “Talent B” will be costly to the client. Needless to say, for a job like this, I recommended “Talent A”.

People with stage and live performance experience know that there is only one chance to get it right. Film actors know that film is expensive and multiple takes could become costly. People who have been in the voice over industry for more than 15 years will probably remember working with tape. Tape was also expensive and editing with it was much more difficult and time consuming then digital editing is today. So while many of these expenses and difficulties are less of an issue today, frequent pick-ups are still a tremendous waste of time and can be costly for the client and (as you read in the introduction) for the talent as well.

There is no question that some scripts and styles of reads can be difficult. Fast disclaimers and long scientific or medical narrations can be extremely tricky. But professional voice talent should not struggle with a typical script such as one for a grocery store, car dealership, restaurant, or bank. If the script is written well, a professional voice talent should have little trouble delivering it. It is frustrating when a voice over “talent” is unable to get through more than a few sentences without multiple pick-ups… and don’t even get me started on the editing.

Editing should be a tool for choosing the perfect nuances, eliminating clicks, noises and other anomalies, removing breaths and trimming a read so that it will fit into time constraints. It should not be required to simply get a complete read. The edit desk is not supposed to look like a ransom note (thank you Amy Snively for that analogy).

This is a customer service issue. The time it takes to edit audio full of pick-ups, mistakes, and fumbles can be costly to the client. Voiceover artists who are frequent fumblers require additional time for both recording and editing. Even on straightforward editing jobs, clients as well as voice over talent are often best served using professional audio engineers and editors to edit their audio quickly. When multiple pick-ups are involved, the editors speed is even more important. But even more critical than speed is the engineer’s ability to make disconnected reads sound cohesive (deliveries lacking cohesion can occur easily when multiple pick-ups are involved). His or her editing experience often produces better results than the client or talent can achieve when trying to edit the audio themselves.

Everyone makes mistakes. It is a fact of life. However, if you as a voice over talent routinely have more pick-ups in your reads than an auto dealership in the South has pick-up trucks, then (like those trucks) you’ve got work to do.

Here are some tips:

1- Begin by getting your eyes checked regularly. This should be obvious. If you can’t see the script, how can you possibly read the script?

2- Prepare. Clients don’t always send the script in advance. But, when they do, as a professional voice talent you have a responsibility to prepare. Read the script, mark it up appropriately and ask questions (if you have any) before you start recording.

3- Mentally focus. Do whatever you need to do to prepare yourself to perform the read you are about to deliver. Deep cleansing breaths, reading silently to yourself for a couple of seconds, imagine someone with who you will communicate the message, whatever it is that works for you. Once you are focused… stay focused.

4- Don’t try to memorize. Don’t take your eyes off the page and think you’ll remember what was there. Read the words in front of you.

5- Anticipate. Especially if you didn’t get the script in advance. Anticipate what is coming next based on the words, sentence structure and your experience.

6- Break it up. Break the word or phrase up into smaller components and then pull it together as you repeat it.

7- Repetition. If a word or phrase is difficult for you to say, repeat it over and over again until you get comfortable with it.

8- Adjust your speed. Subtle changes in the speed of your delivery can make it easier to say difficult words or phrases.

9- Practice. Practice reading, out loud and fluently, all of the time.

10- Relax. This is your job. It is what you do. Relax… and make it happen.

Remember, this is a customer service issue. Voice talent who read fluidly, communicate effectively and require minimal editing provide a better experience for their clients. They also save the client valuable time and money.

If you have any additional thoughts or tips, I’d love to hear from you.

Filed Under: Voiceover Tips & Advice Tagged With: 4VO, Amy Snively, Dan Friedman, Sound Advice Voiceover From an Audio Engineer's Perspective, sound4vo, VO, voiceover, voiceover book, Voiceover Coaching

10 Tips To Get the Most From Your Voiceover Session

July 1, 2011 by Dan Friedman

home studio, voiceover sessionYour advertising dollars and your time are important to you. Do you know how to get the most from your voiceover session? Here are my 10 Tips For Getting the Most From Your Voiceover Session.

1- Choose Wisely – Who you choose to deliver your message is the first and possibly most critical decision you’ll make. The voice should personify the attitude and style of your company, product or character and should relate to your target demographic. Keep in mind that the talent should be able to communicate your message quickly and efficiently. Choose a voice talent who can deliver your copy with few mistakes or pickups. Just because audio editing is easier and faster than ever, doesn’t mean extensive editing should be required to get the result you want.

2- Check Your Script – Before your session, read your script out loud and use a stopwatch to time it. This process will help ensure that you’ve fixed any mistakes, grammatical errors and any other stumbling blocks that the voice over talent may encounter. Using a stopwatch while reading aloud will prepare you for the possibility that you may need to cut or add copy to fit your message within the time limits required for radio and TV commercials.

3- Formatting – The way your script is formatted plays a big role in the ease in which it can be read. Double spacing allows room to make copy edits when necessary. Use of punctuation is a must. Also be aware that WRITING IN ALL CAPS IS MORE DIFFICULT TO READ. Only use ALL CAPS, bold type, italics or underlines to indicate emphasis.

4- Numbers – Using actual numbers (1,2,3) rather than writing numbers (one, two, three) is helpful. However, in the case of a monetary value that is complicated to say or that can be said multiple ways, writing the number the way you would like it said is best.

5- Communicate – Communication is what this is all about… right? Let your voice talent know right from the beginning what your ideas are for your script and the approach you had in mind. Most of the time, the copy itself will indicate what approach the voice talent will need to take. Other times several approaches could be considered viable options. This brings us to…

6- Be Flexible – While you were getting ready for the session to begin, the voice talent was also preparing. Professional voice over talent will look over the script, read it to themselves, then read it aloud and anticipate what delivery will be best based on the script, the client, and any written direction that may have been provided. Oftentimes, the talent’s approach will be very close to what you were thinking. However, the talent may also deliver something slightly different or even completely unexpected. These differences could lead to results that are better then what you had imagined. Be open to what the talent brings to the table. Its one of the reasons you chose him or her.

7- Ask For Help – The audio engineers, producers and the voice talent are all there to help you get the most out of your voiceover session. Everyone involved wants the production to be a success. If while in a recording session, you are not quite sure about direction, script construction, copy edits, or have questions or concerns about the audio itself, then allow the talents and experience of these professionals to help you achieve your goals.

8- Be Specific – Vague terminology is confusing and not very helpful since it often requires further explanation anyway. “Make it blue” is not a clear direction and can be interpreted in several ways. “Bigger smile” and “descend on that word” are examples of very precise directions that the voice over talent can easily understand.

9- Keep it Positive – Everyone appreciates positive feedback. If the talent is communicating your message effectively, let them know it.

10- Make It Fun – The best and most memorable recording sessions are the fun sessions. They usually involve fun, creative scripts and people who love listening to their productions come to life. Even if the script is informational and straightforward, there is no reason the session can’t be fun while the work gets done. Sometimes, it can be so much fun… it seems strange to call it work. How’s that for getting the most out of a session?

Filed Under: Voiceover Tips & Advice Tagged With: 4VO, audio engineers, Dan Friedman, Sound Advice Voiceover From an Audio Engineer's Perspective, sound4vo, VO, voice over, voiceover book, voiceover session, voiceover talent

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