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Voiceover – Tips and Tricks for Audio Production

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By Dan Friedman with contributors Dan Gustafson and Cliff Zellman

Let’s talk … audio production. While it is easy for a voice actor to think only of their performance and delivery of the copy, it is also important to remember that all of those beautifully spoken words are pieces in a larger audio landscape. For those interested in producing and mixing, or for those VO talent interested in a glimpse into the world of sound design, this post is for you. I’ve offered up a few tips about audio production and asked a few friends to contribute as well.

Check it out and if you have any tips, feel free to leave a comment.

My longtime friend, producer Dan Gustafson of Sonicbliss Productions, (Have you ever noticed how many guys named “Dan” work in this business? Weird.) recently produced my radio imaging demos. He did such a stellar job that listening to my Active/Alt Rock Imaging Demo actually makes the hair on my arms standup. Here he offers some of his production and mixing tips.

Panning, Pitch Adjustments and EQ:

If I’m trying to create a snowball fight scene I’m going to need a lot of elements. Snowballs flying, snowballs hitting things, crowd noise, outdoor ambience, peoples reactions to getting hit with a snowball etc.
The way I would approach this is, for all the various snowball impacts I would use a pitch plugin and pitch them differently so they all sound individual. Then pan them all over the place. One could be panned left to 34, another could be panned right to 57, another could be panned left at 72, another could be panned right at 99 one could be right down the middle in mono. The stereo spectrum we have to play with is so huge, take advantage of it.
In terms of EQ, carve out a space for each item. If I have a track of crowd noise and a track of outdoor ambience on top of each other, I might do a cut at 1800k on one track and a boost at 1800k on the other track. The frequency range can be whatever sounds good to you, the boost one and cut the other is the important thing.

VO Performance:

The best VO talents can take the worst piece of copy in the universe and make it sound compelling. How? Silence, inflection, dynamics and changing pace/intensity.
I think silence is huge but you need to be lucky enough to have copy that gives you room to breathe for that to work.
In terms of inflection, after you’ve read it a few times the way you “think” it should be read, try reading it with totally different inflections, energies and emphasis. It could sound horrible, but, you may find a gem take in there or something that leads you down a different path. These are the things that would help a VO talent stand out in a crowd of thousands.
When it comes to dynamic range, maybe think about a great song. It isn’t all in one dynamic range, it has soft parts and loud parts to emphasize certain points. Spot copy should be treated the same way in my view.
And how exciting is a movie trailer or song when it starts out slow, begins to build in speed and intensity, then hits a crescendo. Change of pace can build drama and that means a compelling piece.

Fine Tuning:

I had a boss once who told me, “Getting it to 95% could take you an hour, but then trying to get it to 100% could take another 3.” That made so much sense to me. As artists, we want everything to be perfect, but 95% of your best effort infused with the passion you bring to the mic every day is going to produce a great piece of work.

I met Cliff Zellman in 2011 and we immediately became good friends. We share similar points of view on nearly everything audio related. Cliff is a grammy winning producer who works in the fast paced world of automotive commercial production through the Texas based company Radiovision.
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Mixing VO with music and sound effects:

I try to carve out the center of the mix a bit, leaving plenty of room for the VO in the middle.  I listen for dominant frequencies within the center of the stereo music bed and drop them slightly using a good stereo-linked parametric EQ. Then I use a touch of side-chain compression on the music bed, using the voice as a trigger. Just a touch, maybe -1 or -2 db.

Reading for an audition:

Imagine what the visuals might be doing. Some scripts may have a column for video direction, but most audition scripts won’t. Look for clues in the script. Let the casting director know you understand the “layers” of the script.

Keep it clutter free!

Working in a clutter free environment is much more conducive to creativity then working amidst chaos. Less distractions can keep you in that “creative zone” easier and longer. This also goes for your computer’s directories and files. Just remember KICK (keep it clean, kid).

When mixing demos, commercial spots or working on audio productions of any kind here are some tools that I use as well as some things that I keep in mind:

Layering:

Layers of sounds are critical in audio production as we do not live in a world where only one sound at a time is occurring. Taking environment and sound location (left, right, up, down, forward, back) into consideration are critical to creating a realistic environment. Always listen to the world around you, so you can recreate that world more accurately in audio production.

For drama, sounds such as an explosion (for example) are usually not simply an explosion sound effect. They are far more exciting when multiple layers of sounds are brought together. An audio explosion might include an impact sound, the reflected concussion from the impact,  the sound of the low end boom and trailing rumble and perhaps even a subtle musical drone may be layered together to create a dramatic … BOOM!.

Timing:

The seventh dimension of recorded sound is time. Frequent changes in dynamics, tone and pacing hold the listener’s attention and make listening entertaining and fun.

Set limits:

Artists of the past were forced to come up with creative solutions because they were limited by the technology of the time. Now that computers make nearly anything possible in the audio realm, it is important to set limits and know when to call a project “done.”

Audio production requires practice, experimentation, a proper listening environment … and is one of the most fun and creative aspects of this business.

If you have tips, tricks, questions please leave a comment below.

Voiceover – Sounds To Get Your Heart Pumping

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logo 4voHappy Valentines week everyone! In the spirit of the upcoming holiday, I thought I’d share a production tip on how to create sounds that get your heart pumping. 😉 Have you ever wondered what individual elements can go into the sound design of producing a movie, television program, commercial, or even a voiceover demo? When it comes to audio production, there is quite a bit more that goes into sound design then you may realize.

Layers of sounds are critical in creating interesting, dramatic and/or realistic audio productions. After all, we do not live in a world where only one sound is occurring at a time. Taking environment and locations where different sounds originate (left, right, above and below you, in front and behind you) into consideration are critical when creating a realistic environment. For drama, a sound such as an explosion (for example) often involves a lot more than simply pulling an explosion sound effect out of the sound effects library.

Explosion sound effects are far more exciting when multiple layers of sounds are mixed together. An audio explosion might include one or more impact sounds, the reflected concussion from the impact, the sound of the low end boom and trailing rumble and perhaps even a subtle musical drone may all be layered together to create a dramatic … BOOM!.

Listen to this simple explosion sound effect downloaded straight from the AudioBlocks.com library:

Listen to this explosion which includes 8 separate elements (including the above audio file) each of which can also found on the AudioBlocks.com library:

Now, that is a sound that will get your heart pumping!

Nearly all music requires layers of sounds and instrumentation to create an emotional response in the listener. Sound design is no different.  While this was just a simple demonstration, hopefully it provided some insight into another side of our business that you may not have thought about.  If you’re a voice talent interested in sound design and audio production, try layering different sounds and hear what you can create. Most importantly … have FUN!!

Voiceover – The New Catalog is Here!

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IMG_1791Other than checks and gifts there are few things that we in the voiceover industry receive in the mail that are quite as exciting as the ProGear catalog from Sweetwater. While I have made purchases with many retailers over the years, none of them offers a catalog quite as alluring as Sweetwater. The ProGear catalog is filled with plenty of photos and some really helpful tips on how to get the most out of the gear in your studio. The tech tips and Q&A interviews scattered throughout are worth much more than the weight they add to the catalog … and allow me to say that I don’t just get it for the pictures. 😉

(This year the Victoria’s Secret catalog arrived in my mail on the same day as the Sweetwater catalog. I scanned it thoroughly … twice … and found no helpful articles.)

If you are buying studio gear for the first time, want to upgrade and get the most bang for your buck, or simply have no interest in becoming a “techy,” then even the Sweetwater catalog (as sexy as it is … ahem, I mean informative) can be somewhat overwhelming. You just can’t try everything before you buy. So, how do you choose?

Just as we interpret scripts for meaning and subtext, we also have to interpret descriptions of the gear. For instance, if a microphone has a description that includes “vintage sound” that microphone probably has some characteristics that are noticeable or recognizable. This should probably be interpreted to mean that the microphone, although it may sound spectacular on many sources, may not capture our voice as purely as we would prefer. The microphone will have its own sonic character. A description that includes “accuracy” or “clean and clear” may be the better choice.

A microphone’s description may include the acronym “SPL” (Sound Pressure Level). This means the loudness level (or volume) of the source sound (e.g. – your voice). While we are not necessarily shouting, we may be close to the microphone for intimate reads. As such, the microphone may still be receiving a fairly significant amount of sound pressure level at close proximity. A microphone’s ability to handle high SPLs without distortion is important to us as voiceover artists.

The descriptions included with interfaces and preamps are filled with hyperbole. Once again, terms such as “accurate” and “clean” will be words to look for. Many of us work with multiple DAWs (Digital Audio Workstations) and travel with our gear, therefore “flexibility” and “portability” are terms to watch for as well. Preamps/Interfaces are easy to return or exchange if they don’t offer the level of quality you are hoping for. (Due to health concerns, exchanging microphones can be a bit more complicated. Be sure to check with your retailer regarding their return policies). Furthermore, you will often find another similarly priced preamp/interface from another manufacturer that will.

Truth be told, if you were recording an instrument with a broad range of frequencies such as a piano or recording an entire orchestra, the overall ability of your interface to capture those sounds would be critical. Your voice takes up much less sonic space. At the low end of the price spectrum you will not notice too many differences in an interface’s ability to capture sound (or differences listed in the catalog). However, there are a few areas where you will notice significant differences. One of the things that separates good quality gear from gear that is barely acceptable (or not at all acceptable in my opinion) is the sensitivity of the knobs. Small changes to the preamp on a physical knob should not cause dramatic jumps in signal level (up or down). Level changes should be as smooth as the knob you are turning essenceapotek. Another difference is headroom, or the ability of the preamp to produce an adequate signal level while still allowing you to increase the gain should you need it. Other critical differences are self-noise and the software and interface options they may or may not offer.

For studio monitors it is important to remember that you are working primarily with your voice. Therefore it isn’t necessary to have features such as “extended bass response.” Be sure to pay attention to whether the studio monitors are “powered” or “active.” This means they have their own amplifiers built into the speaker enclosure. Remember, the size of your listening environment will help determine what size studio monitors will best meet your needs. If you are going to be using your speakers in a small space, then “nearfield” monitors are the way to go.

Just like with studio monitors, headphones may offer a number of features you simply do not need when working with voice alone. However, there are some features you will definitely want to consider. A closed back design is one of those must-have features. This design helps reduce the possibility of sound being emitted by your headphones from leaking into your microphone. Headphone bleed is a sound you do not want to have to try to edit out of your recordings later. You’ll also want to be certain that the headphones you choose are comfortable as you may be wearing them for an extended period of time.

Hopefully, some of what I’ve shared here will start you on the right path. Clearly, every description is intended to influence you to buy. We can do our best to interpret greater meaning within these descriptions, but in the end, it will always come back to listening for yourself. Above all else, no matter what piece of gear you choose or which retailer you choose to purchase from, there is no substitute for a stellar performance and a great sounding recording environment.

Thank you Sweetwater for producing a catalog that is loved by everyone in our industry!

Recording Magazine’s Room Acoustics Series Part 5

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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!

Voiceover Gear, Quality and Rates… a Correlation?

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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.”

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