Tame those “spikes” in your audio with Limiter effect
When you’re recording voice over you want to use my “Goldilocks” theory of recording: Not to Hot or the sound will clip and distort. And not too Cold or your voice will compete with the noise floor of the recording. And you want to err on the conservative side of a lower recording. So you often end up with a recording with a lower volume than the optimum.
Many talents try to fix this by “Normalizing” the final recording. But if there are volume “spikes” in your waveform, normalizing can have little effect–or actually turn down the volume of your recording. This video shows how to do it properly by adding an effect called a “Limiter”.
I’ve been teaching voice overs for twenty years and every student begins with the same declaration: “I can talk and I can read, so I can do this”. One of the first things we discover is that half of these talents can’t read. Now, I don’t meant they read like in the first grade, “See Spot run. Run, Spot, Run”.
I mean they can’t get through a sixty second ad without stumbling on words, missing words or substituting words. Some aspire to read audio books in their career. Well, trust me, if you can’t nail a sixty second spot, you’ll never get through a 257,000 word Harry Potter book. Continue reading →
People come to voice over from a variety of different backgrounds. Some come from the broadcasting world. They bring clear enunciation and solid reading skills. Others come out of on-camera or stage acting. They have and edge when it comes to voice acting, which is a required skill in modern voice over performance. Still more are cartoon or game junkies. And they have an acquired reservoir of of characters stored away in their mind. But what about singing? Continue reading →
There’s a myth about speech that has been around since the Egyptians invented hieroglyphics. And that myth is that somehow you can take all of speech and condense it down to written words on a piece of paper.
Actually I think that 70% of speech is what I call nonverbal. What I mean by that is it’s not the words that you’re saying but how you say them that conveys most of the information.
So to be good at voiceovers you need to understand and control your nonverbal toolkit. This video explains what it is and how to use it to produce winning voice over auditions and jobs.
What techniques do you think contribute to a winning voice over? Leave a comment below.
You’ve worked on your voice over performance skills and technique. Yeah, you can always get better but you feel you’re competitive and can give the clients a read they’ll be proud to exhibit.
Your voice has interesting variety and you have an authentic sincerity that will even warm the hearts of dishwasher soap consumers.
I always say, to be in the voice over business, you need to enjoy the process. Auditioning should be fun, engaging your performing skills. Recording and editing should challenge your left brain. And the business aspects should give you pride of accomplishment.
Your demo is your calling card in the voice over world. It is used by you, casting services, agents and clients to evaluate and market your skills.
With the availability of high quality recording equipment there is a tendency to attempt to create your own demo. But recording is only one aspect of a top-notch demo. And a “home-brewed” demo could restrict your opportunities for the best work.
Here are six aspects of a quality voice over demo. And some reasons why working with a demo producer will give you the best results.
Yes you need the ability to record at home to be a voice over talent. But if you’re just beginning, keep it simple. Here are the four things you need to create broadcast quality recordings. Any other tips? Let me know in the comments.
Ever since the “Talkies” were invented, film has been a combination of the visual element – the film – and audio elements – dialog, ambiance, sound effects, “foley” and music. The first problem they had to solve was “synching” the sound with the video. A primitive way to do that was the slate clapperboard. When they clapped the top of the board together it provide a visual cue and an audio cue which they could align when they married the sound and picture together. Later techniques involved time code that connected the camera to the sound recording equipment. Continue reading →