{"id":796,"date":"2022-11-07T22:32:51","date_gmt":"2022-11-07T22:32:51","guid":{"rendered":"https:\/\/georgenowik.com\/?p=796"},"modified":"2022-11-07T22:34:02","modified_gmt":"2022-11-07T22:34:02","slug":"the-audio-engineering-voiceover-melditude","status":"publish","type":"post","link":"https:\/\/georgenowik.com\/index.php\/2022\/11\/07\/the-audio-engineering-voiceover-melditude\/","title":{"rendered":"The Audio Engineering Voiceover Melditude"},"content":{"rendered":"<div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-1 fusion-flex-container nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row fusion-flex-align-items-flex-start fusion-flex-content-wrap\" style=\"max-width:104%;margin-left: calc(-4% \/ 2 );margin-right: calc(-4% \/ 2 );\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-0 fusion_builder_column_1_1 1_1 fusion-flex-column\" style=\"--awb-bg-blend:overlay;--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:0px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><div class=\"fusion-audio fusion-audio-1\" style=\"--awb-progress-color:#ffffff;--awb-border-color:var(--awb-color1);--awb-background-color:#1d242d;--awb-max-width:100%;--awb-border-size:0;--awb-border-top-left-radius:0px;--awb-border-top-right-radius:0px;--awb-border-bottom-right-radius:0px;--awb-border-bottom-left-radius:0px;\"><!--[if lt IE 9]><script>document.createElement('audio');<\/script><![endif]-->\n<audio class=\"wp-audio-shortcode\" id=\"audio-796-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/georgenowik.com\/wp-content\/uploads\/2022\/11\/Episode-048-The-Audio-Engineering-Voiceover-Melditude.mp3?_=1\" \/><a href=\"https:\/\/georgenowik.com\/wp-content\/uploads\/2022\/11\/Episode-048-The-Audio-Engineering-Voiceover-Melditude.mp3\">https:\/\/georgenowik.com\/wp-content\/uploads\/2022\/11\/Episode-048-The-Audio-Engineering-Voiceover-Melditude.mp3<\/a><\/audio><\/div><div class=\"fusion-text fusion-text-1\"><h2>~ Or: How does all this magical stuff fit together in such a nice, neat package?<\/h2>\n<p>The audio engineering voiceover path-crossing is, apparently, not very common.\u00a0 This is a fact that is surprising to me given just how closely the audio engineering voiceover skill-sets truly intersect in my own experience.<\/p>\n<p>It took quite a bit of digging to really find out just how far apart they actually are and my head is still swimming on that front.<\/p>\n<p>So hear me out.<\/p>\n<p>I&#8217;m going to dive a bit deeper into my home recording rabbit hole of DOOM and talk about <em>why<\/em> I ended up in a position to be doing something that I&#8217;m constantly told I shouldn&#8217;t be doing.\u00a0 Which is bridging the audio engineering voiceover gap.<\/p>\n<p>Because really.\u00a0 When do I ever follow the rules?<\/p>\n<p>Ok that one time.<\/p>\n<p>Uhhh ok that one other time.\u00a0 But THAT one is like Bruno.\u00a0 And we don&#8217;t talk about Bruno.<\/p>\n<p>MOVING ON!<\/p>\n<h2>Revisiting a Bit More History<\/h2>\n<p>When I talked about my obsession with home recording in my <a href=\"https:\/\/georgenowik.com\/index.php\/2022\/10\/31\/the-advent-of-home-recording\/\">previous blog entry<\/a>, it was under the persona of someone who covers a lot of ground.\u00a0 The home recordist often needs to wear many hats out of necessity.\u00a0 At least, that was the case in the late 90s &#8211; early 2000s.\u00a0 For me that meant that I wanted to be able to record in the categories of instruments, singing, and voiceover.\u00a0 I also wanted to be able to properly mix those things so that they sounded <em>good<\/em>.<\/p>\n<p>It&#8217;s an unfortunate reality but not only was the prevalent loudness war an effective means of destroying musical dynamics, all of the steps PRIOR to that loudness were required knowledge for the mixing engineer.\u00a0 That means mixes up to snuff prior to any mastering process involved.\u00a0 Before a self-mixing artist can get to the mastering stage, understanding all of the techniques under the sun for proper mixing is required.<\/p>\n<p>So by the time I was recording and mixing music-related things, I was going through on-the-job training trying to make my own mixes match up to industry and community standards.\u00a0 That meant crystal clear and <em>loud<\/em>.\u00a0 All of that took place juuuuuust prior to my obsession with voiceover.\u00a0 By the time I put my face behind a mic at home, the mixing skills were already blossoming.\u00a0 Like a little flower waiting to blow your ears out with loud music.\u00a0 But it was more complicated than just recording voice and sending it off.<\/p>\n<h2>Environmental and Modification Guidelines For a Recording<\/h2>\n<p>There is a key step for every single thing that is recorded.\u00a0 Evaluation.\u00a0 Does this recorded thing sound good on its own?\u00a0 Does it stand up to established good-sounding reference material?\u00a0 If the answer is no to either one of those things, a couple of decisions are necessary.<\/p>\n<ul>\n<li>If the source of the recording is not good, it needs to be re-recorded.\u00a0 For anything that goes in front of a mic &#8211; voice, instruments, canines, an Effendi &#8211; there is a basic level of necessary quality.\u00a0 Examples of things that can disqualify a recording:\n<ul>\n<li>Gain is too low and raising it after recording causes too much noise<\/li>\n<li>Gain is too high and the signal is clipped, or &#8220;distorted&#8221; to a point where no restoration is possible<\/li>\n<li>Mic is too far from source and makes it sound like the source is in a bathroom<\/li>\n<li>Mic is IN A BATHROOM or any other completely untreated space<\/li>\n<\/ul>\n<\/li>\n<li>If the source of the recording is clean and tidy and does not fall into any of the categories above but sounds empty or lifeless, it&#8217;s time to bring out The Tools.<\/li>\n<\/ul>\n<p>I did a short series on one of those tools: <a href=\"https:\/\/georgenowik.com\/index.php\/2022\/03\/28\/the-equalizer-part-1\/\">The Equalizer<\/a>.\u00a0 To not re-hash, the equalizer can remove undesirable things and enhance the good stuff.\u00a0 A compressor brings uniformity to a sound.\u00a0 It makes the quiet parts louder and the louder parts a bit quieter.<\/p>\n<p>Gentle use of both of those things is required, lest ye create something that sounds unnatural.\u00a0 Unless that is your goal, in which case carry on.<\/p>\n<p>After some knob tweaking and critical listening, hopefully the sound you end up with is what you&#8217;re looking for. Congratulations!\u00a0 A winner is YOU!<\/p>\n<h2>Voiceover Environmental Concerns<\/h2>\n<p>The environment of acoustic things recording has a huge impact on the final product.\u00a0 In the examples above of things in the first category, none of those things can exist for a recording to be usable.\u00a0 If you&#8217;ve heard voiceover in some indie games recently, you know which ones were done in a proper space and which ones were done in a &#8230;. not proper space.\u00a0 Sometimes within the same game.\u00a0 I reviewed a game for a podcast a while back that had some of that and it was painful and I didn&#8217;t pull any punches.<\/p>\n<p>If you&#8217;re going to charge folks Earth Dollars for a product that includes audio recordings, those audio recordings better be as shiny as the top of my head.\u00a0 That means good recording environments. So let&#8217;s talk about that.<\/p>\n<h3>Microphones are like hips: they don&#8217;t lie<\/h3>\n<p>Microphones do not lie.\u00a0 Our keto-compatible fatty computers made of meat do.\u00a0 You can listen to a guitar amplifier and think it sounds amazing and when you hear what a microphone picked up, it can sound WILDLY DIFFERENT.\u00a0 This is because our brains do some wild crazy interpretation of what we&#8217;re listening to and automatically filters out things we don&#8217;t want to hear.\u00a0 The microphone has no such mercy and will give you EXACTLY what you give it.\u00a0 Garbage in, garbage out.\u00a0 Or great stuff in, great stuff out, but not what we thought we heard.<\/p>\n<h3>What this means for the sound hole in our face<\/h3>\n<p>Enter the voice recording.\u00a0 You want a voice recording to be as clean as humanly possible.\u00a0 What does that mean to me specifically?\u00a0 I&#8217;ll give you a list.\u00a0 Check it twice.\u00a0 Every violation is naughty:<\/p>\n<ul>\n<li>Absolutely no room reflections.\u00a0 Not even from the ceiling.<\/li>\n<li>As little room node as possible. Frequencies that stand out.\u00a0 Ever sing in the shower and get to that one note that makes the whole sound envelope your head?\u00a0 Room node. It can be fixed in post but only so much.<\/li>\n<li>Close enough to the mic to be captured.\u00a0 The general recommendation is stick out your hand like a Californian &#8220;Hang loose, dude,&#8221; thumb and pinky out.\u00a0 That&#8217;s the distance from your face to the mic.\u00a0 Generally.\u00a0 There are exceptions to this but we&#8217;ll talk about that another time.<\/li>\n<li>Seriously.\u00a0 No room reflections whatsoever.\u00a0 Or comb filtering.\u00a0 Or slap back.<\/li>\n<\/ul>\n<p>I could spend an entire blog on proper treatment of a space &#8211; and I probably will &#8211; but for now the short version is: flat untreated walls bounce audio signals like a trampoline.\u00a0 Our ears will not hear it because our brains <em>lie to us<\/em>.\u00a0 A microphone will pick up every single solitary thing and punish you mightily for the thankless job.\u00a0 So you have to make sure that what you put into it is exactly what you want to get out of it.\u00a0 Reflections?\u00a0 Got &#8217;em.\u00a0 The low rumble of your refrigerator down the hall?\u00a0 Yup!\u00a0 Airplane off in the distance that you thought you heard but didn&#8217;t think the mic could possibly grab?\u00a0 IT&#8217;S IN THERE!<\/p>\n<p>(pro tip: putting foam behind your mic does virtually nothing.\u00a0 the mic will pick up all reflections from above and behind you much better than it will behind it.\u00a0 you must cover -all- your bases, not just the wall behind the mic)<\/p>\n<p>So yeah.\u00a0 The best possible recording conditions you can muster.<\/p>\n<h2>Merging the Audio Engineering Voiceover Worlds Together<\/h2>\n<p>Ok, we&#8217;ve established that there are skills and tools necessary to take recorded stuff and bring it up to standards. We&#8217;ve discussed the need for clean recorded signals.\u00a0 The cleanest ever.\u00a0 Cleaner than Mr. Clean.<\/p>\n<p>I&#8217;m not even cleaner than Mr. Clean and I&#8217;ve been mistaken for him before.<\/p>\n<p>So this is where sometimes the audio engineering voiceover combination happens.\u00a0 Like Voltron.\u00a0 Except it&#8217;s only two parts.\u00a0 Or like 8 billion parts, depending on how you break it down.<\/p>\n<p>Proper voiceover requires perfect recordings.\u00a0 Or as near-perfect as possible.\u00a0 This is why you see voiceoveristers in all manner of different environments.\u00a0 Booths.\u00a0 Walk-in closets jam packed with clothing and sometimes even absorption panels.\u00a0 Coat closets behind all the coats.\u00a0 Blanket forts.\u00a0 Caves built out of hotel mattresses.<\/p>\n<p>Whatever it takes to be rid of room reflections.<\/p>\n<p>After that, it&#8217;s a matter of determining what you send as raw audio.<\/p>\n<p>&#8220;But George,&#8221; I can hear you say, &#8220;doesn&#8217;t &#8216;raw audio&#8217; imply that all you are doing is recording something and then sending it to them as just that? Raw as an uncooked beef chuck roast?&#8221;<\/p>\n<p>To which I would reply &#8220;It&#8217;s complicated.\u00a0 And also, I think I need to make a pot roast again.&#8221;<\/p>\n<h2>Raw Audio Controversy<\/h2>\n<p>I <em>suspect <\/em>I&#8217;m going to hear about this one.\u00a0 And in fact I&#8217;m not even making this a recommendation.\u00a0 I&#8217;m outlining something -I- do &#8211; with the backing of some expert guidance &#8211; as preparation for sending something as raw audio.<\/p>\n<p>By the way, if you&#8217;re listening to the audio version of this, what you are hearing is most definitely <em>not<\/em> raw audio.\u00a0 It&#8217;s more processed than Oscar Mayer bologna.\u00a0 But that&#8217;s the way -I- like to present it in the format of this blog.\u00a0 Not everyone wants that sound.\u00a0 I do.\u00a0 And it&#8217;s my blog and I&#8217;ll process if I want to.<\/p>\n<h3>This is my process.\u00a0 There are other processes.\u00a0 This one is mine.<\/h3>\n<p>The first thing I will do is cut ANYTHING out of my signal that is lower than around 40-50hz.\u00a0 Low frequency rumble.\u00a0 There is no functional use for any of that in a recording sent to a client in my estimation.\u00a0 It can also improve noise floor concerns.<\/p>\n<p>The second thing is the slightest removal of a barely present room resonance in my booth.\u00a0 Any room is going to have a resonant frequency.\u00a0 Absorption materials &#8211; panels, clothes, insulation, dictionaries, hula skirts, peacock feathers &#8211; will do wonders to lessen their impact.\u00a0 The fact remains that every single room has a frequency at which is likes to hum.\u00a0 My booth &#8211; which is insulated to death &#8211; still has one and it has a slight equalizer cut to compensate for that.<\/p>\n<p>There is an ever so slight top-end shelf to raise the highs just a teensy bit more to compensate for the deadness of the room.<\/p>\n<p>And finally a compressor that is ever so slightly rounding off the peaks.\u00a0 Barely.\u00a0 Almost never actually, but there just in case.<\/p>\n<p>That&#8217;s it.\u00a0 That&#8217;s my raw audio.\u00a0 It&#8217;s a signal chain that I run my raw signal through.<\/p>\n<p>I have <em>other<\/em> signal chains available that I use for different reasons.\u00a0 The audio version of this blog runs through a signal chain that I created to get a sound that I like.\u00a0 And I can switch back and forth between them at will in my workstation template because I&#8217;m lazy and don&#8217;t like having to go fishing.<\/p>\n<h2>A Marriage Made in Cubase<\/h2>\n<p>So that, in a nut shell &#8211; or a blog post &#8211; is how the worlds that I live in managed to intersect quite thoroughly.\u00a0 The good news is that all those years of practice in the audio engineering and home recording side have given me the flexibility to do some pretty fun things without needing external support every time.\u00a0 Like a <a href=\"https:\/\/youtu.be\/hAj1hIPOl3g\">mock promo<\/a>.\u00a0 Or a <a href=\"https:\/\/youtu.be\/DclJrNVXnlY\">music video<\/a>.\u00a0 Or a <a href=\"https:\/\/youtu.be\/t8Nl9A65h6E\">weird skit<\/a>.\u00a0 The audio engineering voiceover amalgamation come to life.<\/p>\n<p>My plan was not to come out of the gate as a one-stop-shop.\u00a0 I didn&#8217;t wake up in the morning one day and say &#8220;I think I shall henceforce do EVERYTHING.&#8221;<\/p>\n<p>And to be abundantly clear: I&#8217;m still learning.\u00a0 Every day.\u00a0 On all the fronts; technically and artistically.<\/p>\n<p>Coaching with voiceover coaches.\u00a0 Shadowing a mixing engineer and asking questions during a commercial demo mixing session.\u00a0 Every time a new video gets released on Puremix with new things to learn.\u00a0 When new plugins come out and there are tutorial videos.<\/p>\n<p>It never stops.\u00a0 The learning process never ever stops.<\/p>\n<p>Or at least it shouldn&#8217;t.<\/p>\n<p>Because <em>not<\/em> learning something new every day sure seems awfully boring.<\/p>\n<p>Got questions? Let me know!\u00a0 I&#8217;m a full-time nerd and I love sharing stuff.\u00a0 Got your eye on the audio engineering voiceover concoction of BE WARNING?\u00a0 Let me know.<\/p>\n<p>Until next week!<\/p>\n<p>-= george =-<\/p>\n<\/div><\/div><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":122,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[80,24],"tags":[19,236,235,106,40,237,11,8],"class_list":["post-796","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-audio-engineering","category-voiceover","tag-audio-engineering","tag-compressor","tag-cubase","tag-equalizer","tag-mixing","tag-processing","tag-recording","tag-voiceover"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v25.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>The Audio Engineering Voiceover Melditude - George Nowik - Voice Actor<\/title>\n<meta name=\"description\" content=\"The Audio Engineering Voiceover link is complicated Crossover between them is frequently considered a gulf. 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