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Warm up your voice by reading the script aloud before starting the recording. Make sure that you’re not speaking so quickly that words slur together, nor so slowly that you’ll put the listener to sleep. To make sure that each word is understandable, speak clearly. When you’re talking to another person, you’re not only using your voice, but also facial expressions, body language, gestures - all things that help you to be fully understood in a face-to-face conversation but don’t translate well to voice-overs. Though talking is the most natural thing in the world, “speaking” - especially into a microphone - is pretty unnatural. 8 - Remember that speaking is not the same as talking If your mouth gets dry, it will make noises - smacks, clicks, pops - that will distract from the message. Water works very well, either hot or room temperature. Good posture will help you maintain good breath support, which makes it easier to speak in a strong, clear voice. It will save lots of frustration when it comes time to assemble the final. Use markers in the timeline to indicate takes. Your notes during the read cannot be too detailed. You may think you’ll remember what changed between Take 25 and Take 26 of Chapter 3, but once you finish recording all 12 chapters of the book, it will all seem like a blur, trust me. 5 - Make sure you have a copy of the script and keep copious notes If you don’t have a quiet room to record in, then the ISOVOX Home Vocal Booth is a great solution for recording in an extremely live or reverberant space. Reflexion filters can help tame the reflections of a live room.
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If you are working in a large room with reflective walls instead of a professional vocal booth, then acoustic filters can make a huge difference in the sound of your VO. In order to make the VO sit well in a track or over backing music, make sure the ambience of the room is minimized. It’s easy to add reverb or roominess to a vocal that is recorded dry but difficult to take room ambience out of a recording. 4 - Make sure the recording space is not too live Even better, the Stand Outs M91 stand extender (which fits the Manhasset M48 stand) not only dampens the resonance but also allows the talent to spread out several pages at once. Using a thin piece of carpet or industrial rubber will dampen resonances. The resonant frequency of a music stand can be right in the vocal range and can be audible when the talent speaks or sings loudly. Make sure the music stand doesn’t ring when tapped.
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Plus you can position the script high enough so the talent is looking up at the mic instead of looking down, which can restrict the vocal cords. A music stand will not only help the voice-over talent stand the correct distance from the mic, but it will also help to minimize the sound of papers rustling since pages are slid instead of turned when the script is on a stand. I suggest that you use a music stand for the script.
If you place the pop filter 4–6 inches in front of the mic, the visual reference makes it easier for the voice-over artist to stay 4–6 inches away from the pop filter rather than trying to consistently stand 8–12 inches from the mic. Pop filters are enormously handy when recording voice-overs besides helping to protect against plosive sounds, you can also use one to help position the voice-over artist at the correct distance from the microphone. Take a listen to some of our favorites in our USB Mic Shootout. If you are planning to do voice-overs and don’t have a studio already set up, all you need is a USB mic to plug into your existing computer, plus recording software. This is close enough that the voice will sound clear and “present,” but far enough away that the voice won’t sound muddy due to the microphone’s proximity effect. When recording the voice-over, start with the microphone 8–12 inches in front of the talent’s mouth. Our practice is to use mics in a cardioid pattern - and if there’s a low-cut filter on the mic, we’ll use it. But that doesn’t mean that we won’t use a dynamic microphone such as the Shure SM7B when that sounds better for a particular voice. Here in the Sweetwater Studios, we use large-diaphragm condensers - specifically, Shure’s KSM44A - more than any of our other mics for voice-over (commonly abbreviated as VO) sessions.
If not, look at a couple of different options. Try to start with the right microphone: if at all possible, experiment with your current microphone collection to see if one or more of them make the voice sound like you want it to sound. Engineer’s Tips 1 - Put the right mic in the right place When recording a voice-over - whether it’s a single sentence or a whole audio book - there are several things that you can do to improve the quality of the voice-over.