8

I think your client wants the original wav-file, instead of the mp3 you sent, for the final product. I only sent mp3's when sharing demo's. If the client is happy, I sent the wav files, because you don't want the final product to have another conversion to mp3.


5

Two things that can easily ruin quality, which you should avoid. First is room acoustics. Even the best microphone won't get you a good sound if it's placed in a room with strong echo resonances. If you can't record in a professionally treated studio, you should do it in a room with as neutral sound as possible – avoid exposed parallel walls. Record the ...


5

+1 on Mike's suggestion regarding lavs. If you're using stand mounted mics though, try placing the mic capsule above the mouth (cheek bone height) and slightly to the side. Obviously, still aimed at the mouth. The point is to get it out from in front of it. A quick fix for you in post... Create a duplicate track of the DX with your de-esser on it. Set it ...


5

I would say that you're overlooking a vital aspect of compression...there's nothing requiring you to use make up gain. Compessors can be used very effectively to control sustained amplitude increases or transient peaks. Your argument about bringing up the noise floor is a little mistaken as well. If you need to bring up the volume of a passage (whether by ...


5

In my opinion the only voices that can be made cartooney in post is chipmunks, smurfs, and shrunken people voices, absolutely everything else (that I can think of right now) is a matter of great and talented voice-actors. It doesn't matter if it's Bugs Bunny, Donald Duck, Weebl, Bart Simpsons, Stimpy, Schwartzenegger, or perhaps Itchy and Scratchy, it's all ...


4

Helium during the actual voiceover recording. The voiceover talent is pretty much everything, since the delivery speed and cadence can create cartoonish qualities, and that kind of inflection can't be easily "mapped" by DSP. It's a human nuance. Or if you do play with pitch, try altering the formant as well (I know Waves UltrPitch allows for this, I'm ...


3

I think if the client requests a high quality recording he is trying to judge how much work he will have with the material you deliver. Essentially if your voice talent is good enough your customer will want to save as much as possible on recording and "post production". If you want to please this customer you should make this as easy as possible for him. I ...


3

I have to agree that it's the talent, and not the treatment of the recording, that creates the magic trailer VO. With few exceptions, most LaFontaine copycats fall short as they can't hit the lower register as well as he did, and no amount of doctoring can fake it accurately IMO. You can have successful VO with a totally different voice of course, as proven ...


3

I'm not too familiar with Garage Band or Logic (I'm a Windows Cubase user), but your best bet is to simply record a child, but I'm assuming that's not an option. You can use just about any DAW (Digital Audio Workstation) to record your voice and using a blend of pitch shifting (shifting the lead vocal an octave or two down) and combining the newly modified ...


2

In addition to what Shaun said, be careful with expansion. If you're using a plain old digi Expander/Gate, anything more (or rather less) than a -6dB range will be a bit too heavy, and could result in pumping. A multiband expander like Waves C4 (with the "4 Band Noise Reducer" setting) will be much better if you have don't have the quietest recording set up. ...


2

Assuming the recording and levels are good in the first place. I will almost always roll off lows and shelf the highs, even if its just a little. Human voices don't really have much below 120hz or above 12khz so get rid of it. Next I work low to high on the frequency band. It usually looks something like this: A lot of voices often have a specific ...


2

If you are using personal clip on mics, providing they are omni, turn them upside down so they are facing down rather than up with help sibilance. As to de-essers, there are de-essers and de-essers. A lot of the de-essers are wide band so when a sibilance is detected they gain reduce the whole freq range. Good de-esses can be configured to just reduce the ...


2

What are you looking for in a good voice? It fits the purpose or matches the character. If it sounds good, it's good. How do you prefer to record/edit a voice over? If it's recorded well with a good microphone then all you need to do is to crop the lines (so that you remove extra noises prior and after the voice take) and place the takes ...


2

There are tons of apps for this. From wikipedia: AthTek Free Voice Changer, Skype Voice Changer, AV Voice Changer Software Diamond 7.0, MorphVOX of Screaming Bee INC, Fake Voice Or maybe try Avox Mutator.


2

Some experimentation with a trailer voice, I like this! Apart from Matt's suggestions maybe try bussing it to a pitch shifter at -12 semitones. I would go nuts on the eq cutting anything under 100 Hz hard and poking some frequencies that work well between 120-300, you can remove those same frequencies from the actual track to make them sit well together. A ...


2

It is partly due to the voice being mixed differently, but also comes from how the voice is recorded - controlled conditions in the studio, using a large diaphragm condenser with the actor close-in. Recording like this gives more bass and nice crisp highs in the tone of the voice. If you compare that to the way dialog on set is recorded - with a boom, from a ...


2

If you are willing to pay a little fee you could commission a recording. I haven't use the service before but I came across this service from the production of a video I saw. http://voicebunny.com


2

Go with the audio interface. The "mixer" borders on useless. It is basically just a cheap interface with some near useless features worked in to it. You are paying for unused features rather than an audio interface that includes a clean pre-amp and quality ADC. You want an audio interface for your purposes. The reason to go with a mixer would be if you ...


2

"Getting your toe in the door" for voice acting doesn't require equipment, it requires talent & tenacity. [It also isn't on-genre for this forum] If you want to become a voice-over or voice character actor, the biggest hurdle initially is not the quality of your recordings, it is the inherent quality of your voice; purely as suited to the ear of the ...


2

I will give you some feedback! I like long and constructive feedback so I will give that to you. One of the things I really liked was that bottle smash, really good job on that sound effect. I also like the underlying music tones at the beginning and the end of the trailer. Things I didn't care for is how everything sounded very close and could easily tell ...


1

In an acoustically sterile environment tisks and such is a problem, but I usually give the actors apples and such to eat, if not eliminating it then at least lowering the problem. When i comes to cleaning up, I have no trust in plugins whatsoever in these cases. Too much artefacts, and no actual control of what to eliminate/keep - a lot of pops and ...


1

One option is live pitch-shifting plugin, for example Waves Ultrapitch - it can pitch up and down in realtime as well as shifting along the "formant" axis which can make the voice sound more nasally or more throaty. To set it up, you would just have to have your microphone feed routed through a DAW running the plugin; the delay that it induces is really ...


1

The better question is what does a parrot sound like to you? To me the most telling qualities of a parrot voice is the heavy inflections that might scale an octave (in my imagination at least, I dont own a parrot). Also maybe something to distort the sound a little, like a light distortion or ring mod. Maybe some EQ-ing to get rid of the bass in a humans ...


1

We use 'add lines' to describe anything that was added in post. Walla is used to describe anything in the background. Before we have the script for the 'add' lines we refer to them as TBW's (to be written). That way we know which lines in our ADR list need to be addressed.


1

"Loop Group" is another possibility.


1

Well, there's ADR (additional/automated dialogue replacement) Wildtracks, buzz track. In the states you often hear the term 'walla' to describe crown muttering or bg chatter of any kind. slug usually means a short section of sound often silence


1

I'm a producer at a sound recording studio called We Love Jam in Sydney, Australia and we do this type of work all the time. I have to agree, hourly rate is the way to go and work back from there. Plus include the incidentals like WAV Masters, Archives, Stationery, Catering, etc. Whatever is potential expenditure. Feel free to comment if you need further ...


1

Our company has been asked to write, cast, record and edit an audio play for a tourist attraction. Do you have a hourly price for audio recording/editing? I think this is the easiest part of the equation. Just calculate the hours needed and leave room for changes the client will request or just bill them per hour. I assume that your client will want to ...


1

Plugs that come to mind: rbass, l1 slammed, rvox also play with multiband comps


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