When you come to actually recording your voice, try to think of the mic as the ear of your listener. Picture your listener, have an opinion, and read the script as if the words were coming to mind that instant. The distance between your mouth and the mic should be about the same as the distance between your thumb and pinkie when making a hang‑five gesture (see the picture above). Move closer to the mic when you lower your voice and back off when you speak louder. On‑line dictionaries such as the Merriam‑Webster one pictured here, often include audio examples which can help you clarify pronunciation. Just make sure that you use an American English or UK English (or other language!) version as appropriate. (Remember, while you have your engineer hat on, to take account of this when setting levels.) Always use a pop shield, and I'd suggest trying to work slightly off‑axis, as talking to a point just to the right or left of the mic will prevent bursts of air and drops of saliva ruining your recording. I'd also recommend wearing headphones over one ear only, as this allows you to judge volume and listen for clipping and plosives on the recording, while also hearing your natural voice, which makes it easier to focus on that message we talked about. Simone demonstrates this technique in the picture on the next page. Hhe's working slightly off‑axis and has backed off an inch or two to deliver with more energy.Typically, you'd record with your mouth approximately the distance between your thumb and little finger from the mic, as pictured here.
This guide is designed to give you an insight into this hidden world and provide you with enough information to help you make an informed choice on whether or not this is a potential career for you. If you already are a voice actor, we will be giving you some tips and ideas to help you improve your voice acting skills to help you experience a dramatic difference in how you approach the written word.
However, there are lots of second tier voice over agencies and ones that are just getting established. One of your goals as a voice actor should be to get listed by an agency. However, wait until you have at least established yourself and put together a portfolio of work and super hot demos you can send out to them for consideration. When selecting an agent you need to carefully examine who they currently represent and then ask yourself: How do I fit in here? Does this agent have anyone like me on their books? If not, you will most definitely stand a better chance of being represented.
"It's always best to address these issues while recording. If a person is sibilant and/or 'mouthy' (clicks, pops, whistles), there are ways to lessen and sometimes eliminate the issues all together: juice from green apples, rinsing with water, repositioning the mic and pop‑filter, and adjusting his or her way of breathing. If there are still issues, I edit out as many of the problems as possible. Often, I redraw the waveform to get rid of issues, or use plug‑ins. We have just started to make use of Izotope's RX 2 Advanced, which works wonders on clicks, crackles, and the like. What I can't fix we try to have the talent come back in to do pick‑ups.”
Your own voice is your most important piece of equipment. If you're new to the voice-acting world, look around to see if there are classes or coaching in your area. Outside of class, practice speaking clearly and confidently. Learn to do this even with material you've never seen before. It's also important to learn voice care – straining or injuring your voice can hurt you and your career.
First, I like to listen to the entire voice over recording from start to finish. I may make notes here and there to remind myself of something I want to go back and edit, but this time through I really just want to concentrate on the overall pacing and tone of the recording. Does it sound like I hoped? Did I rush or speak too slowly? Did I flub any words, mumble, or misspeak? Are there weird silences or unknown sounds?
As the engineer, your key job is to select and set up the recording space, choose and position the microphone, set levels and make sure you're recording a good, clean signal at a healthy level. Like music, the louder the signal you want to record, the less audible the noise floor, but you don't want to have to speak louder than sounds natural, and you don't want to overcook things when tracking: any distortion will be very noticeable on an exposed voice part, and an otherwise great take with digital clipping won't be acceptable. If you notice clipping only when you start editing, software clip restoration tools might help to make the take usable, but it's not going to be perfect. Remember that although you may have needed to record 'hot' on analogue tape and older 16‑bit digital recording systems, modern 24‑bit A‑D converters can accommodate a much wider dynamic range, so you no longer have to track so loud: you can leave much more headroom.
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It's a good idea to record with one ear free from your headphones, as this helps you to deliver a more natural performance.When recording solo, I find the role of director the hardest to play. How can you lose yourself in the moment if you're on the lookout for mistakes? If you stop each time you mispronounce a word or use the wrong intonation, your spoken‑word recording will sound choppy and unnatural. It's for this reason that I like to record each job twice. The first time, I push the director out of the room and focus on the message. If possible, I even let the soundtrack of the video I'm narrating play quietly in my headphones, and I don't stop for mistakes any more than I would if I were telling a story to a friend. During the second take, I let the director back into the room, to make sure I pronounce everything correctly and emphasise the correct information — though I still try to keep the performance honest and natural.
At this point — unless you're tracking for broadcast applications (where they don't work to peak levels) — consider 'normalising' your recording to an optimal level. Normalisation can be used to push the loudest peak to around ‑1dB and increase the volume of the entire recording by the same ratio. Of course, you can also tighten up dynamic range (the difference between the softest and loudest parts of your recording) by manually reducing the loudest sections of the recording before you apply normalisation. On a final note, if you do plan to use a compressor, then you might as well add gain at that stage instead of normalising.