Nowadays, a lot of voice artists are working from home. In this article, there are some points to consider while doing this work in order to get the best recording results. This article is mainly aimed at those who may not have a background in audio technology, but want to optimize the sound quality as best they can.
Microphone
It all starts with choosing the right microphone. I'm not going to go into detail here, but there are two common types of microphones: dynamic and condenser.
Dynamic microphones do not require a power supply, and the microphone diaphragm is moved entirely by the sound energy of the sound when working. This moves the coil attached to the back of the diaphragm, and when the flux lines of the magnet are cut by the moving copper coil, an electric current is generated. Dynamic microphones typically have lower sensitivity than condenser microphones, and lower clarity at the high end. The Shure SM7B is a popular model that is popular in podcast production. Dynamic microphones typically produce less neutral sound than condenser microphones, but are useful for certain types of content, including a "warm" broadcast sound style.
Condenser microphones require power, most commonly phantom power, which is a 48-volt system that powers the microphone through an XLR cable that transmits the microphone's audio signal. Condenser microphones are the most commonly used type of microphone in voiceover recordings because they have higher sensitivity and better clarity compared to dynamic microphones. When using any XLR microphone, keep in mind that you'll need an audio interface to connect it. The interface is usually connected to a computer via USB. The phantom power button on the connector will show 48V, +48, or Phantom.
Another important point about the microphone is the polar pattern. This determines the directivity of the microphone. Most of the time, you'll want to use a cardioid microphone for voiceover recording. This polarity pattern picks up sound directly in front of the microphone and reaches the maximum rejection point in the rear. If you're sitting in front of a private room window or on other reflective surfaces, the sound may bounce back into the microphone and cause undesirable effects, so a cardioid microphone is a good idea. Many condenser microphones have switchable polar patterns, and if you have a choice, choose a cardioid. This pattern looks a bit like a heart, hence the name heart. Avoid using omnidirectional mode unless you deliberately want to pick up a lot of reflections around the room. A bidirectional or "figure-8" polarity pattern will receive the same good sound from both sides, but will completely reject the sound from both sides. In many cases, this mode is ideal, but for voice over, it is only useful in the rare case where two people are facing each other and sharing a microphone. Another common pattern is the hypercardioid. It is similar to a cardioid microphone, but the front picks up tighter, and the rear picks up well except for the narrow pickup from the front and back. This is a good option for unfavorable acoustic environments, but be aware that the back lobe may cause more room reflections to enter the back of the microphone, which is often not advisable for recording sound at home.
The price of microphones varies widely, but it costs at least a few hundred dollars to get the right one. Don't spend $30 on Amazon for one. Actually, I once met a voice actor who did this, and it didn't work out well.
Room acoustics
Closely related to the choice of microphone is the acoustic treatment. The goal of voice-over recording is often to eliminate sound reflections from walls, ceilings, or other surfaces, leaving only the sound itself. Acoustics is a very complex subject, but a few simple treatments can go a long way. In the simplest setup, some acoustic panels can be used to eliminate reflections near the microphone. One way to do this is to place the acoustic panels on two walls in the corners. In this case, the microphone should be positioned towards the corner, with the rear of the microphone facing the room and the front facing the acoustic panel. As a result, you will be in the corner facing outward. The cardioid polar pattern I mentioned earlier allows the zero point of the microphone to face the room, blocking out most of the unwanted reflections.
Acoustic panels can be purchased or made yourself. The thicker the acoustic panel, the lower its effective frequency. In other words, thicker acoustic panels absorb both bass and higher frequencies. For sound, a moderately thick panel will do.
In addition to acoustic panels, another acoustic treatment method is diffusion. The role of the diffuser is to scatter the sound randomly, dissipating the energy of the reflected sound so that the sound is less focused. Diffusers come in a variety of designs, but often include some sort of uneven surface. They can be both functional and decorative, helping to add visual interest to a room while also performing its intended acoustic function.
Pop guard
When pronouncing consonants such as P and B, the airflow coming out of the mouth causes the microphone to pop. This can be avoided by using a pop filter. You might put a foam windshield over the microphone, but that might not be enough to stop the pop. A separate pop filter is a good idea. There are two types: metal and cloth. In my experience, a double-layered cloth windshield is the most effective.
Background noise
In a home environment, background noise can be a challenge. When recording voiceovers, try to seal the windows completely. Even if the window is partially open, a fair proportion of outside sound will come in. If the windows have been completely closed, but exterior noise is still an issue, consider using door and window seals to improve the tightness. These foam strips can make the perimeter of the window more airtight and reduce the transmission of sound. A similar principle applies to doors. Rooms with sealed doors and windows are most likely to reduce unwanted outside noise. If your double-glazed panes fog up, they are no longer effective at preventing sound from coming in, so replace them in time.
Also, consider the impact of the sound coming out of the room itself. Turn off the air conditioner while recording, and if your computer has a fan, place it as far away from the microphone as possible.
volume
This is the most basic requirement, but it is also important. Handle audio levels correctly. The most obvious is to avoid clipping. The last thing you want is audio distortion at loud volumes. Set the volume according to the intensity of the show. If you're using a digital peak meter, a reasonable level would be around -18dBFS for medium-volume speech. This gives you plenty of headroom when you need to raise the volume.
Of course, you'll need to enter the recording into some kind of DAW (Digital Audio Workstation) software. There is a lot of software to choose from, and it doesn't matter which one to use. If you're looking for a free option, Pro Tools Intro is a great option that offers all the features you need to record your voiceover, and edit it if necessary. If you're recording locally and then sending the file to the client, be sure to send the WAV file. Don't export in lossy formats like MP3 or AAC.
Sample rate and bit depth
It's a slightly technical question, but I've advised several voice artists on this issue before. Needless to say, the sampling rate determines how many digital samples are taken per second. The two most common sample rates are 44.1kHz and 48kHz. Of the two sample rates, 48kHz is the one you're most likely to use. Please confirm with the customer before the session, and if in doubt, use 48kHz. This is also the frequency used by most film and television productions. Bit depth affects the dynamic range of a digital recording signal. Commonly used bit depths include 16 and 24 bits, with occasional 32-bit floating. If you want to use a general setup and no one will have a problem, then use 24-bit.
Audio source connection
When working from home, you need software that sends and receives audio in real time. One of the most widely used is Source Connect. The software uses an internet connection to connect you with others in your contact list, allowing you to stream high-quality audio in both directions with low latency anywhere in the world. Source Connect offers a variety of powerful features for voiceover sessions, including multi-connectivity, which allows you to connect multiple people at the same time. Another very useful feature that Source Connect offers is automatic backups. When enabled, your audio will be recorded locally, so if you experience any network issues that cause drops or glitches, you'll still be able to capture your audio performance. If you're not already using Source Connect, try a free trial.
summary
There are many factors that go into recording a voiceover in a home setting. Of course, there is always a great performance to begin with, but the points listed in this article will help increase the chances of capturing the performance in the best possible way. A little knowledge goes a long way, and with all the considerations I've mentioned here, your audio will be able to bring out your voice to the fullest and keep your customers happy.
What are some of your favorite tips for recording voice over at home? Is there anything we're missing? Let us know in the comments!