Tips, tricks, and tutorials for voiceover artists and audiobook narrators at any stage in their career.
When I was starting out, and at many points in my career, I spent far too much time, money, and/or stress just trying to figure things out on my own and then wondering if I was on the right track. So here are all of the things I wish I had known sooner, some of my brilliant ideas, my spectacular failures, and everything in between. With any luck, they'll help you out in some small way.
In case you're curious, here's a bit about who I am:
I'm a professional voice-over artist, audiobook narrator, and actor with over 15 years under my belt, five Best Performance of the Year nominations, and quite a bit of training (NYU, MFA Acting). I've also worked with some pretty cool companies, clients, and collaborators like BMW, Netflix, Microsoft, IBM, Samsung, McDonald's, Ragù, Spotify, The Economist, The Wall Street Journal, Audible, Penguin Random House, and Bayer, among many more.
🇧🇷🇧🇷🇧🇷🇧🇷👏🏻, I love this RU-vid channel because I love the comparisons. I love the microphones. And he does the comparisons real good. I mean, I love the way he compares everything and does the comparisons. Takes the time that's necessary to compare. It's an amazing channel for mic lovers.
His first read cracked me up because I immediately envisioned a Dr. walking into a waiting room full of nervous patients and announced this to everyone sitting there!! But good all-in-all... 🙂 🙂
I have Misophonia, so this stuff drives me crazy while editing even more than the average person. And don't get me started on "ASMR" recordings... *CRINGE*
Yeah! I bought some felt/velvet replacements from B&H that breathed much easier. I can't recall the brand, but they should be easy to track down. Unfortunately they don't isolate as well as the stock ones, but they are much more comfortable.
I didn't say this in my last comment, but your channel has been a HUGE help in bridging the gap I've had between audio/dialogue editing and my own voiceover. I hope more people discover you!
Your voice performance is always perfection for listeners for all the reasons mentioned in this snippet. Other narrators, regardless of their own experience, should follow every word of your advice! Thank you!
2:45 This thing, this, i need to make habit of it when recording. its hard when you feel energetic and ready to record and then in flow you did thing like loud moments and in Post processing you realized you did it again.
Enjoyed whole Tutorial explanation video, thank you again, on 1 of your video i commented on the topic of "difference between Normalization and Loudness when applied on Uneven audio frequencies ( sudden peaks and then normal sound frequencies then sudden loud peaks ) ". the title of the video was "How to adjust RMS & Loudness in Adobe Audition for Voiceover and Audiobooks".
Lastly, regardless of any differences we may have regarding how to interpret the engineering data, there is still what you experience and feel. My motto is to trust this much more than any data sheet, and here we seem to agree.
Thanks for your points! And allow me to clarify. I’m simply noting a seeming correlation in my practical use between each mic and these data sets, where some mics allow me to be less attentive to adjusting preamp gain on the fly and others require more attention. If I want to focus on performing rather than engineering with a project that has lots of dynamic range, I’ve found some to be more forgiving. That’s all I’m saying.
As for maximum SPL as given in the data sheet this is the volume level where the microphone starts to modify the sound with 0.5% distortion. This is commonly regarded as ”barely hearable”, but our sensitivity to this varies between persons. Higher volume sound levels will give higher distortion. The selection of 0.5% distortion is more or less arbitrary, the engineers could have choosen a different value. In addition, actual microphones have different max SPL at different frequencys which is never described (some calibrated measurement microphones might be an exception). You describe that when using the U87Ai you need to turn down the preamp gain to not get distortion. The point you miss here is if this removes the distortion it is the preamp or audio interface that distorts, not the microphone. The simple remedy is to simply decrease the ”volume” knob on the preamp. It is possible, but in my mind slightly improbable, that you create sounds strong enough to distort the microphone enough to be heard, say above the stated 117dB. The remedy then is to engage the pad.
Hi! I really like your reviews as you actually test the microphones, lets us listen to the result and additionally adds your own thoughts. But in this review I have to disagree with some of your statements regarding the data sheet values of sensitivity and maximum SPL. Sensitivity as given in the data sheet is best compared with a volume control: high sensitivy is equivalent to turning up the volume control. In itself it says nothing about what details the microphone ”hears”. On a microphone with a high sensitivity in the data sheet, simply turn down the volume control on the preamp. As such it is a simple technical measurement, not saying anything about what you perceive as a listener. Add enough gain on a SM7B and the chain of mic + preamp will be measure as sensitive as a U87Ai with less gain on the preamp. And yes, the microphones will probably ”hear” things differently due to different designs, but the difference is not really seen in the engineering measurement of sensitivity. The easiest way to make a U87Ai less sensitive is to simply turn down the preamp gain, or equivalently to engage the pad.
Hi! I use a different DAW for recording (Nuendo) but just wanted to ask a question or two. I don't use too much processing on my recordings just because I like that transparent sound, so I end up editing a lot of noise out manually. With that being said: 1. What's your opinion on using a Gate/Expander during the tracking process as opposed to post-processing? Would that save more time? 2. How much processing *should* you do for auditions? I hear of people using at most: Declicker/Denoiser/etc/Gate - EQ - Compressor and that's my usual FX chain, but I'd love to hear your thoughts
Sure! Here are my thoughts: 1. For gates/expanders, generally I only apply them in post so that I can maintain the RAW recordings if the client wants the audio unprocessed. There are some projects where if one is confident with the gate in tracking, I could see that being a good option to save time, but it's so easy to apply in post that I prefer safe than sorry. 2. For auditions, I think the amount of processing is project-dependent. When in doubt and in most cases less is more (as you said), but if you're confident with post-production and can make subtle tweaks (i.e. more compression for commercials vs natural sound for audiobooks, etc.) then you might find it helpful in giving clients a better idea of the "end product."
@@jaymyersvoiceover Very insightful stuff here, and I realized that I should probably go for making chain presets based on the type of project I'm doing (mostly character voices with a little commercial work). I do have one last question though- for auditions/final work, would you recommend a more transparent compressor, or something warm like a vintage-styled compressor?
@@antto_333 Great question! and I think it really comes down to personal preference as well as a number of other variables (your voice/mic/room/etc.). If you feel it'd benefit from a warmer tone, go vintage! The only caveat here being if a client wants one over the other.
I am slightly annoyed at myself that at least in your test the TLM 193 sounded better or fuller at least than my U 87 😅😂😮. Hoping it’s just the case with your voice L O L.
Ah, don't be annoyed! The 87 is awesome and just different. Sometimes I'll beef up the low end on it using a preamp if I'm looking for that, and I also find that I occasionally have to tame the 193 a bit on the low end just to balance out the sound a bit. (if that helps ;) )
REALLY appreciate this as I get started. Truly calmed my nerves before my 1st auditions. Still in making demo phase. Thank you for all the helpful details:)).🎉
That's somewhat the idea! In previous comparisons, some folks noted my booth's resonance was making some mics unnaturally 'boomy/boxy/muddy', so in this video I used EQ to mitigate that, which affects the sound. If you want to hear totally unprocessed audio from the mics, I'd check out some of the other videos I've got up. :)
damn i thought c was the 103 and a was the 102, glad to see they were switched as I Just got the tlm 102 for $450 brand new lol. (I thought the 102 sounded the best unprocessed for your voice, with a pop filter built in, price and everything, really has that neumann sound without pushing anything out of the bounds.
I don't really think it really is.... But for only a bit more money (I Believe right now on sale on Amazon for about $62 with the coupon.... The ProAr 414 (The rebranded BaiFei Li C414) The BFL V10 is also very good... And for a bit more money there's the V5. Those don't sound like cheap Chinese mics at all. They really do sound good!
I have been doing Voiceover for many years, and the number one rule is to send files - clean. Clean means: no effects. No compression, no EQ, no messing... Yes, I clean the noise from the file, I edit, and sometimes diminsh breaths. Why, you ask? Adding effects prior to sending does not allow the Producer to fix issues they might find. Prior FX makes it real difficult to match IF and when pickups are needed. Clients can add compression, if they desire, when they "post" or do the mix. What a VO talent thinks about his/her sound is NOT likely what the client also desires. If in doubt about adding FX or not - ask!
@@jaymyersvoiceover Well said, and thanks for the added advice. I do the same, but tried to keep the post short for the beginners. Remember this folks, you can't undo the audio after it is finalized unless you ahve the original file to pla with. Three woreds come to mind: Save, save, save.
Hi Jay, what advice would you give: I want to start. But where and how and what is the first thing? I am a fulltime traveler and start from zero with no equipment. Is there a way I can start with less tools and in the beginning with not to expensive tools? What about you phone or the little klick mics where you can put on your clothes? Could I start like this? I feel a bit lost because I don't know if it works when I living in a van and different apartments with less luggage. Thank you for your help 🙏🙏
That sounds like a great setup! I have a few videos on just that. “Getting started in voiceover” or something like that and I have one covering Equipment, and another your ‘booth’ I’d start by watching those. For the moment, you can get started with an inexpensive mic, but I’d use something like a nice USB or inexpensive/used XLR. Both of those videos go into depth on those subjects :)
@jaymyersvoiceover thank you so much. I will have for sure a look on more videos from you. And you can start VO on any age? Is VO and Voice acting for movies etc. different? I even don't know if I have talent for this ^^ but since I can think I was always interested to do it but I only heard that it is mostly only for actors/when you had an actor education. What I did in my Wellness Job was speaking like dream meditations for relaxing (don't know if this is the right english word ;) ). That's the only thing I did. And voices would be the best plattform for beginners? Can you do something with the free plan or you have to choose the 500$/y membership? Thank you for your help 🙏
@@piasan1652 Of course! To answer your questions briefly: -Any age works! -It's all similar yet different. -You won't know till you try -I got started doing meditations too. -I liked Voices, but there are lots of other great places too. (Check out some of my other videos ;) ) -To get real traction on Voices, yes you're pretty much required to be a paying member.
@@jaymyersvoiceover Problem is that my recording room is right at the street, it’s a rented place, so there isn’t much that I can do on blocking the sound, or reduce it to a point where it doesn’t affect my recordings. The room is treated with acoustic blankets and rockwool acoustic panels, that’s about it. I own an MK4. Considering my scenario, a dynamic mic MIGHT be the solution, since I’m hearing all sorts of opinions about dynamic mics and voice acting.
@thesilencer6736 Many of my colleagues with similar situations in NYC use dynamics for the exact same reason. If the folks you’re working with are really set on a condenser, since you have one you can throw it on for certain gigs or they’ll send you to a studio. :)
Great tips on a few of my favorite RX tools for voiceover. ‘Would love to also hear your comments and/or tips sometime on RX De-reverb and RX Breath Control. The former I usually have active in my rack presets, and the latter only on a more situational basis as I can’t seem to ever find a setting that’s “safe” to apply to an entire audio file.
Yeah! I don’t use either of those because in my experience they tend to sound overly processed (in the case of de-reverb) and can clip both speech and breaths (de-breath). In both instances you get vastly better results solving the issues at the source.
Great work Kevin! Nice choices in scripts. Your natural tone is very relatable or comfomting (something there). Pretty cool bonus attribute. Wish you the best, B Jay, wonderful insight. Loving the editing speed round. 😂
So I found this shocking, and initially thought there must be a mistake here. I have always preferred the sound of the 416 and (incorrectly) picked it instantly as Mic B. Bigger, warmer, punchier, thicker, more production-ready. This comparison seems to directly contradict what I hear in Booth Junkie's comparison (ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-sdE_VekATvE.html). However on closer inspection I've realised this: the 416 comes into its own for VO when used with the foam windshield which warms up the bottom end and takes away some of the harsher highs. Other comparison vids confirm that when used without the windshield, the 416 lacks body and "oomph".
There are e-ink readers and note-takers where you can read and take notes both with great comfort for your eyes, and avoid tablets. The best ones are Supernote and Onyx Note Air 3. I have both. The second is probably better for this task and it is actually an Android device within an e-ink platform; the first one is excellent, but more geared towards writers, maybe. The Note Air 3C is the colour version.
So you explain how to edit in Reaper with the standard included plugins, except for the clicks. Isn't there a good plugin for the clicks? I get them as well with my speech and I can't/don't want Izotope plugin in my workflow, since I work in Linux. Except for that incoherent piece of advice, your channel is quite useful. Congratulations!
This is an excellent demonstration for easily using the RX plugins you selected for this video. This video - like all of your videos - provides actionable guidance unavailable from any other VO or audio tech channel. Thanks a ton for sharing your expertise.
Another great consolidation of information Jay. Uber helpful. I'm going to take another run at the Voice DeNoiser, without Adaptive Mode; now that I see how it's supposed to work. Thanks for all your efforts, B
Wow Man, that was killer. Your previous technical videos were what brough me to the channel. Getting all the steps laid out in order like this was wicked cool. Thanks, B
Good morning, I am very brand new at all of this. I have set up an account on voices, I was trying to see how to do a demo step by step, and I logged on to the account today and got a private offer for a job posting. If you could lead me in the right direction, on how to upload a demo / select a file, I would greatly appreciate it. Thank you for your time and excellent quality of your video🎉
Hi guys, I have to add my opinion. Your speaking tests are very good Jay, you are very good at your work in front of the microphone, clean, slightly compressed without pressure and therefore pleasant for your microphones. The biggest problem is probably the bass parts in the frequency, more on that later. My listening situation is NDH 20 headphones from Neumann, and ME Geithain ME 160 hi-fi speakers, the way I would listen in a living room. I listened back and forth a few times and can say the following for myself: After 3 seconds, the recordings sound pleasant to the ear, no one can judge whether that is good or bad. Because I am listening to your voice and not the microphone, or the plug-in, or the $5000 preamp, the cable. No! Then more the room, but primarily you. The tlm 103 sounds best to me, soft and close and very good resolution of the s sounds. The U 87 sounds thinner because it records your voice more realistically, it seems that way because there is less bass to be heard, but it only seems that way. You think: such a great microphone, it must sound much fatter. The 193 sounds warmer or more mid-bass, has a nice soft finish, the s sounds are pulled further down in its frequency curve. The 102 sounds a little more treble-emphasized right away, but also a little more indifferent in the overall range. Please don't misunderstand, it still sounds good, you can take the result and send it straight away. It doesn't bother you. It's good for small rooms and forgives mistakes. The U 87ai is good for promotional items with a lot of compression at this short distance, you can tweak it a lot if you want. A 102 fits better at 10-12 cm, doesn't pick up everything, because Neumann also advertises it as a home studio microphone! If I were to do an audiobook I would use a U87ai, then I make sure I'm at least 50cm away and have perfect room acoustics, there's nothing better, except of course a U67 hahaha. But Jay, your comparison is flawed, it's a studio microphone with a transformer and 3-pole characteristic. In addition, noise up to 14 db. The 102 is a home studio microphone! The 103 is a super low noise microphone with presence gain that is also good for close meetings. But I've dubbed both the 103 and the u87 in dubbing studios at about 60cm away, it works equally well, and you don't notice when watching the film that it was an 87ai or a 103. All the others, such as the U 89, TLM 170 or 107 or your tlm 193, have a frequency reduction and are therefore not honestly comparable, just compare the Neumann page, frequency response and so on... The others like the TLM 67 or TLM 49 have to be mastered. The manufacturer itself writes: that you can only expand your tube simulation in the overdrive range. That means that if I only control them slightly, nothing happens and they sound thin. A sound engineer studies for 5 years and learns how to use microphones as tools and not as beauty queens. But again, your comparison sounds good, each of your tests sounds nice, including your sm7b. As I said, if I listen for 3 seconds, my brain has changed. You should pay attention to your voice and the application and above all to the distance in relation to the room. Difficult undertaking, close recording a lot of proximity, far distance a lot of room. A U87 ai in such a small cabin is like a sailing ship on a pond. And I can think of something else nice: A TLM 102 in a perfect studio is like a nutshell in the sea, if you're lucky you won't drown. But of course that doesn't bother a professional.
