As more and more recording software becomes affordable, or even free, to voice actors, along with it comes features like filters. Lots and lots of filters. Here’s my hot take.
PLEASE DON’T USE THEM
While you might think you are offering your producer/sound engineer a better quality recording with those filters, you’re actually doing the opposite. A sound engineer must take all of the individual recordings of the entire cast and assemble them together. The most crucial part is making everyone’s separate recordings (all from separate recording set ups) sound the same. Trying to create the illusion that each of those characters are in the same room together in the scene. It is at this point that your sound engineer will be adding their own filters to the entire piece. If you already have filters on, the additional filters will start to bring out an artificial or “tinny” sound in your recording. Your recording will start to degrade.
Likewise, I’ve run across a filter some voice actors have used that the second the person stops talking, it cuts out. Basically, the mic turns off until you speak again. This filter is used to automatically cut out breaths. As a dialogue editor, I want my actors to sound natural in their performances. Yes, I meticulously cut out breaths… until I want them. I love an anxious or scared character, or one who was just running, to have natural sounding breaths in their dialogue. When the filter cuts them out, you cease sounding like a natural person.
THEN WHY DO I HAVE FILTERS?
Sad truth: when companies promote software and gear for podcasting, they don’t mean us. “Audio Drama” doesn’t even cross their minds. So all of those filters and features for podcasting are meant for the interview/non-fiction podcasting world. Or as I call them, the “talky-talks.” They can get away with a much lower quality audio set up. That said, professional podcasts, and most serious indie podcasters, will have a good mic set up. But companies like to sell “podcasting packages” to newbies so you feel like you have an inexpensive way to get started. You can get away with that cheap set up with a talky-talk, but not if you are submitting voice acting to an audio drama.
SO IF I CAN’T USE THE FILTERS, WHAT DO I DO?
TREAT YOUR RECORDING SPACE
Nothing, I mean NOTHING beats a good sound dampened recording space. And anyone can do that on any budget. You aren’t looking for sound PROOF. Sound “proof” is no outside noise bleeds in at all. A garbage truck could collide with a fire engine as an airplane takes off and you could blissfully record unawares. That IS a costly investment. If you aren’t there yet, then what you want is a sound DEAD room. There are a lot of great videos out on the interwebs to give suggestions. But the basics are to eliminate flat surfaces which sound naturally bounces off of. This can mean walls, windows, desktops, bare floors, even computer screens. So however it works best for your recording space, use blankets, towels, rugs, clothing… use those sofa-fort building skills from childhood. And since your room is not sound proof, hold for sound. Meaning, when that garbage truck, fire engine, airplane comes by, pause until it’s gone so you are certain your mic won’t pick it up. I have worked on literally hundreds of big name Hollywood sets with the biggest actors in town. And when we are on location (and not in a sound proofed soundstage) we ALL “hold for sound.” Totally professional way to make it work.
MICROPHONE
There are a lot of inexpensive microphones that still provide a great recording experience. But, that said, recording with your built-in computer mic or your iPhone mic are a huge no-no. Those mics are omnidirectional and will grab sound from everywhere. A bad mic can override a good sound deadened recording space. Your voice sounds muddied, not crisp. You may recognize that bad sound quality from the guests who “call in” to the talky-talk podcasts. Or when you’ve been part of a zoom call. The bad mic quality is excused in those situations, but are not acceptable in audio drama.
WHAT IF I POP MY P’s?
Plosives are a natural part of speaking. Certain letters or sounds require us to push air harder across our lips to form those sounds. As mentioned above, your sound engineer should have a de-plosive filter they can use so you don’t have to. What you can do is learn the proper positioning for yourself as you are performing. The general rule is to make a “hang-loose” or “right on” sign with your hand. Your pinky touches the mic, your thumb touches your lip. Then, when you have need for louder volume, like yelling or screaming, you should lean farther away from the microphone. Not too much, that runs the risk of getting room echo, but just enough not to blow out the gain. And with P words, go off axis on the mic. Meaning, turn your head to the side so you are speaking at an angle, rather than directly into the microphone. Practice! Everyone will have a plosive from time to time, but if you are habitual at it, don’t depend on filters, practice the right positioning for yourself so you can avoid them naturally.
Spend the time prepping and practicing and you won’t have to use the crutch of filters in your recordings, and, ultimately, you’ll give a better recording to your producer.
-Chrisi (aka Madison)
