VO-BB - 20 YEARS OLD!

[Robert Leach]

Is a compressor useful for home studio VO work? I have read good reviews of the RNC Really Nice Compressor?

Thanks
Robert

[bobsouer]

Robert,

For straight voiceover work (as opposed to production) you will almost always want to deliver your audio unprocessed (no EQ or compression) to your clients. If you do imaging production or even spot production, audio processing will be useful.

I hope that's at least a little helpful.
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Bob Souer (just think of lemons)
The second nicest guy in voiceover.
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[Mike Sommer]

And for production the compressor's on your DAW will do nicely.

FOr production I prefer a Three Band compressor on the final mix.
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Acoustics are counter-intuitive. If one thing is certain about acoustics, it is that if anything seems obvious it is probably wrong.

[Robert Leach]

Thank you both for your insight.

My teen daughter gets higher end clients that do the audio processing after she has recorded.

Most of my jobs though are company training or web site narration, and the clients just want it to sound good so they can slap it on their video. That's why I thought I might benefit from compression and a little EQ but I was not sure.

By the way, my recording space is a 4x6 Vocalbooth with extra acoustic material on the door and a "Mic Thing" reflection filter between the mic and the window. I think I have that part covered at least, but I have sooo much to learn. I really appreciate your taking the time to respond. Whenever I go to the Pro Audio section of the local music store they convince me I must have some new piece of gear.

Thanks again,
Robert

[Philip Banks]

To supply "ready to use" audio for clients then you are best using the bits n pieces supplied with your audio recording software. Remember to save the audio with no salt nor sugar added neither just in case a client doesn't like what you have done.

A number of Voiceoverists appear to use a preset on their compressor/pre named Grate11 as it pumps the level up to 11 and to their ears makes them sound great but to listeners merely makes their sound grate.

Processing/compression in VO work is like acting. If you notice it then the game is lost NOT won.

[georgethetech]

Philip's point at the end of his post is the most important that I always emphasize: The irony of using effects in VO production is they should go completely unnoticed by the listener while still creating the desired effect.
This is where and an engineer's ears come in to play...
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[Philip Banks]

The ENGINEERS EARS! Trust 'em, not your own vanity.

[Hestoft]

What about de-essing? Should one leave the esses in the file and just "let the engineer handle it" or try to tame them a little?

Also, what about noise-gating or muting out breaths or mouth noise? Yes it is a pain to do as a VO, but do you want to get a rep as a mouth-breather with your clients, or do they expect to have to edit out such things as a matter of course?

Ralf-Finn Hestoft
The NEW(ly contributing) Voice of Chicago

[ccpetersen]

Most of the things I do I edit out the obvious ticks, mouth noises, etc. I have one producer who has asked me to to apply specific presets (filtering, Sony wavehammer, etc.) for his projects. Others want it straight, no sweetening or filtering because they want to do the de-essing, compressing, etc. But they do appreciate me taking out the snorts and snicks.

For what I do, the filter sets and actions that come with the software I use are plenty fine.

As someone else said, always make sure you've saved a "raw" version in case whatever you do isn't wanted. You can always revert back to that as needed.

c
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[Jacob Ekstroem]

[kgenus]

Oh hell yeah! Listen man, if you don't have a compressor, how are you going to get the air conditioning working to cool things down?

It's all relative man.
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Genus