Narration V/O advice?

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I'm having problems with my narration sound: the voice-over
just doesn't sound "right". In the final production, the VO
sounds distant and not punchy enough. We take care to use a
good quality lav, and a Sennheiser ME 64 and place it right
and get the levels right. But I realize the problem is in the
final mix/sound edit.

During the sound edit, someone told me to reduce all the freq's
below 500Hz by about 6Db. This reduced the bass, but I need more
info.

We use either Adobe Audition, Acid 4.0, or SoundForge 7.0 to tweak
the sound to get the narration just right. However my small indy team
(all 3 of us) are strong in Camera/Editing but not... sound.

Help! What are your recommendations,settings, tricks, to get that
"forward" "presence" sounding narration sound you hear in TV
documentaries?

 

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"Will Stich" wrote ...
> I'm having problems with my narration sound: the voice-over
> just doesn't sound "right". In the final production, the VO
> sounds distant and not punchy enough. We take care to use a
> good quality lav, and a Sennheiser ME 64 and place it right
> and get the levels right. But I realize the problem is in the
> final mix/sound edit.
>
> During the sound edit, someone told me to reduce all the freq's
> below 500Hz by about 6Db. This reduced the bass, but I need more
> info.
>
> We use either Adobe Audition, Acid 4.0, or SoundForge 7.0 to tweak
> the sound to get the narration just right. However my small indy team
> (all 3 of us) are strong in Camera/Editing but not... sound.
>
> Help! What are your recommendations,settings, tricks, to get that
> "forward" "presence" sounding narration sound you hear in TV
> documentaries?

Possibly compression, normalization, etc. Complimentary EQ,
dynamic mixing, etc.

Hard to say exactly because it depends on so many factors that
are clearly on the "art" side (as contrasted with "science").

 

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On 27 May 2004 06:41:16 -0000, Will Stich <wstich01@yahoo.com> wrote:

>I'm having problems with my narration sound: the voice-over
>just doesn't sound "right". In the final production, the VO
>sounds distant and not punchy enough. We take care to use a
>good quality lav, and a Sennheiser ME 64 and place it right
>and get the levels right. But I realize the problem is in the
>final mix/sound edit.
>
>During the sound edit, someone told me to reduce all the freq's
>below 500Hz by about 6Db. This reduced the bass, but I need more
>info.
>
>We use either Adobe Audition, Acid 4.0, or SoundForge 7.0 to tweak
>the sound to get the narration just right. However my small indy team
>(all 3 of us) are strong in Camera/Editing but not... sound.
>
>Help! What are your recommendations,settings, tricks, to get that
>"forward" "presence" sounding narration sound you hear in TV
>documentaries?

play with the EQ settings. Most times people first drop out the mids
which makes the majority of the voice track sound flat. Remember
that settings will be different for each speaker as the tones will be
different. If you have a mixer, do it there... if not, do it in
software. Record at the highest quality your soundcard and computer
can process. Make a copy of the originals and tweak those. Always
leave the masters alone. Once you get the EQ and tone settings right,
make sure you save their presets. Nothings worse than closing out
your software and losing the adjustments.

 

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"Will Stich" <wstich01@yahoo.com> wrote in message
newsLHUOIJK38134.0703240741@anonymous.poster...
> I'm having problems with my narration sound: the voice-over
> just doesn't sound "right". In the final production, the VO
> sounds distant and not punchy enough. We take care to use a
> good quality lav, and a Sennheiser ME 64 and place it right
> and get the levels right. But I realize the problem is in the
> final mix/sound edit.
>
> During the sound edit, someone told me to reduce all the freq's
> below 500Hz by about 6Db. This reduced the bass, but I need more
> info.
>
> We use either Adobe Audition, Acid 4.0, or SoundForge 7.0 to tweak
> the sound to get the narration just right. However my small indy team
> (all 3 of us) are strong in Camera/Editing but not... sound.
>
> Help! What are your recommendations,settings, tricks, to get that
> "forward" "presence" sounding narration sound you hear in TV
> documentaries?
>
I know you've said your mic placement is correct, but I don't understand
why/how you are using a lav AND an ME64. Forget the lav for VO work. Make
sure you're not picking up reflected audio from hard surfaces as that will
give you a hollow sound - even with very close mic work.

At least part of the problem could be that there's not enough separation
between your VO and any music/ambient audio. Have you tried using the Wave
Hammer filter in SF7? It acts as a compressor/limiter that works well for
punching up dialogue to give it real presence. But don't pin the levels at
peak with it, back it off so there's still some dynamic range.

If it still sounds weak, drop the ambient or music bed down instead. Hard to
say how much separation is necessary, as it depends on the kind of
music/ambience and even type of production to some extent, but a good
starting place would be a difference of -20dB. And it kind of goes without
saying, but never use music with vocals under a VO (there - I said it anyway
)

 

[Guest]

Archived from groups: rec.video.production,rec.video.desktop (More info?)

> > I'm having problems with my narration sound: the voice-over
> > just doesn't sound "right". In the final production, the VO
> > sounds distant and not punchy enough. We take care to use a
> > good quality lav, and a Sennheiser ME 64 and place it right
> > and get the levels right. But I realize the problem is in the
> > final mix/sound edit.

The "recipe" for a tight VO sound has been around for a long time.

A) a good performer. If your announcer doesn't have the chops and a good
voice, nothing else will matter.

B) a decent mic. VO work is usually the province of large diaphram mics.
Modern Large diaphram condensers are the standard since they're more
sensitive than dymanics, but zillons of VOs have been cut on
large-diaphram dynamic mics, too. And some great voices (Ernie 'Love Boat"
Anderson, comes to mind) prefered smaller diaphram shotguns, but excellent
ones, NOT mics in the ME-64 class.)

C) a DEAD recording space where echo and slapback from the walls is controlled.

D) Compression. Most VO work is heavily compressed since dynamic range
isn't necessary.

Mix to taste.

Good luck.

--
Bill Davis
NewVideo


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"Bill Davis" <newvideo@amug.org> wrote in message
news:newvideo-0206041653340001@d165-osel-phx.fastq.com...
>
> > > I'm having problems with my narration sound: the voice-over
> > > just doesn't sound "right". In the final production, the VO
> > > sounds distant and not punchy enough. We take care to use a
> > > good quality lav, and a Sennheiser ME 64 and place it right
> > > and get the levels right. But I realize the problem is in the
> > > final mix/sound edit.
>
> The "recipe" for a tight VO sound has been around for a long time.
>
> A) a good performer. If your announcer doesn't have the chops and a good
> voice, nothing else will matter.
>
> B) a decent mic. VO work is usually the province of large diaphram mics.
> Modern Large diaphram condensers are the standard since they're more
> sensitive than dymanics, but zillons of VOs have been cut on
> large-diaphram dynamic mics, too. And some great voices (Ernie 'Love Boat"
> Anderson, comes to mind) prefered smaller diaphram shotguns, but excellent
> ones, NOT mics in the ME-64 class.)
>
> C) a DEAD recording space where echo and slapback from the walls is
controlled.
>
> D) Compression. Most VO work is heavily compressed since dynamic range
> isn't necessary.
>
> Mix to taste.
>
> Good luck.
>
> --
> Bill Davis
> NewVideo

As far as the performer goes, first, I look for someone who can bring an
engaging point of view to the script with a personality that fits the
audience. Sometimes that's a straight ahead, low key corporate story
teller. But, if, when I'm auditioning, I believe that the narrator has an
involvement with the subject, a human attachment of some kind, I'll pick
someone who doesn't have the best voice in the stereotypical sense. For the
most part, I think many narrators work too hard at telling the story, and in
so doing, tend to draw attention to themselves. Instead, I want someone who
will transport me into the script, in whatever quirky or straight way that
works best. But, often time and budget is short, and we cast a solid and
safe narrator that we know our clients will like. And, thank goodness,
because a lot of producers in that position have called me over the years to
narrate. Bless them

Which brings up a question--- When a client is involved, in what way to you
involve your client in casting, either on-camera or voice-over performers?
Or do you? For myself, I try to never discuss it with my clients. I can
remember only a couple instances, where my client made a suggestion or asked
about who I might be considering. I figure that's what I get paid for, that
is, making the right casting choices. I usually show pictures or tape of
on-camera narrators/hosts and always if we're doing language versions. So
far I've stayed out of trouble. How about you?

Steve King

 

[Guest]

Archived from groups: rec.video.production,rec.video.desktop (More info?)

> Which brings up a question--- When a client is involved, in what way to you
> involve your client in casting, either on-camera or voice-over performers?
> Or do you? For myself, I try to never discuss it with my clients. I can
> remember only a couple instances, where my client made a suggestion or asked
> about who I might be considering. I figure that's what I get paid for, that
> is, making the right casting choices. I usually show pictures or tape of
> on-camera narrators/hosts and always if we're doing language versions. So
> far I've stayed out of trouble. How about you?
>
> Steve King

Steve,

My opinion is exactly the same as yours. I'll bring it up in a general way
at client meetings before production begins, but I feel the same way you
do. They're paying me to make the decisions that get the program done
right.

It's like a couple of times when I've had a client want to attend casting
sessions for on-camera actors/models.

On one or two occasions, I've suspected that they're more interested in
meeting pretty girls (or guys) than in getting the job done. (Thankfully
it's the exception rather than the rule!) So unless there's a valid
reason, I tend to keep all casting decisions closely held. In fact, I let
Linda do 90% of our casting. A) she's better at it. and B) I don't have to
spend any time defending the choices to her or anyone else!

With age does come SOME wisdom!

--
Bill Davis
NewVideo


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