Makeshift VO Recording ‘Booths’
I probably sound old when I say that we never, ever used to do it this way. But then again, those were the days when most production houses had in-house recording studios so I’ll snap out of nostalgia and get with the times.
The reality is that, there’s more to the situation than resources. It has a lot to do with time as well. The time that no one seems to have anymore. It’s a bit of a catch 22 if you ask me.
In the past, the entire production supply chain as well as clients had little choice but to wait. The closest things to media files were, literally, files – floppy disks (1.4 MB capacity, barely enough to hold a photo now), then CD-Roms, Zip Drives, thumb drives and now, the only drive you physically have is what’s in your phone, laptop or desktop. Video and audio tapes and reels would be couriered around for approvals etc. Voiceovers would be the first thing in the process, once the script was approved and then the video edit and everything else followed.
The process has changed so much over the years. Clients prefer picture lock before proceeding to record the VO. A guide voice is therefore needed so there’s something to edit to. That’s something for a whole new topic, which I’ll talk about another time. But quite soon after picture lock, clients need to get the VO recorded. For some clients, arranging a recording session with a studio when a deadline is nigh is one challenge and for others, it’s about dollars and cents and yet for some, it’s both.
How do you get your makeshift booth to be at least halfway decent so you achieve an audio product with some integrity?
1. Decide where in your room the VO will record Position matters – for one, you don’t want to have the talent standing in the middle of nowhere. The best is, a corner, away from noise-generating computers and other equipment so that you have a space to acoustically treat. Even if you’re using one of those isolation panels, you really need a good space you can work with. The isolation panel isn’t the only thing in the equation because everywhere else outside its roughly 1.5 x 1 ft. area covered will allow the voice to travel and reflect against anything and everything in its path.
2. Make sure there are lots of wooden and soft elements around the area Carpets, couches, curtains, filled up bookshelves – all these things will help your recordings not sound like they’re done in a bathroom. Pad the nearby walls with acoustic foam – very affordable and easy to get your hands on. Hang some nice rounded paper lampshades above the talent – those that look like giant baubles would be nice. You don’t need lightbulbs in them but it could be handy and actually, quite aesthetically pleasing as well. Functionally however, it’ll absorb sound coming from the talent that would otherwise travel up to the ceiling and reflect back to the mic. Sound reflections are basically, echo.
3. Get a good quality mic suitable for the set up and your surroundings If the area is generally quiet, an entry to mid-level cardioid condenser or dynamic mic should suffice, like an Audio-Technica AT-2020 or AT-2035. These are in the SGD 200 range. Think about whether you’ll want a USB mic or one that requires phantom power. If you prefer the latter, you’ll also need an audio interface or mixer to power it. High-end mics are nice but they are extremely sensitive and should only be used in a controlled setting, for example, a purpose-built booth with acoustic treatment and some degree of soundproofing. Use them in a makeshift setting and you’ll pick up every little noise – and trust me when I say, you never know that certain noises exist until you use one of these mics. If you know you’re in an area that can be a little noisy at times, a shotgun mic might work better for you. Just be careful with this – the talent will have to be extremely disciplined when recording and stay consistently centred on the mic.
4. Pop filters and mic stands Pop filters are a good barrier for pops and plosives. They do not eliminate them but they can help reduce them. Essentially, the talent will have to be skilled in knowing how to prevent a pop. There are many mic stands on the market. The ones that work best with the isolation boards are the straight ones without the boom arm.
5. Other things to note If the room has windows, curtains (preferably double layered) will help to reduce noise levels some. Make sure the talent’s back isn’t facing the window or any other source of noise like the aircon because the noise will be in a direct path of the most sensitive part of the mic. I would recommend switching the aircon off. There shouldn’t be any glass (eg. Windows, mirrors) in the immediate area where the mic is set up, again because of sound reflections, and glass is one of the worst culprits. Also, setting up near a window might cause some noise issues.
All this will also require a bit of trial and error, and then adjustments after setting up. Whatever improvements you may need, with a decent starting point, you will, over time find what works best and be confident of delivering value in your projects and to your clients.
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