To Sweeten The Mix, Here's How An
Engineer/Producer Sees The Process
January 15, 2015
Note: Generally, producers want voice actors to provide them with recordings that have not been processed (compressed, equalized, etc.). That lets the producer process the file to meet the individual client's needs. But if an engineer/producer were sitting next to you, here's a peek at the equipment and process he might advise ...
By Erick Gomez
Audio Engineer / Producer
When it comes to audio sweetening, I like to keep things very simple. I believe there is such a thing as over-processing your audio. Much like how overcooking or overheating food can lead to less than desirable results, the same can be said about audio.
The cliche Ďless is moreí applies here, and you should be judicious in how you apply your compression and effects.
The one caveat I must point out,of course, is this: it all depends on the current project youíre working on.
Obviously, audio for a spoken word podcast will and should be processed differently than say a bombastic, high energy commercial or piece of radio imaging. Time and practice are essential in developing a good ear and will help you determine how to tackle your current project.
MY 'GO TOs' FOR PROCESSING
From the very beginning Iíve leaned very heavily on the Waves plug-in bundle for Pro Tools because itís what I learned to use when I started in radio, it makes everything sound great, and it is pretty straight forward.
If it ainít broke, don't fix it is what I say, and itís been working for me for the better course of 15 years.
My "go-toísĒ for processing are any combination of Renaissance Compressor (RCompressor) and L1+ Ultramaximizer to really punch up and level the vocals without distortion.
Essentially you are making the audio much louder without any clipping, but also with less dynamic range.
This can often lead to what is referred to as "brick walling,Ē where the audio waveform can look almost like a solid block in your editor. This isnít necessarily a bad thing, but you must determine whether this type of processing is right for your current situation.
LISTEN, ADJUST SETTINGS
I like to tweak and dial back the compression depending on the individual voice that Iím working with. You have to listen and adjust your settings according to the VOís tone, either high pitched, low pitched, etc.
Too much compression on a strong, low octave VO can sound over-modulated or over-saturated. Again, less is more, but itís up to you as to what you think sounds best.
Next, I like to use the Q10 Paragraphic Equalizer. Itís good to have granular control over the EQ of your audio, and this plugin gives you all of that control and then some without throwing too many options at you.
You want to give your VO some depth, but not too much low end - and of course, also brighten it by bringing up the high ends.
Essentially make your VO well-balanced without being completely flat. Bring up the mids, lows, and highs, but only enough to make the audio stand out from the mix.
Again, these are just basic rules of thumb. You will have to adjust according to the VO youíre working with. Everyoneís voice has unique sonic properties that need to be well considered.
DASH OF REVERB
And lastly, I like to use just a dash of TrueVerb reverb on the VO audio because it gives the audio just a little bit more resonance without being obvious.
I donít use it on everything, but occasionally it will help your VO stand out just a tad more. Use wisely.
And thatís about it. I donít go crazy with my audio processing and you might not even have the Waves plug-in bundle, but the takeaway is this - itís just a simple matter of compression and EQ.
Thatís all audio sweetening comes down to. If you have different software, thatís still great because these tools all essentially work the same. It just comes down to how you use them.
And the greatest teacher of how to use these wonderful tools is time.
Erick Gomez is an audio engineer / producer with voiceoverdemostudio.com, based in New York, with over 10 years of experience directing talent and producing audio for commercial broadcast radio networks, including MTV Radio, VH1 Radio, CMT Radio, Univision, Westwood One, Viacom and the Spanish Broadcasting System (SBS).
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