Sooner or later (usually sooner) all video producers have to face the task of recording voice talent for narration purposes. It could be anything from a simple audio voice track for a 30-second TV spot to a full length corporate/industrial training video or even a complex documentary calling for several different methods of providing voiceover narration. Consistency and clarity are of paramount importance in this line of work. I know many of you out there do not have the budget to hire a well-known and easily recognizable voice talent. There are several ways to overcome this obstacle. One sure fire method is to hire the talents of a local radio announcer. Another source could be a co-worker with a rich and vibrant voice. Even an actor from the local playhouse or theater group might do the trick. Last but not least would be to just do it yourself. This last idea poses a couple of problem areas. First, you must make sure you do not have any colloquial speech patterns (unless of course that's what you're aiming for). For instance, finding someone here in the Ozarks who can speak without a southern drawl may prove more difficult that you might imagine.
In my particular case, I am indeed fortunate to have grown up in a resort atmosphere. Guests came from all over the United States, and as I grew into adolescence I unwittingly developed a "neutral" speech pattern. Later, this proved very beneficial when I entered the field of radio broadcasting. In time, my voice was in demand for voiceover work because I sounded like I could be from anywhere. Of course, in real life, I still have a bit of a twang. But after 15 years of radio announcing I have learned how and when to turn it on and off. Nowadays, I absentmindedly slip into "DJ" mode the instant I put on the headphones and step up to the mic. I project from the upper stomach as opposed to the throat. I pace my speech and pay particular attention to proper enunciation. I am careful to avoid speaking directly into the mic, but prefer to talk slightly off center to one side of the capsule. This reduces my breath noises, popping my "P's" and introducing sibilance with my "S's". A good voice talent will know how to work a microphone and make things like sentence structure and phrasing seem almost matter-of-fact. A good voice talent can make or break your video production. So if you DO decide to record your own voiceover, make sure you do your homework and spend the proper amount of time and energy to create the best track you can.
I would like to stress here the importance of recording your narration in a single session. Once you get into the task you will undoubtedly develop a rhythm and your voice will settle down to a cadence and pacing that will carry through to the end of the session. If you even stop for an hour lunch break, you will be surprised at how long it will take you to recapture that "feel" you attained before you took the break. Also, I have noticed that if I had a milk shake or any other dairy products before continuing the session, my voice sounds a bit thicker. It doesn't sound like much reading this but believe me- you CAN hear the difference! I always like to preclude each voiceover session with a cup of hot tea with lemon in it. It seems to clear up my sinuses and open my throat a bit more. Having a glass of water at hand during the recording is also a good idea. The more you can keep at it without stopping, the more uniform your overall track will be. Countless times I have completed a narrative, only to have the client change something that I have to return to the next day (or longer) and change a sentence. Every single time I hear that drop-in come up in the video I can tell it was recorded at a different time. Not only will your voice sound just a little different, but it's hard to repeat the exact settings of the microphone level, amount of compression used on the track, or the level at which it was originally recorded. As subtle as these changes are, they WILL sound different. I have actually had jobs where there were so many changes after the fact that I decided to just re-record the entire narrative all over again, just to keep vocal continuity. (HINT: It's always good to make sure the narrative you are recording is the approved final version of the script).
Let's talk about microphones.
There are four major types: Dynamic, condenser, ribbon, and PZM mics. Dynamic mics are rugged and dependable. They do not require external power sources (no batteries). They are available in either omni or uni-directional patterns.
An Omni pattern is not good for voiceover work as it tends to pick up too much surrounding ambiance, so make sure you use a Uni-Directional pattern/mic. Condenser microphones are more sensitive than dynamics, and more vulnerable to daily wear and tear. They are also sensitive to extreme environmental conditions, and require either a battery or an external +48V power source. They are also available in Omni or Uni-Directional pickup patterns. Many models of condensers also offer Uni-directional Cardioid and Bi-Directional patterns.
A Bi-Directional pattern would be handy if you are recording two speakers. Facing them towards each other with the mic in the middle and placed on Bi-Directional (a figure "8" setting) will provide a very strong signal pickup pattern while rejecting unwanted audio from the sides of the speakers.
A Cardioid pattern would be the best selection for a single speaker. In my experience, a Condenser mic is more sensitive to input, therefore, plosives and breath noise may be increased. However, in many cases I have chosen a condenser over a dynamic mic when recording a female voice talent. The softer and brighter, more open sound enhances the female voice and gives it a bit more "air". As a rule, whenever I select a condenser mic for voice talent I also add a "pop" filter. These may be purchased from any professional equipment source or you can easily make your own El Cheapo pop filter with a wire coat hanger and a pair of panty hose (HINT: Don't get TOO cheap. Go out and buy a new pair of hose).
Ribbon mics by their very construction are more fragile than their brethren but have seen a resurgence in popularity in recent years, probably due to modern construction techniques and materials which make the mic a bit more hardy in handling. They are superior to dynamic and condenser mics in resisting high-temperature and high-humidity environments. They also have superior transient response but at the same time exhibit a characteristic "ringing sound" associated with the ribbon mic. This sound lends a "warm" texture to acoustic instruments and voices. They tend to be a bit more expensive than dynamic mics and are roughly in the same price range as quality condenser mics.
The PZM ("Pressure Zone Microphone" - Trademark of Crown, Inc.) is a condenser mic in a special housing which aims the mic element at a plate designed to lay face down on a resonant surface such as a table, or to be attached to the underside of a piano lid. The PZM really has no application for voiceover work with the exception of court stenography where a witness and several attorneys are all talking at the same time and are usually sitting around a large conference table. The PZM has a lower profile (and no mic stand jutting up in the air) and is all but forgotten by the persons in attendance.
There are LOTS of microphones out there, and I can tell you that they ALL sound a bit different from each other. Each choice has it's own unique personality. Just like everything else, to get something that introduces NO personality to the voice will cost a lot more than other selections. And, obviously, a $3,000 microphone will sound different than a $300 microphone. But a $3,000 mic will not help a badly delivered or poorly recorded vocal track. I have done some of my best voiceover tracks with a Shure SM58 (under $188 MSRP) or a Sennheiser MD-421U ($485 MSRP). Currently my favorite is a RODE "Classic" ($2,000 MSRP) because it is equipped with a power supply box which allows me to instantly select from nine different pickup patterns as well as 0/-10/120 db gain control and a three-position bass roll-off switch. But I could record acceptable voiceover tracks using models which cost less than $200 from Audio-Technica, Fostex, Beyer, ElectroVoice, or Peavey.
The bottom line is that you need to choose your microphone based on your source of talent. If you are doing it yourself, then perhaps a good dynamic mic like the Shure SM58, Sennheiser 421, or even the E/V ND168 ($188 MSRP) would do nicely. If you require more "air" than "warmth" or regularly use a female voiceover artist, then you might want a condenser like the AKG C200B ($378 MSRP), Audio-Technica 4033/SM ($725 MSRP), or the Shure KSM32SL ($959 MSRP). Of course, if money is no object, then go for the "big guns" like the AKG SolidTube ($1,165 MSRP), Audio-Technica 4060 ($1,695 MSRP), or RODE "Classic II" ($1,999 MSRP). Sound expensive? Well, in the land of professional microphones we're just scratching the surface. The Lambrogini's of the audio world are the Neumann microphones, which range from $2,000 up to a heady $5,000 (and those are for the NEW ones. The older "Vintage" models will cost you a two-story home mortgage). There are also models out there from AKG (C12VR is $4,821), Sony (C800G is $6,550), and Manley ($8,000 for their Gold Reference Mic).
Are you interested in learning more about types of microphones, polar patterns, and microphone techniques? Then try these sites:
http://www.christianduplications.com/audio.htm
http://www.bandwave.co.nz/work-shop/recording/microphone%20types/microphone%20types.html
http://bothner.co.za/articles/mic1.shtml
http://www.canimi.com/webnew/mica.html
The next time we'll look at common techniques in voiceover recording and construction techniques in designing good acoustics for your voiceover room.
Bob Ketchum, the Mystic Maven of Microphones, reminds the reader that sometimes a microphone is just a microphone, uless it says "Neumann" on it.
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