Assuming that you have finished with your voice-over training and your home studio is set up and working properly, here is a final checklist to make sure your voice-over auditions are of the highest quality. This checklist is for Audacity users, however, some of the items will also pertain to other recording programs.

1. Double check your Audacity software is connected to your Focusrite Scarlett home studio interface.
2. Check that your recording gain is not peaking past -12db to keep you from peaking past -0 and distorting the recording.
3. Record the script.
4. Save the project with a different file name than the original and create a new project folder inside of your master projects folder.
5. Copy the original recording and paste it into a new track. Never work from the original recording. That way, if you make a mistake you can go back and retrieve the original.
6. If you have done multiple takes (highly recommended), select the best take and copy and paste it into a new track below. If you want to use a different section from one of the other takes, you can simply copy and paste it over the old section, but make sure it matches with the rest of the take.
7. Remove all breaths, mouth noises, clicks, and pops.
8. Listen carefully to each edit. They should be smooth and not heard, invisible to the ear. Your goal is to make the read sound as if you read it without any breaths, mouth noises, or mistakes. If you can hear an edit, try Fade Out and Fade In on the words before and after the edit.
9. Highlight the track and normalize it to -1.0 db, unless otherwise instructed by client.
10. Look at the Normalize .wav pattern. Check for any radically taller peaks. (Often, some words or parts of words are recorded unintentionally much louder than the rest of the read). If you see any radically taller peaks, listen to that area. If you punched that word on purpose, leave it alone, but if there’s no reason for it to be that much louder, or taller, highlight the tall peak and go to Amplify in the Audacity Effect title bar. Slide the fader to -2.0 db and hit OK. If you need to bring it down a bit more, go back to Effect and hit  Repeat Amplify until it looks like the rest of the high peaks in the read. Always listen after each time you hit Repeat Amplify to make sure you haven’t turned it down too much. If you have, hit Undo.
11. Once all the radical peaks are corrected, then highlight the entire read again and Normalize it one more time.
12. Listen very carefully to the read. Sometimes when you normalize (raise up the volume), things you didn’t hear before can now be heard. Remove any unwanted noises.
13. Finally, save the project again. Once that is done, export the final read to mp3 and email it to the client.

When clients listen to your voice-over audition, they are listening for more than just the quality and sound of your voice, or how you read and interpreted the script. They are also listening to the overall technical quality of the recording. They need to know that if they select your voice for the job, you have the technical expertise with home studio equipment to actually give them the final read at the highest quality possible.

One last thing, if anything I mentioned on this list is foreign to you, or if you’re interested in learning more about your home studio setup, I recommend you book a session with me at this link: https://my.suchavoice.com/private-home-studio-review-sessions.

We always enjoy hearing your feedback, so join the conversation and see what’s being discussed about Such A Voice!

We’re also on YouTube. Check out our video for this article below:

                                      About the Author

Ben Marney has been a studio engineer, singer and musician for over 40 years. Over the last 8 years (as a full time voice-over talent) he has recorded literally thousands of radio and television commercials and has been the narrator for three national television shows airing on the Discovery, Destination America and Sportsman channels. He currently resides in Port St. John, Florida where he (with his wife’s permission) produces voice-overs out of his home studio.

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For this week’s staff spotlight, we’d like to introduce you to our Home Studio Advisory Coach, Ben Marney!

SAV: Hi Ben! We wanted to congratulate you on your new gig at Sirius XM! Can you tell us more about what you’re doing for the station?

Marney: I was originally hired to do about ten pages of Channel ID’s, intros for the Skynyrd band members shows, and promotion spots for the new Free Bird: Lynyrd Skynyrd Southern Rock Channel, Sirius XM channel 30 Those responsibilities were quickly expanded. So far, I’ve done 18 pages with more coming. They have also asked me to do an audition to be the voice of another existing Sirius XM channel, but I can’t talk about that one yet.

SAV: What’s your favorite part about working in voice-over?

Marney: Without question, it’s being able to jump out of bed and walk 50 feet to my business– my home studio. I don’t even have to comb my hair or put on pants to go to work! Ha. It’s also the long-term friendships I’ve developed with my clients. For example, I’ve been the brand voice for Home Federal Bank for ten years now. The producer and I have become great friends over the years. And I have several other long-term clients/friends.

SAV: What does your role of Home Studio Support Specialist consist of on a day-to-day basis?

Marney: I believe what I do for SAV is a critical part of a student’s success. Without a quality home studio and a good understanding of the recording software, they will not be able compete in this industry, even if they have a golden voice. I have sessions in the evening from 5:00PM To 10:30PM EST, Monday through Thursday. In my sessions, I make sure their equipment is hooked up and working properly. I suggest ways in which they can create a “sound bounce proof” studio with a low noise floor and I teach them how to use the Audacity software to create quality auditions.

SAV: What kind of equipment do you use for your own home studio?

Marney: I also produce music, so I have a little more equipment than is really necessary to just produce voice-over. I work with on a 27” iMac with a second 30” Vizio video monitor, about five feet of screens in front of me.  

I have several studio microphones, but my prefered recording chain for voice-over is my Blue (baby bottle) microphone, going through a Focusrite ISA one processor, on to my Scarlett 2i2 interface.

I use ProTools recording software, mixed through a small Mackie board connected to two Advent Tuned Reference 10” studio monitors. In my vocal booth, I record with Sony MDR 7506 headphones.

I actually own several much more expensive microphones, but I like my voice the best on my Blue baby bottle.

SAV: Do you have any tips for someone who wants to soundproof their studio?

Marney: First of all, unless you bury a concrete bunker in your backyard, you’ll never get a “soundproof” home studio. All you need is a “bounce” proof studio and that’s easy to accomplish. My first recommendation is to always put the microphone in a closet, if possible. It doesn’t have to be a walk-in closet, just a closet big enough so they can put their microphone and head in. I know a lot of very successful VO talents in New York City that only have a small coat closet to work with in their tiny apartments. They cover the back wall with either Auralex foam or blankets, quilts, carpet, really anything non reflective and dense enough to absorb sound. They then spread their coats apart a foot or so, stick the microphone and mic stand in as far back as possible, put their head in between the coats, and there you have it. It’s just that simple.  

When I’m on the road working out of a hotel, I make a pillow fort around my microphone and stick my head in. I actually did three episodes of Hillbilly Blood for the Discovery Channel that way.

This is what we talk about in my sessions. Everyone has a different situation to work with. I also stress the importance of having a comfortable desk and chair for their computer. They’ll spend much more time there editing than they will in the booth recording.

SAV: What has been your favorite niche to work in so far?

Marney: I’m definitely Americana. I’m from Texas and I have a southern accent, so I concentrate on that kind of work. I don’t do many auditions for New York or Chicago. I’m more of an Alabama, Mississippi, Texas kind of guy.

SAV: What is your favorite song to listen to on the radio nowadays?

Marney: Of course I have to say Free Bird. By the way, you can hear that song on Sirius XM channel 30, Free Bird: Lynyrd Skynyrd Southern Rock Channel. Again, sorry I just can’t stop myself.

SAV: Who do you look up to in the voice-over industry?

Marney: I’d have to say Sam Elliott. I love his voice and delivery. I’ve met him a few times and he’s a great guy. Very down to earth for a big star. And of course, our own Heather Costa. She’s amazing!

SAV: If you could be a member of any TV-sitcom family, which would it be?

Marney: No question about that one! Modern Family. I’d work for free to be able to see Sofía Vergara every day.

SAV: Do you have a quote that you live by?

Marney: It’s something my father said to me the day I left for college. He said, “Son, there are a lot of stupid people out there in the world… try not to be one of them.”

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1. A recording space that has no room reflection (echo) with a low noise floor (ambient background noise of -57 or lower),
2. A reliable computer,
3. A good recording software that records at 44100 hz at 24 bits,
4. A large diaphragm condenser microphone,
5. A quality USB audio interface and,
6. Professional flat response headphones,

then an upgrade most likely isn’t necessary. However, if you are lacking any of the above,it’s time for an upgrade..

Microphones:

A large diaphragm condenser microphone is the perfect choice for voice-over recording because it picks up the richness, texture and frequencies in your voice. There are many to choose from ranging in price from $100 to $3,000. I don’t recommend any particular one, because we all have unique frequencies in our voices and each microphone picks up those frequencies differently. Go to a music store near you and test out several before you buy one. Choose the one that sounds the most natural with your voice.

Here is a list of popular microphones for VO work:

• Neumann TLM 103 $1,300.00
• Rode NT 1-A $230.00
• Audio-Technica AT4040 $300.00
• Blue (baby bottle) $300.00
• Focusrite Scarlett SM 25 $150

USB Audio Interface:

I am not a fan of USB microphones. They lack the quality you get using an analog condenser microphone running through a USB audio interface. If you’re using a USB microphone, I highly recommend you upgrade to an analog large diaphragm condenser microphone and purchase a quality USB audio interface. There are several to choose from and they all work equally well.

Here is a list of popular USB Audio Interfaces:

• Scarlett Solo or 2i2  $100.00 – $150.00
• PreSonus Audiobox $100.00
• Tascam US 2×2  $150.00
• Steinberg UR22mkll  $150.00

Headphones:

It’s very important to use professional flat response headphones when mixing voice-over. Standard headphones for music have enhanced bass and treble to make the music sound bigger and better. Mixing through these headphones will fool you. Your voice may sound fabulous, but take away the enhanced bass and treble and what do you have? The producers you are sending your auditions to will usually be listening through flat response studio monitors or professional flat response headphones. and will not hear all the enhancements you heard. That’s why it’s important that you hear exactly the same thing they will hear. Most beginner voice-over talents use headphones.

Here is a list of popular brands:

• Sony MDR 7506 or MDR v6  $100.00
• AKG K 240 MK II  $130.00
• Audio-Technica ATH-M50x  $150.00
• Sennheiser HD25-1 II  $275.00
• Focusrite Scarlett  $100

Studio Monitors:

This is more for convenience than necessity. However, if you mix audiobooks or long narration reads, they’re more comfortable to work with. Just make sure you use professional flat response tuned studio monitors. They range in price by size from $150 to $500 each and are available at most large music stores. For voice-over mixing, you only need one because voice-over should always be recorded mono.

Recording Software:

Such A Voice recommends the use of Audacity because it’s a high quality recording software that’s easy to learn (from our Intro to Audacity videos) and it’s a free download. Unless you are planning on getting into full production, recording multitracks and music, there’s no need to upgrade from this software. However, if this is your goal, there are many other recording softwares out there to consider.

Here is a list of popular recording software:

• ProTools $900 or $400 per year lease.
• Pro logic $350
• Adobe Audition $350
• Sound Forge 10 (Windows only) $500

Studio Space:

Where you set up your home studio is just as important as having the right equipment. This physical space must be quiet without any consistent ambient background noises or hums, and must have non-reflective surfaces. The most obvious choice would be a walk-in closet because they’re usually an interior room with no ambient noises and filled with echo-preventing sound-absorbing material (your clothes). The biggest problem with this is that it’s a temporary setup. If you have an unused bedroom or home office with a closet large enough, this is a good option for a more permanent setup. If you don’t have any of the above, you can still find a way, you’ll just have to be more creative.

The most important thing is to find the quietest place in your home that you can use permanently. You may have to turn off any fans or AC while you’re actually recording to lower your ambient background noise. To prevent room reflections or echo, figure out a way to surround your microphone with sound-absorbing material.You can also purchase a portable sound booth or build one.

Here is a list of portable sound booths:

• Harlan Hogan Porta Booth Pro $350

Here is an article showing you how to make one for less.   http://harlanhogan.com/portaboothArticle.shtml

• Kaotica Eyeball $200

For more choices google “portable voice-over sound booth.” For a walk-in sound booth:

• GretchKen Booth $4,000 to $8,000

• Whisper Room $4,500 to $7,500

• Vocal Booth $5,000 to $15,000

The bottom line is, if you purchased the Focusrite Scarlett Studio Package offered to you by Such A Voice, you have all the equipment you need to record high quality voice-over auditions. If you’re using this equipment in a room with no room reflection and a low noise floor there’s no need to upgrade. However, if you don’t have this kind of state-of-the-art equipment and are not recording at the highest quality, or if your space is a temporary setup, upgrade soon. It’s important to have your home studio setup and ready to go when that perfect job comes along.

Find this useful? Check out our VO Pro Membership to learn more about similar voice-over topics.

Ben Marney has been a studio engineer, singer and musician for over 40 years. Over the last 8 years (as a full time voice-over talent) he has recorded literally thousands of radio and television commercials and has been the narrator for three national television shows airing on the Discovery, Destination America and Sportsman channels. He currently resides in Port St. John, Florida where he (with his wife’s permission) produces voice-overs out of his home studio.

Source