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VOICE OVER TODAY – July 8, 2002

Published by EDGE STUDIO
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THIS ISSUE INCLUDES:

1.)... microphone technique
2.)... microphone etiquette

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1.) MICROPHONE TECHNIQUE

It is the microphone that captures your voice. Therefore understanding it and knowing how to use it to your advantage can greatly enhance your voice-over delivery.

Professional voice talent refer to microphone technique as “working the mic.” Following are techniques that must be employed during every recording session.

a. Placement — The placement of the microphone is directly related to sound quality. Engineers therefore precisely place the microphone in a location, relative to your mouth, based upon your voice and the desired sound for the narration.

The microphone generally faces your nose, neck, mouth, or cheeks. Occasionally it is above you, sometimes to the side, and sometimes even placed below your mouth.

Do not assume that the engineer is incompetent if the microphone is not where you expect it should be. Nor should you try to move to where the microphone is. Instead, remain centered with the music stand, and leave the rest up to the engineer.
b. Lateral movements — It is crucial that you remain “on-axis” (in front of the microphone) to ensure a consistent tone. Moving to the either side of the microphone will create drastic tonal changes – making your voice sound muffled, as without treble (clarity). This is known as being “off-axis” from the microphone.
One exception is if a producer desires a muffled sound, as if you’re speaking through a door. Then speaking off-axis is perfect.
c. Proximate movements — Moving closer to and farther away from the microphone will create drastic volume (amplitude) changes. It is essential that you remain the same distance from the microphone to ensure a consistent volume.

d. Proximity effect — As you move closer to a directional microphone, the kind most engineers use, the fuller, richer, and more bassey (less treble) you voice will be. This is known as “proximity effect.”

When a full-bodied, sexy, or deep tone is required, use proximity effect to your advantage - stand about 3 to 4 inches from the mic to achieve this full sound. When a thinner sound is desired, try standing 6 to 8 inches away.

NOTE that when standing close to the microphone, you are more prone to “pop.” Popping is when a powerful burst of air from your mouth that overloads and distorts the microphone. This mostly occurs on “plosives” (words that begin with “p,” “b,” and “t.”) For these words, either move a few inches further away from the microphone, or decrease the volume of air leaving your mouth.

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2.) MICROPHONE ETIQUETTE

Microphone etiquette is an attribute engineers welcome. Therefore voice talent who are considerate and respectful of engineer’s microphones have a greater chance of being hired again.

Always remember the following:

a. Never move the microphone or the microphone stand. The positioning of the microphone is critical — slight movements can drastically affect the sound quality. So after the engineer places the microphone, do not change it.

If the position of the microphone causes a shadow on your script, or is too high or low for your comfort, simply ask the engineer to adjust it.

b. Never blow into or tap on the microphone (as characters in movies do during sound-checks). First of all, microphones are very fragile — a slight touch may damage them.

Secondly, microphones are very sensitive. They’re intended to pick up and amplify sounds coming from a few inches away – and they do this very well. So when the sound is created at the microphone, it will be overly amplified – possibly causing damage to the recording room’s speakers and in your headphones (damaging your ears). It is, again, best to not touch the microphone.

c. Never hang the headphones on the microphone stand. First, this can cause feedback.

Feedback is an audio loop that produces a high-pitched squealing sound. It occurs when a headphone is too close to a microphone. It is caused by sound leaving the headphones and being picked up by the microphone, amplified by the amplifier, and sent back into the headphones (louder this time due to the amplification), then resonating back into the microphone — thus creating a loop. This loop will eventually destroy the speakers and your hearing.

Second, hanging headphones on a microphone stand creates the possibility of the headphones falling off and breaking.

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HAVE A DEMO? We're always searching for new talent. Please mail us your CD demo to: Edge Studio, 251 West 30th Street, suite 9-fm. NY, NY 10001 USA
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