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Voice Over Production

Are You Prepared for that Voice Over Job? Don't Risk Losing Clients!


Written Edge Studio Production Staff, after Hurricane Sandy.

Severe weather tends to shake things up in more ways than one. While thankfully our NYC, CT, and DC studios were not damaged, we went through an internal audio hurricane of sorts here at Edge, and in the interest of educating all you voice over hopefuls, I’d like to share my tale from the front lines.

We had a large-scale (high-profile client), long-form (11 hours of final audio), RUSH project, in the works before Hurricane Sandy hit the East Coast. Even before the storm, there were several red flags that signaled rough seas ahead for this recording. First, the voice over talent, chosen by the client, was completely new to voice over. (As in, “may never have stepped in a recording studio before” new.) Second, we had 4 days to record the voice over to stay on schedule. Third, I was busy cranking on other projects, as were the rest of our go-to voice over engineers, so we had to add another “new” body into the mix, in the form of a pleasant (yet largely untested) recording engineer. Fourth, because of the tight production schedule and the good fortune of being a busy NYC voice over studio, we didn’t have the physical space available in-house to edit the audio, so we arranged for one of our partner studios to handle the post-production. The hope that the voice over would be completed efficiently and on-time hung by a thread thinner than the amount of musical talent possessed by Bono.

Pretty “high risk,” eh?

Ode to the Avalon - Why We Love Ours!


When looking for a pre-amp to record, there are several questions you need to ask yourself. What functionality do I need? What kind of sound am I after? How much change do I have to pilfer to get this thing? Pre-amps are the magical and mysterious link in the chain often overlooked by those first exploring recording, and often over obsessed by studio veterans. Lets talk about one of the ones we have at Edge Studio: The Avalon 737sp.

As far as tone, here at the studio, we're aiming for squeaky clean. The Avalon is an unlikely choice, because it is tube based, and tubes are often associated with sweet sweet distortion. But in this case, its more of an "old school hi fi" tube approach, than a Marshall stack. Its very clean. It minimally alters the sound, leaving the signal as uncolored as possible (with the option to color it if necessary with added functionality as we'll get into now).

Functionality. Often, a pre amp is more than a pre amp. Sometimes its called a “channel strip” meaning it can do a few things in one, like a printer that also faxes, or a horse that is also a microwave. This here thingy accomplishes 3 tasks. First and foremost It is a pre amp - powering and amplifying the signal from a microphone. Second, it has a compressor. This reduces dynamic range - basically lowering the louds and making the quiets louder - to even out the signal. It’s main function while recording is to prevent peaks going to the hard drive. Finally, it is also an EQ. EQ boosts and cuts frequency levels, to make things sound “equal” or can also be used for effects. We tend to lean towards the former. This is rarely used while tracking, except if someone has a very boomy voice (we cut some lows) or is incredibly sibilant (we cut some highs).

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