Voice Acting (Voice Over) Techniques?

L

LmnLm3

New member
Wasn't sure to post this in recording, mixing, mastering, or vocals - posted in vocal section, but I don't think that's the right place (mods, feel free to move/remove that thread).

I'm trying to get into voice acting and voice overs, but I'm not sure if there's something I'm missing to get my vocals to sound . . . voice over-y.

My voice has (I think) a Disney Aladdin sort of tone, and if anyone here has done voice over work (and doesn't have a GOD voice) do you have any tips to get closer to that sound?

I know I can't have a GOD voice, and I don't want one (well, you know...) but I am trying to get a richer low end and a smoother and less nasally tone.

Thoughts? Is this a mix/EQ issue? Or is this a mastering thing that I'm missing?

Thanks a million!
 
I know DJ's and radio personalities will use the proximity effect of cardiod mics. The closer to the mic you are, the more bass you will get.

But I'm wondering if there isn't a market for all types of voices in voice-over work. I think if you put together a good audition tape and submit to a talent agency they might be able to find you work. I would be willing to bet their qualifications are a good performance and quality audio and not so much the depth of your voice. But I never worked in VO, so I'm just guessing here.... :D
 
Not positive. I signed up at Voices.com. Look at the home page and listen to a couple of the top (or even recent) hired male voices.

They're not all Titan voices, but even the ones that are not so low pitched, they're rich and deep and boomy.

I know the boom comes from proximity, but is that rich deep sound just a vocalist thing?? Can't be, because I heard Kevin Spacey doing the Honda TV commercials - he had his normal high pitched voice, but it was still deep and rich sounding. He doesn't sound like that in movies...
 
LmnLm3,
Develop 'your' sound. Be the best YOU that you can be. There are tons of "Titan" voices. If that is not in your ability, find your own niche. There was only one Don LaFontaine! Not everyone is blessed with pipes like that.

Practice mic technique and try different mics to see if you find one that accentuates your voice.
If you are wanting to get into voice acting: seek acting classes and training, read and study as much as you can, read out loud (read the newspaper/magazine articles/etc.... Out loud), and record daily.

There are some good books to get you on the right foot. PM me and I will provide some titles and some other resources.
Dale
 
PMed

Still wondering what kind of EQ and other post production work is done to Spoken Word before it is submitted to potential clients (or as a finished product!)

Is there something that makes it sound more awesome? Besides an expensive mic, expensive pre, expensive ADC, Mic techniques and room treatment?
 
LmnLm3 said:
I'm trying to get into voice acting and voice overs, but I'm not sure if there's something I'm missing to get my vocals to sound . . . voice over-y.

My voice has (I think) a Disney Aladdin sort of tone, and if anyone here has done voice over work (and doesn't have a GOD voice) do you have any tips to get closer to that sound?

I know I can't have a GOD voice, and I don't want one (well, you know...

Chili said:
I know DJ's and radio personalities will use the proximity effect of cardiod mics. The closer to the mic you are, the more bass you will get.
Click to expand...
Click to expand...

I used a Shure SM7B on a bible study narration, practically kissing the foam windscreen, and couldn't believe it was my voice on playback. Talk about the Voice of God... made my hair stand on end.
 
EQ is probably the least of it.

At the root is the voice you have--and all are different.

However, you can add to your resonance by practicing speaking from your chest, not your throat. The same techniques that stage actors practice also help with voice recording work.

Once you have that technique right, yeah, the mic can make quite a difference. I know some of the really deep voice artists don't just use the proximity effect of a cardioid--they use a short shotgun like a Sennheiser 416 up close--this kinda give proximity effect squared.

....but all the technical solutions pale beside the importance of the voice you have to start with.
 
I personally like to get nice and close to my ev re320 (like a centimeter away) and then I just compress a bit if needed and boost a bit at 200 hz...that's pretty much it, but I am by no means professional lol.
 
I am now using an AT2020, perhaps I should rather invest in a good dynamic mic? Maybe the 2020 is helping my voice to sound thinner than it really is....?
 
Some voice coaching might be the way to go. To learn, as Bobbsy suggests, how to develop your head and chest voice, use diaphragmatic support, and to project your voice and articulate well. Singing tutors and speech pathologists are probably the people to help. Keep in mind that everyone perceives their own voice as more rich and resonant when actually speaking, and much less so when listening to their recorded voice.

I had a friend who was a successful voice artist (judging by the cash he seemed to pull in), and his recorded voice was not that different in quality from his actual voice. He could pull off a broad a range of vocal timbres and moods, and he also had great articulation (that is, ability to speak so that words are clearly understood). His work came from various sectors including radio and TV advertisements, documentaries, corporate training videos, etc.

I think his success came down to firstly the basic quality of his voice, and secondly his ability to manipulate his voice to match the material and target demographic, rather than the technology. Proximity effect is certainly a tool, but successful voice presentation will require more.

Paul
 
I am working on my diction and inflection (as an actor) and I do believe that is paramount over anything else at the moment.

I have been practicing in a full house which more likely than not pushes me to speak more quietly than I know I should, as I am very very new I suppose I am a bit embarrassed if my wife or sons hear me upstairs yelling "Coffee... It's America's favorite drink." Over and over and over to get the inflection I want. So That is something I will remedy first.

As for my original question, then, diaphragm breathing (which I do understand) and posture are the real things that provide the rich lower end much more so than a fancy dynamic broadcast mic or mastering tools? (btw, I do all my recording in Reason6 because it's what I use as a musician, though it seems Adobe is the choice for many voice actors... Worth a demo, I suppose...)
 
Audition is used for a lot of voice work because, as one of the best editors around, it's very common in a lot of radio studios. I use it myself.

However, as I say, the choice is because of the editing capabilities, not because it magically makes voices sound different or better.

By all means download it and give it a try (though I wouldn't buy it just now--there's a major upgrade due soon) but don't expect it to magically change the way your voice sounds. In my experience, the best voice artists take the least processing--just stick them in a good studio and stick a mic in front of them and they sound fine.
 
You shouldn't view EQ as a way to achieve your desired sound except in special circumstances. When when you are working toward something that sounds clear at natural it's rarely if ever the answer. EQ is for fixing and getting things to fit with each other. What your looking for is Proximity effect and tasteful compression. You'd be suprised how much that contributes to peoples vocal qualities. I had a face to face conversation with James Earl Jones once. Not exactly the same Boomy all consuming voice that spoke to Simba from the sky and sturck fear into the hearts of Jedi's.

I am no expert in the VO field, but I've seen enough comercials to believe a VO artist who doesn't sound like Mufasa would be a welcome change of pace.
 
Turtis21 said:
You shouldn't view EQ as a way to achieve your desired sound except in special circumstances. When when you are working toward something that sounds clear at natural it's rarely if ever the answer. EQ is for fixing and getting things to fit with each other. What your looking for is Proximity effect and tasteful compression. You'd be suprised how much that contributes to peoples vocal qualities. I had a face to face conversation with James Earl Jones once. Not exactly the same Boomy all consuming voice that spoke to Simba from the sky and sturck fear into the hearts of Jedi's.
Click to expand...


Thank you for this - this is exactly what I was thinking (or hoping?). That Mr. Jones gets special treatment in the booth (ok, so it's not EQ, but it might be a dynamic over an LDC?) and/or post production lets me believe that I too can have a slightly larger voice in the box than I do in the room ;-)

I have a cheap mic, a bad room, but the source isn't bad. Like people have said, though, some places will be more interested in the actor than the recording (though from what I have found, it seems many clients expect the actors to record themselves on their own time and just submit the product in the end. That's ok, I'm working on my home studio setup anyway :) )
I am no expert in the VO field, but I've seen enough comercials to believe a VO artist who doesn't sound like Mufasa would be a welcome change of pace.
 
LmnLm3,

It looks like you are getting some good feedback. About all I do for editing is, I use a treated room, decent preamp, roll off the bottom end, EQ- only to cut, and compress to pull it all back together, leaving headroom for the engineer to work his/her magic. I may add effects or a soundbed, if the client wants one. Otherwise, I send dry VO files, with the edits mentioned above.

Like Turtis said: All the EQ is, is a filter. I only use it to remove what is there (HPF) and shouldn't be, NOT to add what isn't there. You will want to be careful to not artificially color your sound and not be able to deliver the same sound when you audition. Develop your own sound.

Also, I often use an AT2035. I like the sound it gives me, and it proves that one doesn't always have to own $1000+ mics to get decent sound. Additionally, you already mentioned that Room Treatment is important. So knowing that, you are on your way.
Dale
 
Thanks for all the tips, guys! I think I might try to invest in a decent dynamic mic, or at least try a *good* one (never tried anything better than a 57/58 to my memory)

I think the proximity effect is one thing I'm really missing here (and something I always hated as a singer!!)

Not only will I get a slightly larger sound (not artificial, just "broadcaster" sound) but more importantly, it will be much more forgiving of my room!!! (I guess that's why high end VO studios use ribbons and LDCs while "podcasters" use high end dynamics heh...)
 
LmnLm3 said:
Thanks for all the tips, guys! I think I might try to invest in a decent dynamic mic, or at least try a *good* one (never tried anything better than a 57/58 to my memory)
Click to expand...

Yeah if you can get your hands on an sm7b or EV re20/re320 somehow to test it out, I think that'll be really good! :)
 
I found mods to SM57 that supposedly give it better clarity (at the cost of some output) but I'm not sure if the GLS ES-57 is the same, tbh I can't get it apart!

As for the mics I was looking at, my son had a birthday this week, party was on the weekend, things have been nuts - by the time I got back to the guy with the Spark, he sold it. That would have been a steal, I don't know why I was finicky about that. I lost out.

For now I'm going to try mixing the AT2020 and the ES-57, and see what kind of sound I can get.

Work on technique, and then upgrade my gear when I am worthy. [edit] << that is going in my sig... [/edit]
 
You must log in or register to reply here.
Back
Top