Handley_Page
Draco interdum Vincit
- Joined
- Aug 18, 2007
- Posts
- 78,218
Audio Stories: a few of the ‘hidden traps’.
So your story is written, polished and ready for an adoring public. No spelling mistakes or short-cuts to confuse the innocent reader ?
All you need do is read it, right ?
Too bad that the kids are creating, the TV is on full blast and ‘er indoors has the Rolling Stones going good & loud, and someone’s just flushed the loo.
And I’ve not mentioned the traffic noise from outside.
And you need to whisper sweet nothings into a microphone?
Have you ever seen the inside of a studio? No? Let me tell you a bit about it.
Generally speaking it has solid walls and a generally sound-absorbent (or deadening) lining. The table, upon which sits the microphone, is covered in soft material (usually over a sponge or similar). The microphone itself is mounted on some sort of anti-vibration or soft base. And squeaky chairs are not welcome.
I’ll leave the technical recording stuff – for now.
So you need somewhere QUIET !
Now, one thing about sound is that it reflects off a hard surface.
Close the curtains in a room and you’ve just reduced the problem quite dramatically (for a given size or type of room). I’ll assume that it’s carpeted; a hard floor is going to do you no favours whatever, I’m sorry to say. It might look great in a catalogue but it’s absolutely no benefit whatever is you’re recording. If you have a floor like that, cover it with carpets, towels or anything soft.
Hang sheets or blankets over hard surfaces, such as a wall.
Got a curtain rail round the room? Hang some clothes or large towels (a ‘Bath sheet’) on it!
Or have you a large-ish wardrobe ? Clear a bit of space and away you go!
Or a walk-in one? That may be ideal.
When reading your story, you need to be real comfortable; relaxed and switched on to what you are doing. And here we may present another problem: Clothes. Unless the sounds made by clothes are part of the general ambience (sound effects) of the work, the last thing you need is the sound of pieces of corduroy rubbing against each other; nor does the listener expect to hear the sound of the underwire in a bra or the slither of a blouse or shirt at an inconvenient moment (this might also include any jewellery; a clanking bracelet can be a very noisy thing indeed). Even quietly, these sounds can be remarkably distracting: Natural materials, worn slightly loose & discretely is more likely to be just the thing you need.
Your mouth needs to be a reasonable distance from the microphone.
This may come as a surprise, but a microphone can hear you breathing, so you’d better practice! You don’t want to be (with a simple microphone) too close that also gets all the explosive consonants (Ps & Bs, etc.), nor so far away that you need nearly flat-out recording gain complete with noise (hissing, etc.). A generous cladding of low-density sponge can really help (sometimes available via E-Bay).
Here we have a bit of a problem that only you can solve. For a given type of microphone, there’s generally an “optimum” distance, for a given type of voice.
At this point, I’ll leave you to experiment and find your own best method. If you have a shrill, trebly, voice, use a big microphone which responds well to the Bass notes.
You need a fair bit of energy at the bottom end, usually (a lot depends upon the type of story). If you have a deep voice, you’ll need something a little smaller, with good treble. The alternative is an equalising mixer, but that’s getting a trifle technical.
You might be tempted to think that one microphone is much like another: It ain’t.
At the beginning end of microphone types, there are two to look for; “Omni directional” and “Cardioid”. As it’s name implies, the Omni literally picks anything up from round it, regardless of direction. This often includes next door’s domestic row, vacuum cleaner or even the lawn mower; all of which may be reduced a little by the sound-deadening soft furnishings outlined above.
I do not recommend an “omni-directional” microphone as a general rule for an individual voice. An omni microphone, on the table may well pick up a group, so if you have a number of voices round the table, and Omni mic is the place to start (do not forget to insulate it from the table top).
The Cardioid has, as its name implies, has a roughly heart-shaped response, tending to reject (perhaps that should be ‘suppress’) sounds from the sides. You usually have to speak directly into this microphone, depending upon the reaction you want.
And upon what sort of machine are you going to record this masterpiece?
Let’s start off with the easy end: you have a half-decent cassette recorder.
Now, if you get the acoustics right, you could be on to a winner here; provided you have a decent microphone.
I suggest a moving coil (a.k.a. “dynamic”) type for preference; an electret can be a bit tricky and, unless you have the knowledge, forget the true “Condenser” microphones; they usually require a power supply and they ARE expensive). E-Bay can help, but there’s lot of serious advertising and the skill of the buyer is assumed in there; and very confusing it is, too. Price? Anything from 99 pence to 99 pounds, depending upon the make and type.
You’ll notice I have not mentioned stereo. Two channels (L & R) thus two microphones, perhaps; it’s not vital, but it/they do have advantages (you can shift the sound source from one side of the “sound field” to the other, think of a conversation). Naturally, if you have the supplied microphone, it might even record to both channels anyway.
One important thing: never ‘blow’ into a microphone. Scratch your fingernail across the grille, or gently tap it but NEVER, NEVER blow into it (even a cheap one can be easily damaged).
Of course, the modern ‘gaming’ headset, with a boom microphone could be just the job, provided you have a decent control of external sounds and acoustics. This brings me to the use of the Computer as a recording medium. As I have and use a PC, I’ll stick to that.
I assume Mac users can find some sort of equivalent (if Apple lets them).
There’s a good, free, programme called “Audacity.” You can make the sound ‘jump through hoops’ with the wiggle of your mouse. It also has the advantage of presenting you with a digital file.
Whatever machine you use, from a cassette recorder, via a big open-reel machine to your huge PC, control the level of your voice. If your character loves to shout (or if she’s a screamer), just put the microphone further away from the mouth. This is something you’ll have to practice with before you get it right.
Always leave a slight pause after operating a switch before you start to speak and another before you switch off the recorder. It makes editing a great deal easier.
In closing, let’s consider the voice itself.
You’ll need to practice speaking; and Yes, I am serious. God and your antecedents gave you the shape of your larynx, but gave no clues about how best to use it. You need to practice; just as an actor does. Voice exercises are a good idea, but don’t overdo it.
While you bathe or shower is a good time; it’s usually more private.
The things to remember are:
Rhythm
Speed,
Volume,
Pitch
Don’t gabble, Keep the speed right for the text, don’t whisper or shout, unless it’s in the text, and keep a normal adult pitch (it’s no good sounding like some whiney-arsed kid moaning about no sweeties; remember that, by & large, your characters are grown-ups and have a fairly-well developed larynx).
Be Very Careful with the pages of the script. Type your screed in large type, double spaced in a good, clear font with a serif (ITC Bookman, Bookman Old style, Calisto MT, for example). Make sure that it is well-illuminated and loose-leaf.
And make sure that the page bottom does NOT feature half a sentence (it’s collectively known as ‘Widows & Orphans’). Turning the page takes time and half-way through some exciting action is not the time for a gap in the reading. Even splitting a paragraph is sometimes ill-considered.
Turn your pages with care ! (and if you need a drink, do it with the tape OFF).
And do not forget that characters have their own voice. Your hero may sound like Walter Cronkite and your heroine like Lauren Bacall but this is not common. Just try to get the voices consistent.
I’ll probably think of more to add later, but for now
HP
So your story is written, polished and ready for an adoring public. No spelling mistakes or short-cuts to confuse the innocent reader ?
All you need do is read it, right ?
Too bad that the kids are creating, the TV is on full blast and ‘er indoors has the Rolling Stones going good & loud, and someone’s just flushed the loo.
And I’ve not mentioned the traffic noise from outside.
And you need to whisper sweet nothings into a microphone?
Have you ever seen the inside of a studio? No? Let me tell you a bit about it.
Generally speaking it has solid walls and a generally sound-absorbent (or deadening) lining. The table, upon which sits the microphone, is covered in soft material (usually over a sponge or similar). The microphone itself is mounted on some sort of anti-vibration or soft base. And squeaky chairs are not welcome.
I’ll leave the technical recording stuff – for now.
So you need somewhere QUIET !
Now, one thing about sound is that it reflects off a hard surface.
Close the curtains in a room and you’ve just reduced the problem quite dramatically (for a given size or type of room). I’ll assume that it’s carpeted; a hard floor is going to do you no favours whatever, I’m sorry to say. It might look great in a catalogue but it’s absolutely no benefit whatever is you’re recording. If you have a floor like that, cover it with carpets, towels or anything soft.
Hang sheets or blankets over hard surfaces, such as a wall.
Got a curtain rail round the room? Hang some clothes or large towels (a ‘Bath sheet’) on it!
Or have you a large-ish wardrobe ? Clear a bit of space and away you go!
Or a walk-in one? That may be ideal.
When reading your story, you need to be real comfortable; relaxed and switched on to what you are doing. And here we may present another problem: Clothes. Unless the sounds made by clothes are part of the general ambience (sound effects) of the work, the last thing you need is the sound of pieces of corduroy rubbing against each other; nor does the listener expect to hear the sound of the underwire in a bra or the slither of a blouse or shirt at an inconvenient moment (this might also include any jewellery; a clanking bracelet can be a very noisy thing indeed). Even quietly, these sounds can be remarkably distracting: Natural materials, worn slightly loose & discretely is more likely to be just the thing you need.
Your mouth needs to be a reasonable distance from the microphone.
This may come as a surprise, but a microphone can hear you breathing, so you’d better practice! You don’t want to be (with a simple microphone) too close that also gets all the explosive consonants (Ps & Bs, etc.), nor so far away that you need nearly flat-out recording gain complete with noise (hissing, etc.). A generous cladding of low-density sponge can really help (sometimes available via E-Bay).
Here we have a bit of a problem that only you can solve. For a given type of microphone, there’s generally an “optimum” distance, for a given type of voice.
At this point, I’ll leave you to experiment and find your own best method. If you have a shrill, trebly, voice, use a big microphone which responds well to the Bass notes.
You need a fair bit of energy at the bottom end, usually (a lot depends upon the type of story). If you have a deep voice, you’ll need something a little smaller, with good treble. The alternative is an equalising mixer, but that’s getting a trifle technical.
You might be tempted to think that one microphone is much like another: It ain’t.
At the beginning end of microphone types, there are two to look for; “Omni directional” and “Cardioid”. As it’s name implies, the Omni literally picks anything up from round it, regardless of direction. This often includes next door’s domestic row, vacuum cleaner or even the lawn mower; all of which may be reduced a little by the sound-deadening soft furnishings outlined above.
I do not recommend an “omni-directional” microphone as a general rule for an individual voice. An omni microphone, on the table may well pick up a group, so if you have a number of voices round the table, and Omni mic is the place to start (do not forget to insulate it from the table top).
The Cardioid has, as its name implies, has a roughly heart-shaped response, tending to reject (perhaps that should be ‘suppress’) sounds from the sides. You usually have to speak directly into this microphone, depending upon the reaction you want.
And upon what sort of machine are you going to record this masterpiece?
Let’s start off with the easy end: you have a half-decent cassette recorder.
Now, if you get the acoustics right, you could be on to a winner here; provided you have a decent microphone.
I suggest a moving coil (a.k.a. “dynamic”) type for preference; an electret can be a bit tricky and, unless you have the knowledge, forget the true “Condenser” microphones; they usually require a power supply and they ARE expensive). E-Bay can help, but there’s lot of serious advertising and the skill of the buyer is assumed in there; and very confusing it is, too. Price? Anything from 99 pence to 99 pounds, depending upon the make and type.
You’ll notice I have not mentioned stereo. Two channels (L & R) thus two microphones, perhaps; it’s not vital, but it/they do have advantages (you can shift the sound source from one side of the “sound field” to the other, think of a conversation). Naturally, if you have the supplied microphone, it might even record to both channels anyway.
One important thing: never ‘blow’ into a microphone. Scratch your fingernail across the grille, or gently tap it but NEVER, NEVER blow into it (even a cheap one can be easily damaged).
Of course, the modern ‘gaming’ headset, with a boom microphone could be just the job, provided you have a decent control of external sounds and acoustics. This brings me to the use of the Computer as a recording medium. As I have and use a PC, I’ll stick to that.
I assume Mac users can find some sort of equivalent (if Apple lets them).
There’s a good, free, programme called “Audacity.” You can make the sound ‘jump through hoops’ with the wiggle of your mouse. It also has the advantage of presenting you with a digital file.
Whatever machine you use, from a cassette recorder, via a big open-reel machine to your huge PC, control the level of your voice. If your character loves to shout (or if she’s a screamer), just put the microphone further away from the mouth. This is something you’ll have to practice with before you get it right.
Always leave a slight pause after operating a switch before you start to speak and another before you switch off the recorder. It makes editing a great deal easier.
In closing, let’s consider the voice itself.
You’ll need to practice speaking; and Yes, I am serious. God and your antecedents gave you the shape of your larynx, but gave no clues about how best to use it. You need to practice; just as an actor does. Voice exercises are a good idea, but don’t overdo it.
While you bathe or shower is a good time; it’s usually more private.
The things to remember are:
Rhythm
Speed,
Volume,
Pitch
Don’t gabble, Keep the speed right for the text, don’t whisper or shout, unless it’s in the text, and keep a normal adult pitch (it’s no good sounding like some whiney-arsed kid moaning about no sweeties; remember that, by & large, your characters are grown-ups and have a fairly-well developed larynx).
Be Very Careful with the pages of the script. Type your screed in large type, double spaced in a good, clear font with a serif (ITC Bookman, Bookman Old style, Calisto MT, for example). Make sure that it is well-illuminated and loose-leaf.
And make sure that the page bottom does NOT feature half a sentence (it’s collectively known as ‘Widows & Orphans’). Turning the page takes time and half-way through some exciting action is not the time for a gap in the reading. Even splitting a paragraph is sometimes ill-considered.
Turn your pages with care ! (and if you need a drink, do it with the tape OFF).
And do not forget that characters have their own voice. Your hero may sound like Walter Cronkite and your heroine like Lauren Bacall but this is not common. Just try to get the voices consistent.
I’ll probably think of more to add later, but for now
HP
