Recording the spoken word

Many studios record narration for documentary films, slideshows, educational programs, radio dramas, commercials and books on tape. Here we will learn ways to record the spoken word most effectively.

There are many important things to be aware of when recording the spoken word:

Consistency in recording the spoken word

One of the most important qualities of recording the spoken word is consistency. The tone quality, average recording level, average pitch, and average tempo of the voice should not change noticeably throughout the voice recording (except for dramatic effect).

When recording the spoken word, often a complete manuscript is recorded in a single session. Then a proof of this copy is sent to the manuscripts publisher to check for any errors. After corrections are received, the announcer is called back into the studio to record inserts or corrected sentences and paragraphs. These inserts are edited back into the original recording.

If the sound of the inserts does not match the sound of the original, the listener hears jarring changes in the voice quality as the recording plays, so it is important to duplicate the recording set-up every time the announcer is recorded.

What might effect the way the voice is recorded?

Several factors can vary from one voice recording session to the next; recording level, microphone choice, microphone placement, text position, announcers position, EQ, noise reduction and even the announcer voice itself.

All these factors need to be constant by documenting the set-up.

Should you take any notes?

Take notes on the microphone used, its switch positions, and its distance and position relative to the announcer. Also note any EQ or noise reduction used. To reduce the number of variables, many engineers record without any EQ. You may want to settle on a standard set-up so that you can record a predictable sound.

Microphone choice for recording the spoken word

There are four types of mic commonly used for voice recording.

· A top quality lavalier condenser mic - miniature unit that clips on shirt - because the mic is worn by the user, it remains a constant distance from the mouth, which aids consistency. There is no problem with breath pops.
· A flat response cardioid microphone - full lows and detailed highs
· A ribbon mic - warm and smooth sound. The closer the talker is to the microphone the bassier the recording - this is the proximity effect. Unless the announcer can remain a constant distance away, the voice tone quality varies
· A multiple directional dynamic mic - designed to compensate proximity effect

Microphone Placement

What else what might the microphone capture other than the spoken word?

The placement of a microphone for speech/voice recording affects the pickup of room acoustics, breath and lip noises, table thumps, and sound reflections.

Each of these unwanted sounds can be prevented by proper microphone placement.

Distance

It helps to standardise on a distance between the mic and the announcer's mouth that provides the best sound quality. A typical distance might be 8-12 inches or 20 to 30cm.

If the mic is too distant, it picks up too much room acoustics. In general, little or no room sound should be audible in a narration recording.

If the mic is too close, lip and tongue noises are audible, and the voice level varies greatly when the announcer moves.

Find a workable distance somewhere in the middle and stick with it. The exception would be dramatic recording.

Some studios set the miking distance with a spacer or ruler. Or by spacing with their hands.

Minimizing Pop

Microphones should be placed to avoid popping. When a person says words containing the letters 'p', 't', 'b' an explosion of air is forced from the mouth, known as plosives. If these plosives hit the microphone grille a little thump is heard in the mic signal.

You can prevent popping by:
· Placing the microphone above, below or to the side of the mouth
· Using a Pop shield – often stockings are used stretched over a wire circular frame

Minimizing Table Thumps

If you're using a table to hold the manuscript, and a microphone stand is on the table, table taps - even soft ones - travel through the mic stand to the mic, and can be amplified.

Mount the microphone on a boom stand, and place the base of the stand on the floor to combat this.

Many studios pad the announcer's table with cloth or foam to prevent noises.

Minimizing Sound Reflections

Place the microphone to avoid picking up sound reflections from the script or the announcer's table. If this happens phase interference occurs.

Controlling the Announcers Position and Voice

To promote a consistent sitting position, provide the announcer a comfortable, non-adjustable chair with a back. Advise the announcer to move as little as possible, and not to slump over the table.

An announcer's head motion can change the recorded tone quality.

Low frequencies radiate from the mouth in all directions, but high frequencies radiate mostly straight out from the mouth.

So, if the announcer's head moves during recording, the high frequencies may miss the mic occasionally. Caution the announcer against head movement.

The average pitch and speed of an announcers voice can change from day to day. It even varies from the beginning to the end of a recording session. So, whenever you record inserts, playback some of the original tape to the announcer for voice matching. Also, let the announcer warm up by reading for a few minutes while you set the recording level.

Reducing Sibilance

Sibilance is the emphasis of 's' and 'sh' sounds. These are frequencies around 5-10Khz, which can saturate the recording tape and cause distortion.

You can reduce sibilance by miking off-axis, or cutting frequencies 5-20kHz with an equaliser.

A better solution is to use a de-esser to remove excessive sibilance without affecting tone quality. If you are using a de-esser and a compressor at the same time, put the compressor after the de-esser.

Recording Session Procedures

After a level check you start recording. The announcer reads the script, and you follow along on your own script, marking the edit points with a pen. Generally you just leave the tape rolling when mistakes happen.

If an announcer misreads a word or makes a paper noise, go back to the beginning of the sentence where the error occurred, and have the announcer start over. There should be no attempt to correct the error in mid sentence because that kind of correction is too hard to edit. Also the speech rhythm may be off, making an edit impossible. It is much easier to edit between sentences.

Copying an existing recording

There are number of general rules to the field of recording, some relevant to analogue recording, some only to digital.

1. On both analogue and digital tape machines with heads should be cleaned.
2. Use high stock tape
3. Analogue tapes should be a selection of calibration tones at the beginning of each reels - 1kHz, 10Khz, 100Hz.
4. Digital tape tends to have a left/right identification tone
5. Level alteration should preferable not be carried out when copying. If deemed necessary then take care not to overload the equipment.
6. Keep the use of electrical equipment out of the signal path - the console for example.
7. The console should be used to monitor the playback machine.
8. Listen whilst copying - check the correct running order, glitches and mutes, dropouts.
9. Mark the tape box accurately - track timings, order and titles.

On a 24trk analogue to 24trk analogue copy - check levels, connections are made via mic cables from o/p to i/p or patchcords on a patchbay. Level changes can be made at any point.

On a 24trk digital to 24tk digital copy - a signal cable may be used - levels cannot be altered unless going through a console and lifted the level of the tracks going to the record machine.

Further Voice Recording Info