I immediately trusted you because you actually took the time to make your mic sound good. 😂 kind of a huge detail people making tutorials on TH-cam miss
this is gold, lots of people dont understand that the first and hardest thing to do is to get the right vocal tone. if not, all the rest of your chain is gonna be worst to worst
I eq vocals in music and this is gold. Such a great walkthrough of the mindset for making moves - not just "do this and it sounds good." The theory is what will apply to every situation. Thanks for such a great video!
Pro-tip: If your room is not treated then have as little gain on your audio interface as possible, and get a little bit closer to your microphone. This way you’ll be able to cancel all the resonant frequencies that get in the middle of you and your microphone when you are a bit away from your microphone and your gain is high.
incredible! as a singer, i record and mix my covers and sometimes i get a little bit anxious about EQing my vocals and using compression, since i don't record in the best treated room. but your approach reminded me that i should pay more attention to details and not just rush the process. plus, the audio sounded AMAZING at the end. and just like you said, its an art. so i should be more mindful of that too :) thank you so much!
Introduction - 00:00:00 Voiceover Audiophile Submission - 00:00:26 Identifying the Boxy Sound - 00:01:08 Physics of Sound Absorption - 00:02:44 Balancing Frequencies with EQ - 00:03:17 Using FabFilter Pro-Q3 - 00:04:18 Minimizing Boxy Sound - 00:05:30 Addressing Low Frequencies - 00:06:28 Using Dynamic EQ - 00:07:06 Dealing with Sibilance - 00:09:50 High Frequency Adjustments - 00:11:05 Shelf on Low Energy - 00:13:26 Input and Output Levels - 00:14:01 Final EQ Adjustments - 00:15:08 Comparing Before and After EQ - 00:17:13 Sheps Omni Channel Processing - 00:21:57 Final Comparison Before and After Processing - 00:23:38 Conclusion and Call to Action - 00:24:45
I wish had discovered your channel a couple years ago - your pacing, delivery, teaching skill - and of course your deep domain knowledge - are amazing! Thank you so much for sharing your expertise.
I've already been on the fence for a bit about purchasing Fab Filter Pro Q 3 and because of your video, I'm not only purchasing FF Pro Q 3, but also the Pro version of the Youlean meter. Thanks for taking the time to explain your process rather than just DOING IT and expecting us to keep up or know why you're making the changes you've made throughout the video. I've been recording music for 20 years and have developed my own sound along the way, but it took a whole lot of trial and error before I finally started to develop a good sound that I enjoyed. These days I'm more focused on my podcast, but I still enjoy recording music, and I've been wanting to take my mixing techniques to the "NEXT STAGE".. so I've been doing a ton of research on EQ, Compression, Parallel Compression, De-Essers, aux sends, busses, sidechaining, and basically a ton of theories that I never cared to really research during all the years of me making music. I learned a ton on my own throughout the years, but now I'm doing my best to save a ton of time without all the guess work I used to do. I want to KNOW now rather than GUESS when it comes to mixing techniques. Appreciate you!
THANK YOU!!! I learnt quite a bit about FabFilter ProQ3 with this vid. Really a massive difference in output using your techniques. Keep up the good work!!
I have a Studiobricks booth and that low-mid cut you made is almost exactly where mine was adjusted as well. Comb-filtering from the glass door was also an issue. Great video!
@Lenny B : You just earn a follow my friend. Straight to the point. Clear explanation of each manipulation. Exactly what I was needing. Thanks you so for sharing your knowledge.
Thanks for the excellent video for fixing this issue in post. However I'd like to address the elephant in the room. He used an excellent mic for large rooms and outdoor spaces. Shotgun mics really shine in those environments. In small spaces, the best you can expect is the stuffy/boxy sound demonstrated here even in the best treated rooms unless you are exceptionally lucky. I think he can save a lot of post work by choosing a microphone better suited to the room. I'd love to hear his voice using his current setup with a properly matched mic and your post work. That would be amazing.
Thank you so much Lenny for helping me out with the preset , the difference is day and night! I have remastered the last 3 episodes of my podcast using the preset you gave me. You can hear the full results, I am on Apple Podcasts the show called The Phantom Files. Again, thanks so much!
Thanks for the tutorial. That's an incredible amount of adjustment and shaping. For me, I would choose a different mic, ie a large diaphragm condenser with the required characteristics. If you use too much compression the voice inflection sounds unnatural, great for ads but not for audio books. It's better to get the sound from the equipment rather than correcting it afterwards. That being said I get that you are showing what to do when given a relatively poor recording. Nice work.
I actually like the unprocessed sound better. I feel that the final processed audio sounds too bassy with a honkiness to it. I am listening through an Audient iD4 Mk2 interface into a pair of Sony MDR-7506 headphones
@brahimghribi3534 that's a good idea. I'm guessing you're experiencing this issue. Can you send me a sample of your voice to use in the video? Please follow the three steps on this page: www.lennyb.com/get-your-voice-processed-submission-form
I used to sort of do this with a Heathkit "Q-Multiplier" in the 1960s where I first found the offending (morse code or nearby heterodyning station) tone by using peaking then bringing it down to null. But In using dynamic EQ, I found it easier to find the band and Q by taking the word NO and ALMOST for example, in your clip; then forming a loop on one, find; adjust; then the other. Sometimes a voice like this will be missing some desirable harmonics at double or triple the suppressed frequencies, so it's not unusual for me to kick up a band or two being low level harmonics of the offending band (s). Sometimes it is less than 2 db just to fill in some hollowness that results from sucking out those low bands. Some of the boxy sound is from proximity effect but what you say about transparency of acoustic materials is so true. The coefficient of absorption goes to hell in the low frequencies getting worse the lower you go. RPG diffusers would be nice but they take up a lot of real estate, so we have parametrics.
Hey Lenny, thanks for the awesome tutorial! I was wondering if you have any plans on doing a video, where you show your own studio? I'm especially curious about how you have done your acoustic treatment :)
Jakob, MAN you've got a great singing voice! I'd be happy to show you what's going on with my acoustic treatment. email me and we can continue the conversation lenny@lennyb.com
hi Lenny your voiceovers are very nice, I sent my audio as described on your portal, my problem is I can't understand and identify the resonances of the room and of my body, I prefer to use UAD plugins, hi Marco Calia fron Italy Ps: Google translation
Good job mate, sounding good! Def seems your skill has grown too. Fabfilter stuff is superb on every level, v happy seeing you get into that - deep as you want it! When you did the pre/post volume matching, did you try the 'A' Auto Gain function in Pro Q3?
Yes, I love the Auto Gain. However, I wanted to illustrate it manually because not everyone has the Fabfilter plugin. I really appreciate you taking the time to comment.
Brilliant video Lenny. I have both Cubase and Reaper (always latest / Pro versions). I use of Reaper for VO, but wondered what your thoughts are on using Cubase instead?
Great! Thanks for the detailed description. But, it is unclear why to use Scheps DeEsser and EQ after using properly tuned Pro Q-3 EQ. I could understand EQ enhancement (why not to do it in Fabfliter???), but DeEsser is flattening the high frequencies IMHO.
It's true it could also be done that way. For me, I like to work in a specific order. For example, I like to do my De-Essing after setting the saturation, and gate. So, it's just natural for me to reach for the Scheps De-Esser. As for the EQs, I really the sweetening (additive sound) of the Scheps upper bands. That was/is just the way I prefer to do it. I approach it as art. It's subjective. So, I believe what you're suggesting wouldn't be wrong at all. Thanks
great video Lenny, thank you for this, I learned a lot. I would have additionally also love to have seen/heard a comparison of EQ+Scheps and just Scheps, to get a feel of how much of a difference the EQ made on the final result.
Good question. @FrasFs, it depends on how you'll be using it. I believe the Pro Q-3 EQ by Fabfilter (or the F6 EQ by Waves) is a good choice if you are EQing new material daily. The solo band feature is very valuable. However, if you're looking for an excellent EQ to modify a single source, like your voice (which will be consistent), the Logic native stock EQ is just fine. The sound they create is very similar. Hope this helps!
Hi @tinylittlefilms3043. Another great question! Here is my opinion. Those booth types appear to have benefits and challenges for recording great-quality voice-overs. While they are designed to isolate you from external noise, your audio quality still depends on the acoustic treatment in that small space. They may be a good solution if you are combating a noisy environment. But beware. Some small spaces can cause even more acoustic problems with recordings. Additionally, pro (or DIY) booths are expensive, can feel cramped, and are difficult to ventilate. If you are not battling lots of external noise (from outside), I lean toward treating a larger room (larger than booth size) space with professional broadband acoustic treatment. I explain in detail in this blog post - www.lennyb.com/blog/acoustictreatment
Thanks Lenny! Somehow these booths are being touted as more professional sounding. I agree with you that they can possibly create more problems. Some TH-cam videos discuss a less than perfect room even after paying $10000.@@HeyLennyB
Yes, I have many clients with just that issue. BTW, I have an "Acoustic Treatment For Voice-Over" training course expected to be available around November. You may find it helpful if you're looking into improving your space with proper treatment.
Hi @igor_Itkin, it depends on where it's going. Each platform (destination) has different exptectations for loudness. I try and match the LUFS with a mastering process. These three videos will get you familiar with the concept. Voice Over Recording Levels Vs. Mastering Levels. They Are Different, And Here's Why. th-cam.com/video/F6mw15-Q7cs/w-d-xo.html How To Make Your Voice-Overs Louder With Mastering th-cam.com/video/jABAfRnnoxo/w-d-xo.html Mastering Voice Over For Loudness Standards With Adobe Audition th-cam.com/video/kxYghG8o8vY/w-d-xo.html
I use the DJI Mic 2 with lavalier microphones. I choose Stereo mode to have each microphone in separate channels, one on the left and the other on the right. I set the gain to -12 for each lav, and we are approximately 6 feet away from each other. However, I still heard my voice clearly on his microphone, and the other person heard his voice loudly and clearly on my microphone. How can I solve this problem?
This is a common challenge. One way to solve this is to use an expander/gate on each voice recording track. Once set correctly, it can reduce the volume of the person further away from the microphone.
I'm pretty sure I used a TLM 103 microphone, through a Cranborne Audio "Camden" preamp to an Apollo interface. Then the audio was processed with the Waves Scheps Omni Channel and Fabflter's ProQ3 Plugins. Hope that helps. Thanks for watching!
Hey Lenny, I’m really struggling with making my vocals sound professional. I’ve literally tried everything, getting the Shure SM7B and treating the room, and mic positioning a little bit off axis, I got the cloudlifter to add additional clean gain because I speak a little bit quietly in my podcast. I even got the Fabfilter Pro Q but every time I try something with the EQ it always just sound bad to me. I’m using Logic Pro and I really struggle, I wish you can offer something to help. I’m now considering to just quit my podcast because I think my voice it’s the problem, not the equipment or the software.
@FrasFs, I can help. The best thing for you to do is send me a sample of your voice audio. I'll give it a listen, and I can offer you some suggestions. Don't be discouraged. We'll get you sounding like you want. Please follow the three steps on this page: www.lennyb.com/get-your-voice-processed-submission-form
Hi Lele, Yes, it could be effective for vocal recording. However, with a singing voice, you have to consider the other instruments and where they live in the frequency space. It's important to not have each instrument (and the voice) in your music competing with each other for frequency space. I hope that helps.
Have you ever had a good piece of audio but struggled with the eq? I want to find a plug-in for audition that predicts and shows the main areas like that daw does , because I feel like I was running around in circles and almost settling on the sound I have
Hey Gammons, Adobe Audition has some great tools to show you the frequencies which are overabundant in an audio file. Check out the Spectral Frequency Display helpx.adobe.com/audition/how-to/audition-spectral-frequency-display-cc.html
Question. Voice, preaching, no bands or clapping. Working in Final cu Pro for TH-cam, Facebook, Rumble what would you do. I’m an ex Audio Broadcast Engineer. Used Orban, CRL.
Hi Dr. Hughes. I'm not quite sure I understand your question. However, Final Cut Pro X has the exact same great EQ as Logic Pro. So, I'd reach for that to remove the boxy sound if it's an issue.
It can absolutely be done in Final Cut Pro. Send me a sample of your audio and I send you an example of it processed with the sound of what you described. Follow the instructions and submit your audio here bit.ly/Submit-Your-Voice
I went down a rabbit hole at izotope. Please help me out. Of their packages, which is the best for voice work? I'm looking at RX10 and Ozone 11, but Nector says it's for Vocal production... ahhhhggg I'd like noise reduction (background, clicks, lip smacks, breaths), and some EQ, because I have a limited sound 'booth' at my home. If any of these have an auto ACX tool, that would also be awesome.
@ZimCrusher, I can best point you in the right direction if I can hear what you're working with. I need some info and an audio sample. Then I can give you some suggestions. This will get you the best answer in the quickest way possible. Please follow the three steps on this page: www.lennyb.com/get-your-voice-processed-submission-form
I have a question. I want to restore the vocals to some of the songs in Wario Land 4. Mainly the ending song. They are old, compressed, and crushed for the System. The original recordings are behind Nintendos closed doors. I've tried many ways, including.. Gulp.. Ai... But nothing really works. How would you go about restoring 8bit/16bit compressed audio / vocals?
Hi. Is it really necessary to apply the HPF in the DAW if you already have one in your microphone? I'm afraid a double HPF could make the voice too thin to my taste. Thanks for the video.
That's a great question. The rule is usually "adjust closest to the audio source." In your case, that would be the microphone. However, there are a few situations where there are other things to consider. Some microphone don't have a high pass filter. Or, I usually ask that the submission I receive have no high pass filter engaged because I need to see a full picture of what's going on in your system. Also there are some situations where I want information, lower than the microphones HPF's curve. So it depends on the case specifics. In my opinion, after considering everything, I think it's best to use only one HPF in a chain. I hope that answers your question.
That's why I didn't buy the studiobricks (or others). They do not sound good. They sound boxy and produce combfilters. There's no better way than building yourself
I immediately trusted you because you actually took the time to make your mic sound good. 😂 kind of a huge detail people making tutorials on TH-cam miss
thats the first thing i look for too 😆
Can't believe these videos are free, my audio quality just went through the roof after watching multiple of your videos
this is gold, lots of people dont understand that the first and hardest thing to do is to get the right vocal tone. if not, all the rest of your chain is gonna be worst to worst
This is ridiculously great, Lenny. You nailed it when you referred to it as art. It’s actually high art to a lot of us. Thank you for this channel.
Beautiful. I had never been so amazed by eq and dynamics treatment before.
Good to see these back !!!
Great to see another one of these videos. I could watch them all day. I’ve learned so much about audio processing from Lenny B.
Instantly stayed for the whole video after hearing how good your voice sounds..... great tutorial !
I love when you add the science & physics of sound into clips! Great video, thanks so much!
I eq vocals in music and this is gold. Such a great walkthrough of the mindset for making moves - not just "do this and it sounds good." The theory is what will apply to every situation. Thanks for such a great video!
Pro-tip: If your room is not treated then have as little gain on your audio interface as possible, and get a little bit closer to your microphone. This way you’ll be able to cancel all the resonant frequencies that get in the middle of you and your microphone when you are a bit away from your microphone and your gain is high.
thx for this tip
But then you are more likely to have plosives.
@@JoelLinususe a wind screen or a pencil
@@JoelLinusYou have to speak as close to your mic as you can, but facing away so your breath isn't actually entering the mic. It really helps. ^^
Thanks for this
THANK YOU a lot for not just showing but EXPLAINING every action! I've learned SO much with this video!
incredible! as a singer, i record and mix my covers and sometimes i get a little bit anxious about EQing my vocals and using compression, since i don't record in the best treated room. but your approach reminded me that i should pay more attention to details and not just rush the process. plus, the audio sounded AMAZING at the end. and just like you said, its an art. so i should be more mindful of that too :) thank you so much!
Introduction - 00:00:00
Voiceover Audiophile Submission - 00:00:26
Identifying the Boxy Sound - 00:01:08
Physics of Sound Absorption - 00:02:44
Balancing Frequencies with EQ - 00:03:17
Using FabFilter Pro-Q3 - 00:04:18
Minimizing Boxy Sound - 00:05:30
Addressing Low Frequencies - 00:06:28
Using Dynamic EQ - 00:07:06
Dealing with Sibilance - 00:09:50
High Frequency Adjustments - 00:11:05
Shelf on Low Energy - 00:13:26
Input and Output Levels - 00:14:01
Final EQ Adjustments - 00:15:08
Comparing Before and After EQ - 00:17:13
Sheps Omni Channel Processing - 00:21:57
Final Comparison Before and After Processing - 00:23:38
Conclusion and Call to Action - 00:24:45
I appreciate this.
I wish had discovered your channel a couple years ago - your pacing, delivery, teaching skill - and of course your deep domain knowledge - are amazing! Thank you so much for sharing your expertise.
I've already been on the fence for a bit about purchasing Fab Filter Pro Q 3 and because of your video, I'm not only purchasing FF Pro Q 3, but also
the Pro version of the Youlean meter. Thanks for taking the time to explain your process rather than just DOING IT and expecting us to keep up or
know why you're making the changes you've made throughout the video. I've been recording music for 20 years and have developed my own sound
along the way, but it took a whole lot of trial and error before I finally started to develop a good sound that I enjoyed. These days I'm more focused
on my podcast, but I still enjoy recording music, and I've been wanting to take my mixing techniques to the "NEXT STAGE".. so I've been doing a ton
of research on EQ, Compression, Parallel Compression, De-Essers, aux sends, busses, sidechaining, and basically a ton of theories that I never cared
to really research during all the years of me making music. I learned a ton on my own throughout the years, but now I'm doing my best to save a ton
of time without all the guess work I used to do. I want to KNOW now rather than GUESS when it comes to mixing techniques. Appreciate you!
@mista808 I know you'll love Fabfilter's Pro Q-3. It's made me better at EQing audio. 👍
@@HeyLennyB ✔
Your room (audio at the intro) sounds amazing. Thanks for the tips!
Thanks for noticing John G. I love having a separate on camera mic that also sounds good.
Wow! Straight up gold! Thank you for these videos, Lenny 🙏
THANK YOU!!! I learnt quite a bit about FabFilter ProQ3 with this vid. Really a massive difference in output using your techniques. Keep up the good work!!
Go on you ledgebag Lenny. Brilliantly explained. So helpful. 10/10 mate.
Excellent explanation - thank you for sharing your work and art with us Lenny
Much love 💕
Mathhias👋
BEST EQ VIDEO I'VE SEE TILL DATE
I have a Studiobricks booth and that low-mid cut you made is almost exactly where mine was adjusted as well.
Comb-filtering from the glass door was also an issue.
Great video!
Wow, absolutely amazing explanation...thx very much. You´re a master of your profession
@Lenny B : You just earn a follow my friend. Straight to the point. Clear explanation of each manipulation. Exactly what I was needing. Thanks you so for sharing your knowledge.
Thanks for the excellent video for fixing this issue in post. However I'd like to address the elephant in the room. He used an excellent mic for large rooms and outdoor spaces. Shotgun mics really shine in those environments. In small spaces, the best you can expect is the stuffy/boxy sound demonstrated here even in the best treated rooms unless you are exceptionally lucky. I think he can save a lot of post work by choosing a microphone better suited to the room. I'd love to hear his voice using his current setup with a properly matched mic and your post work. That would be amazing.
Thank you so much Lenny for helping me out with the preset , the difference is day and night! I have remastered the last 3 episodes of my podcast using the preset you gave me. You can hear the full results, I am on Apple Podcasts the show called The Phantom Files.
Again, thanks so much!
great demonstration Thank you Lenny
Thanks for the tutorial. That's an incredible amount of adjustment and shaping.
For me, I would choose a different mic, ie a large diaphragm condenser with the required characteristics.
If you use too much compression the voice inflection sounds unnatural, great for ads but not for audio books.
It's better to get the sound from the equipment rather than correcting it afterwards.
That being said I get that you are showing what to do when given a relatively poor recording.
Nice work.
Thanks Lenny! I always learn something from your videos..
Hey, just wanted to say you huge thank you from my side! This video was extremely helpful and easy to understand, thank you so so much!!
gracias, un buen tutorial. muy exacto
This was a sensational video. I really appreciate your time and effort
Amazing video and your voice sounds great!
You're one o' the Goodfella's, Lenny... Cheers & Thank You!
This is fantastic Lenny! Thank you
I actually like the unprocessed sound better. I feel that the final processed audio sounds too bassy with a honkiness to it. I am listening through an Audient iD4 Mk2 interface into a pair of Sony MDR-7506 headphones
loved the video, everything made sense
Helpful. Thank You 😊
Appreciate this famo! 🙏🏽🙏🏽🙏🏽
Any tips on removing nasal voice sound? A similar in depth tutorial would be great. Thanks!
@brahimghribi3534 that's a good idea. I'm guessing you're experiencing this issue. Can you send me a sample of your voice to use in the video? Please follow the three steps on this page: www.lennyb.com/get-your-voice-processed-submission-form
I used to sort of do this with a Heathkit "Q-Multiplier" in the 1960s where I first found the offending (morse code or nearby heterodyning station) tone by using peaking then bringing it down to null. But In using dynamic EQ, I found it easier to find the band and Q by taking the word NO and ALMOST for example, in your clip; then forming a loop on one, find; adjust; then the other. Sometimes a voice like this will be missing some desirable harmonics at double or triple the suppressed frequencies, so it's not unusual for me to kick up a band or two being low level harmonics of the offending band (s). Sometimes it is less than 2 db just to fill in some hollowness that results from sucking out those low bands. Some of the boxy sound is from proximity effect but what you say about transparency of acoustic materials is so true. The coefficient of absorption goes to hell in the low frequencies getting worse the lower you go. RPG diffusers would be nice but they take up a lot of real estate, so we have parametrics.
thank you man
Another great one!
Hey Lenny, thanks for the awesome tutorial! I was wondering if you have any plans on doing a video, where you show your own studio? I'm especially curious about how you have done your acoustic treatment :)
Jakob, MAN you've got a great singing voice! I'd be happy to show you what's going on with my acoustic treatment. email me and we can continue the conversation lenny@lennyb.com
Well, the conclusion that we draw is the fact that even with an expensive microphone and studio treatment you are not secured against boxiness.
hi Lenny your voiceovers are very nice, I sent my audio as described on your portal, my problem is I can't understand and identify the resonances of the room and of my body, I prefer to use UAD plugins, hi Marco Calia fron Italy
Ps: Google translation
Good job mate, sounding good! Def seems your skill has grown too. Fabfilter stuff is superb on every level, v happy seeing you get into that - deep as you want it! When you did the pre/post volume matching, did you try the 'A' Auto Gain function in Pro Q3?
Yes, I love the Auto Gain. However, I wanted to illustrate it manually because not everyone has the Fabfilter plugin. I really appreciate you taking the time to comment.
@@HeyLennyB Great point. Love commenting if it helps deepen everyone's insight :)
Brilliant video Lenny. I have both Cubase and Reaper (always latest / Pro versions). I use of Reaper for VO, but wondered what your thoughts are on using Cubase instead?
Hi Jan, I express my thoughts on the best choice for a DAW here: th-cam.com/video/68OoMmKnaW4/w-d-xo.html
@@HeyLennyB Thanks.
Great! Thanks for the detailed description. But, it is unclear why to use Scheps DeEsser and EQ after using properly tuned Pro Q-3 EQ. I could understand EQ enhancement (why not to do it in Fabfliter???), but DeEsser is flattening the high frequencies IMHO.
It's true it could also be done that way. For me, I like to work in a specific order. For example, I like to do my De-Essing after setting the saturation, and gate. So, it's just natural for me to reach for the Scheps De-Esser. As for the EQs, I really the sweetening (additive sound) of the Scheps upper bands. That was/is just the way I prefer to do it. I approach it as art. It's subjective. So, I believe what you're suggesting wouldn't be wrong at all. Thanks
@@HeyLennyB Thank you very much! I like the result obtained your way...
That's some cool shit. Must look into fabfilter.
great video Lenny, thank you for this, I learned a lot. I would have additionally also love to have seen/heard a comparison of EQ+Scheps and just Scheps, to get a feel of how much of a difference the EQ made on the final result.
Great suggestion! I'll try remember to add that to a forthcoming video. Thanks for watching and taking the time to send me a note.
Do I really need the fab pro EQ or the native logic EQ will suffice?
Good question. @FrasFs, it depends on how you'll be using it. I believe the Pro Q-3 EQ by Fabfilter (or the F6 EQ by Waves) is a good choice if you are EQing new material daily. The solo band feature is very valuable. However, if you're looking for an excellent EQ to modify a single source, like your voice (which will be consistent), the Logic native stock EQ is just fine. The sound they create is very similar. Hope this helps!
Hi Lenny, Do you feel that Studiobricks or WhisperRooms create a boxy sound compared to a well acoustically treated room.
Hi @tinylittlefilms3043. Another great question! Here is my opinion. Those booth types appear to have benefits and challenges for recording great-quality voice-overs. While they are designed to isolate you from external noise, your audio quality still depends on the acoustic treatment in that small space. They may be a good solution if you are combating a noisy environment. But beware. Some small spaces can cause even more acoustic problems with recordings.
Additionally, pro (or DIY) booths are expensive, can feel cramped, and are difficult to ventilate. If you are not battling lots of external noise (from outside), I lean toward treating a larger room (larger than booth size) space with professional broadband acoustic treatment. I explain in detail in this blog post - www.lennyb.com/blog/acoustictreatment
Thanks Lenny! Somehow these booths are being touted as more professional sounding. I agree with you that they can possibly create more problems. Some TH-cam videos discuss a less than perfect room even after paying $10000.@@HeyLennyB
Yes, I have many clients with just that issue. BTW, I have an "Acoustic Treatment For Voice-Over" training course expected to be available around November. You may find it helpful if you're looking into improving your space with proper treatment.
Thanks Lenny!@@HeyLennyB
Do you boost to -16 LUFS afterwards?
Hi @igor_Itkin, it depends on where it's going. Each platform (destination) has different exptectations for loudness. I try and match the LUFS with a mastering process. These three videos will get you familiar with the concept.
Voice Over Recording Levels Vs. Mastering Levels. They Are Different, And Here's Why.
th-cam.com/video/F6mw15-Q7cs/w-d-xo.html
How To Make Your Voice-Overs Louder With Mastering
th-cam.com/video/jABAfRnnoxo/w-d-xo.html
Mastering Voice Over For Loudness Standards With Adobe Audition
th-cam.com/video/kxYghG8o8vY/w-d-xo.html
@@HeyLennyB Thank you! Your videos are very helpful to me.
I use the DJI Mic 2 with lavalier microphones. I choose Stereo mode to have each microphone in separate channels, one on the left and the other on the right. I set the gain to -12 for each lav, and we are approximately 6 feet away from each other. However, I still heard my voice clearly on his microphone, and the other person heard his voice loudly and clearly on my microphone. How can I solve this problem?
This is a common challenge. One way to solve this is to use an expander/gate on each voice recording track. Once set correctly, it can reduce the volume of the person further away from the microphone.
*Great informative video 👌 ✨ ✨ ✨*
What microphone did you use on your voice for this video and mic chain and plugins ?
Thanks
I'm pretty sure I used a TLM 103 microphone, through a Cranborne Audio "Camden" preamp to an Apollo interface. Then the audio was processed with the Waves Scheps Omni Channel and Fabflter's ProQ3 Plugins. Hope that helps. Thanks for watching!
@@HeyLennyB best vocal quality I've ever heard in a youtube video! insanely crispy
Thanks Bigmoo!
Hey Lenny, I’m really struggling with making my vocals sound professional. I’ve literally tried everything, getting the Shure SM7B and treating the room, and mic positioning a little bit off axis, I got the cloudlifter to add additional clean gain because I speak a little bit quietly in my podcast. I even got the Fabfilter Pro Q but every time I try something with the EQ it always just sound bad to me. I’m using Logic Pro and I really struggle, I wish you can offer something to help. I’m now considering to just quit my podcast because I think my voice it’s the problem, not the equipment or the software.
@FrasFs, I can help. The best thing for you to do is send me a sample of your voice audio. I'll give it a listen, and I can offer you some suggestions. Don't be discouraged. We'll get you sounding like you want. Please follow the three steps on this page: www.lennyb.com/get-your-voice-processed-submission-form
Done! I have sent you a sample of my vocals including a few seconds of room noise, Thanks Lenny!@@HeyLennyB
it could be music vocal like singing ?
Hi Lele, Yes, it could be effective for vocal recording. However, with a singing voice, you have to consider the other instruments and where they live in the frequency space. It's important to not have each instrument (and the voice) in your music competing with each other for frequency space. I hope that helps.
OMG dude you can use Pro Q 2 as a Deesser?
Yes!! Cool, right?
Have you ever had a good piece of audio but struggled with the eq? I want to find a plug-in for audition that predicts and shows the main areas like that daw does , because I feel like I was running around in circles and almost settling on the sound I have
Hey Gammons, Adobe Audition has some great tools to show you the frequencies which are overabundant in an audio file. Check out the Spectral Frequency Display helpx.adobe.com/audition/how-to/audition-spectral-frequency-display-cc.html
Smaller the room higher the possibilities that HF will disappear from the recording. Governed by a established mathematical formula.
Question. Voice, preaching, no bands or clapping. Working in Final cu Pro for TH-cam, Facebook, Rumble what would you do. I’m an ex Audio Broadcast Engineer. Used Orban, CRL.
Hi Dr. Hughes. I'm not quite sure I understand your question. However, Final Cut Pro X has the exact same great EQ as Logic Pro. So, I'd reach for that to remove the boxy sound if it's an issue.
@@HeyLennyB can of like we did at FM100 in Memphis. Want a consistent level with good presents and a slight Reverb. Trying to do that @ -6 db.
It can absolutely be done in Final Cut Pro. Send me a sample of your audio and I send you an example of it processed with the sound of what you described. Follow the instructions and submit your audio here bit.ly/Submit-Your-Voice
hi Lenny, is there an email we can reach at you at?
Sure, lenny@lennyb.com
I went down a rabbit hole at izotope. Please help me out.
Of their packages, which is the best for voice work?
I'm looking at RX10 and Ozone 11, but Nector says it's for Vocal production... ahhhhggg
I'd like noise reduction (background, clicks, lip smacks, breaths), and some EQ, because I have a limited sound 'booth' at my home. If any of these have an auto ACX tool, that would also be awesome.
@ZimCrusher, I can best point you in the right direction if I can hear what you're working with. I need some info and an audio sample. Then I can give you some suggestions. This will get you the best answer in the quickest way possible. Please follow the three steps on this page: www.lennyb.com/get-your-voice-processed-submission-form
I have a question.
I want to restore the vocals to some of the songs in Wario Land 4. Mainly the ending song. They are old, compressed, and crushed for the System. The original recordings are behind Nintendos closed doors. I've tried many ways, including.. Gulp.. Ai... But nothing really works.
How would you go about restoring 8bit/16bit compressed audio / vocals?
In my opinion, there is no way. The only thing that can be done is to re-record the vocals. Sorry :(
Hi. Is it really necessary to apply the HPF in the DAW if you already have one in your microphone? I'm afraid a double HPF could make the voice too thin to my taste. Thanks for the video.
That's a great question. The rule is usually "adjust closest to the audio source." In your case, that would be the microphone. However, there are a few situations where there are other things to consider. Some microphone don't have a high pass filter. Or, I usually ask that the submission I receive have no high pass filter engaged because I need to see a full picture of what's going on in your system. Also there are some situations where I want information, lower than the microphones HPF's curve. So it depends on the case specifics. In my opinion, after considering everything, I think it's best to use only one HPF in a chain. I hope that answers your question.
@@HeyLennyB Sure it does. Thanks for answering. Great job.
That's why I didn't buy the studiobricks (or others). They do not sound good. They sound boxy and produce combfilters. There's no better way than building yourself
If you are showing mixing isn't it better to do for singing as most of them mix vocals for songs