When working with production studios or independent producers, there are some common requests voice over talent will receive. As more and more talent are entering the field from other industries, and recording from home studios, there are terms they need to familiarize themselves with in order to adapt to the standards of the biz!
Recording Methods:
Home Studio
Though they range from an elaborate addition to the main part of your house, to something as simple at times as a laptop with a USB microphone, home studios are becoming a more common way for talent to capture the audio they send to their clients. Some also edit or fully produce their files, but these tasks can also be shared with another remote editor or producer.
ISDN, Source Connect, and Phone Patch
ISDN stands for Integrated Services Digital Network, and simply represents in this case the digital transmission of voice from one studio to another via a high quality telephone interface. It must be installed by a service provider, usually at a bit of an investment, and also has a monthly fee. It’s appealing for voice talent because for several decades it’s been the most popular way larger studios and agencies in major markets have contracted remote voice talent to record voice for more lucrative broadcast radio or television ads.
A more affordable method of linking two digital studios that’s growing in popularity is Source Connect. It has a lot of the same elements of ISDN, without monthly fees or as much of an upfront cost. There are some limitations that keep it from being as widely used so far.
A Phone Patch is a device which allows a remote client to be present on your recording session to provide direction, without necessarily recording their audio input. They will be heard in your headphones, but “patched” outside of the record chain. It’s a fairly inexpensive tool that a lot of clients like to have as an option.
But, there are workarounds if you don’t have a big demand for any of these methods, or if you aren’t quite ready for the investment any demand. You can allow the client to direct via speakerphone if you have a clean phone connection that won’t cause any feedback or other residual audio artifacts in your recording, or even via audio or video with Skype.
The key is knowing you’re going to provide high quality files, meeting the specs your client requires, with the ability to allow them to direct you in a way that makes them feel confident you’ll make the most of their time. Make sure you’re proficient with whichever method you choose before the session, so you’re not wasting their time if something doesn’t go as planned.
Recording Specs:
Your clients’ specifications will vary from project to project, as digital media becomes more flexible, and and audio interfaces offer more options. But don’t let the flexibility of options make you think all clients will accept whatever is handed to them! Getting a specific request from a client that you bypass because you don’t understand it or can’t meet it (and don’t want to say) will make you look like you’re ignoring their input or difficult to work with, putting you at the end of the list for the next opportunity. Take a few minutes, and get informed!
File Format
Though there are a large number of formats available for files, there are only a handful most clients request. WAV and AIFF files are the most popular uncompressed formats, presenting the highest quality you’ll be requested (but even that is dependent on other factors we’ll get to in a second). Mp3 is becoming more popular as a compressed format for some applications, but again, quality varies based on other factors. Most digital recording programs, from freebies like Garageband or Audacity, to pro level software, will handle a large variety of file types. Remember with each that it is better to capture your audio at the highest quality, then encode down if need be. You may be able to change the file format to what is the higher quality type once it is recorded, but the actual sound quality will not be improved by doing that.
Bit Depth and Sample Rate, and Data Transfer Speed
These two pieces of data usually work hand in hand to deliver the quality of your file. Short of doing a lot of explaining about the science behind these two numbers, know simply that the larger either is, the higher your quality. This also increases the file size, which is why sometimes you’ll get a request for a file of less fidelity but quicker upload.
A WAV on a CD is a 16-bit (bit depth), 44.1khz (sample rate) recording. An Mp3 of the same recording that is compressed and encoded at 256 kbps (kilobytes per second; the speed it transfers because it is so small) may not sound squashed to the naked ear, but there is data missing. By comparison, that same WAV has a data transfer speed of 1411 kbps. Kbps is also sometimes referred to as bit rate, but it’s easy to confuse that with bit depth (especially for clients who don’t actually work in audio), so keep the language as direct and simple as you can when asking for these pieces of information.
Common requests in the industry will be 16 or 24-bit files (and sometimes 8-bit for IVR or phone work). 32-bit float is also high quality, but not as often requested. 44.1 or 48khz are standard, and most interfaces manufactured within the last decade can easily meet these requirements. There are many that provide higher, but again, it is not as commonly asked for at this time.
Raw, Edited, and Finished or Fully Produced
Raw audio in general refers to uncompressed files. But in the world of voiceover, it also refers to unedited files that contain noise, breaths, and takes just as they were created, with no further editing.
Personal aside: as a talent, I hate providing raw files. Even though they take less time to create, it always makes me feel like I’m not presenting my best. But as a producer, I know this is exactly what the client wants when they ask for it.
I recently had a project where an ad agency client requested raw files, but I thought a little noise reduction and compression wouldn’t hurt, and would present my studio in the best light. Horrible move! The producer working on the project freaked out, and ended up making me look very bad to my new client. Once I gave them the raw file, they were able to do exactly what they needed to with it, and the day was saved. But I could have been fired from the project.
I’ve also had the frustration of requesting raw files from voice artists, only to be given fully produced files. It makes me wonder, “Do they not know what I mean? Or do they not care?”. I’m a pretty flexible producer, so if I’m thinking this, I know other clients are, too.
Editing usually refers to the physical removal of bad takes, mouth noises, and sometimes breaths (depending on the project), plus other noise reduction, possibly compression when needed, and the creation of files cut as the client requested. Sometimes this is also the finished or fully produced, turnkey audio you’ll present to your client. Sometimes the client requires further mastering of the files beyond your basic edits, and this becomes your full production.
In general, e-learning companies, interactive content providers, and other online audio and video companies prefer finished audio meeting their specs and ready to use. Ad agencies and broadcast production houses tend to prefer raw or basic edited files, as they’ll be applying further processing in the creation of their final product.
Which settings are BEST?
The rule for choosing the best formats, encoding, and versions of your audio is simple: whichever the client wants. Never be afraid to ask for their specs. Even if they don’t know, it’s a good place to start the conversation. If they have a separate producer on the project, they can easily find out from them, or if they need to refer to your expertise, you’ll have an opportunity to shine. There’s no excuse for providing something and hoping it will work, or worse, providing the wrong thing when you’ve been given instructions. Your clients have specific needs for a reason, and part of your task is to meet them, in both voice and technology.
