Let’s talk about audio and selecting the correct recording device! We do have Recommended Equipment lists for each community in the Resources section of this website, but I wanted to talk about some recording and microphone tips.
First of all, I'd like to thank our pro and semi-pro narrators...we really appreciate you lending us your wonderful voices for some pretty awesome juvenile fiction titles that engage our students! One thing we do ask is that you not condition your audio before you send it to us...don’t adjust the volume after recording, normalize, remove noise, etc. We have our own post-production audio processing that will take care of minor audio issues, and if you do anything to it as well, it comes out sounding over-processed and artificial. Be sure to use the correct audio format and sample rate as well. Here's a recent example that sounds over-processed (great narration, but definitely some audio issues):
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Another common issue is not realizing which recording device is selected. This is an easy mistake that can happen in any recording software. When you play back your recording, listen carefully and if it sounds “roomy” or distant, it might be using the wrong recording device. In Audacity, the microphone is selected at the top of the screen:
The place to select the recording device differs in other audio software, of course.
In EasyBooks, look at the bottom of the screen where it says Input:
If it’s blank or doesn't look right, click the settings gear icon on the left and choose a different input device and click OK.
We hope this helps but don't hesitate to ask for assistance if you're not happy with your audio quality...we are here to help!
Our audiobooks at Learning Ally aren’t exactly live performances—such as panel discussions or story telling events—and they aren’t footage captured from out in the field. However, some of the issues that podcasters and public media folks encounter in these instances also apply to the recording process for you, our volunteers in your virtual studio spaces. The issue we’re going to look at today is plosives. Jeff Towne has a terrific article that covers what plosives are, how to avoid creating them in your recordings, some gear recommendations, and techniques for breathing.
See the full article on Transom [ imbed: https://transom.org/2016/p-pops-plosives/]
What exactly are plosives?
Getting close, about 3-6 inches from the microphone, is usually suggested for voice recording. This helps to capture an intimate and warm sound from the “performer,” or narrator in this instance. There are some negative effects that arise in trying to capture that warm sound, however, specifically plosives. Towne describes them as,
“…a bassy, often distorted sound, that results when an air blast from the mouth goes into the microphone. The most common source is the letter P, which is why plosives are sometimes generically referred to as P-Pops.”
It’s best practice to position the microphone off to the side, instead of directly in front of your mouth, to avoid some of the air that occurs when pronouncing those words that start with P, S, B, or F sounds. Towne also mentions the option of positioning the mic slightly above your mouth with the grille pointed towards you. This allows the air from your voice to go underneath instead of directly into the mic.
Right now you can practice breath control that will help eliminate plosives in your recordings. Put your palm up in front of your mouth and pronounce words like popcorn, sister, or friend. Being aware of the air that you expel when pronouncing some of these plosive offenders will help your recording narration. The goal is to get to a point when you pronounce these plosive heavy words with less air. Towne also mentions how some of our exhaling through our nose sends air out in varying directions, and why positioning the mic slightly off center can help avoid capturing plosives in our recordings.
Technical ways to get around plosives.
Wind screens can make a tremendous difference in eliminating plosives. Towne provides several options, and the article includes some test recordings. I encourage you to visit the link to hear the with and without sound bites to learn some of the differences.
Although suggestions for how to edit and EQ audio waves is also included, we strongly suggest that you coordinate with some of our engineers at Learning Ally prior to performing any severe treatment on your audio. Our post-production process is fine-tuned, and we have discovered that getting a wonderful performance from the narrator first and foremost, rather than drastic editing during the recording process, yields the best audiobook product.
What is working in your virtual studio space?
We would love to hear some of the ways you are mitigating plosives in your recordings. Share in the comments some of your own techniques so we can all benefit from shared knowledge.