Facebook Instagram Twist
Hello all! We've begun the new year with many updates and changes to the volunteer training website, both large and small.
Our most noticeable change is the new Welcome page on the training website. We've made these changes so the site is easier to use for first-time visitors, so they can avoid confusion about how to get set up with a Google account. If you're a returning trainee, you'll still use the link in the top right to sign in.
Once you log in, you'll notice that the new Storyteller Course is now open. If you're interested in recording and editing juvenile fiction and literature, then you can enroll in this course with the links on screen. Not sure which course is for you? There's a link to our Volunteer Fit Quiz to help you decide.
In the Textbook Course, we've replaced the old checking audition with a new project that's a better fit for our current needs and standards. We removed the sample of a novel from the audition since we now have a Storyteller course and will soon have a course for Literature community Listeners.
We think these changes will go a long way to improve your training experience. But it doesn't end there! You can expect to see more updates, upgrades, and improvements in the coming year as we work to bring our old reading training lessons up to our new standards. Stay tuned!
Congratulations Training Graduates!
Textbook course: John K., Jason G., John G., David G., Kevin V., Crismario S., Ripley J., Lauren D., Linda T., and Natalia E.
Storyteller course: Christina F., Leah L., Karen W-G., Kayla A., Shelley C., Andrea P., Sheila N., April S., Lindsey D., David S., Hilda C-G., Nikita N., Robin B., Jeffrey H., John K., Jim C., Amita M., Josie M., and Joseph H.
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.