Audio Booth

Before stepping into the booth

1. Book an appointment for the audio recording.
   • Create a meeting on Google Calendar, ensure that you book the Audio Booth as the room, and invite anyone who is involved in the recording.
     • Project Manager
     • Audio engineer
       • Valid engineers as of 02/26/2016:
         • Colin Bittner
         • Adam Keck
     • Client (if needed)
     • All voice artists
     • Anyone who will be assisting in the direction of the overall voice acting for a course
   • The best method for time management is to set a large chunk of time to record, and bringing in people to work as they are free, and as you need them.
   • Ensure all parties understand their expectations and what the feel for the audio is meant to be (funny or serious? technical and exact, or loose and off-the-cuff?) - include this info in the meeting invite.
   • For those involved from a department that involves a heavier meeting schedule (ID/PM, Sales), ensure that you discuss a specific time to record with them, even if you’ve set aside a large block of time for all.
2. Print off the scripts.
   • Ensure you have two copies of all scripts, one for the reader, and one for the recording team to ensure the reader is accurate.
   • Separate the voice acted parts from the rest of the script to ensure visual clarity when reading the content to be voiced.
   • In general, you should separate each individual actor into it’s own script, so, for example, any lines from character “Toby” will be on the same sheet, in a fresh document.
     • You may want to include the back-and-forth between characters. If there is a situation where two characters are having a conversation, the reader may find it easier to act when they know the responses to what they are saying.
   • Make the scripts as simple to read as possible, make the font larger, and use bolding and highlighting to visually separate different readers if needed.
3. Engage your Project Manager to get a task made for audio recording.
   • Internal audio recording does NOT get tracked vs. any of the templated audio tasks, such as ordering script audio and cutting it.
   • All internal audio tasks, including set-up, recording, editing, and cutting, should be tracked as a task separate from any external recording and editing we do.
   • Typically one task for Set-up and Recording and one task for Editing and Cutting will suffice.
   • Ensure there are planned hours appropriated to the task on Workfront, if not, engage your PM to ensure that happens.
   • All individuals working on the recording should be tracking their time to an appropriate task.

In-booth setup

1. Ensure you have all needed supplies:
   • Double copies of all scripts
   • Notebook
   • Permanent marker/pen for editing printed scripts
   • Pitcher of water and cups
     • If recording a client, ALWAYS provide chilled bottled water - speak with Diana
2. Turn on all lighting, especially lamps in the audio booth.
3. Turn on both monitors (speakers), switches are on the back, will light up on the front when active.
4. Turn on the computer equipment (if it is not on).
5. Create a folder to store the audio on the computer.
   • All audio is stored in the AUDIO_1 folder, which can be found on the desktop
   • Create a unique folder that has the following info in the name:
     • Client
     • Course
     • Date
6. Set-up your audio file using the Logic Pro template.
   • From the desktop, the template can be found inside the “Logic Template” folder, titled “Logic Template” (creative I know).
   • Re-save this template to the folder you created previously in AUDIO_1.
     • Never record audio on the template and save it! Always save a different copy!
     • Do not save anything to desktop!
     • If audio is in the VO Template file when you open it, delete it and save the template again with no audio.
7. Ensure your Logic Pro is set up for recording:
   • Use Figure 1.0 below to ensure you have set up everything correctly:
     • Enable the Mute and Record buttons on the MIC 1 track

Figure 1.0 - Your Logic Pro, correctly set-up and ready to record

• Test that your microphone is working, do a few claps and make sure that audio is being picked up on your screen. Ensure you have the MIC 1 track selected and that the volume meter in the lower-left of the screen is showing audio coming in
• Click the Record button on the bottom to automatically start recording, press the Pause button to stop the recording while it is still set up, or press the Stop button to stop recording entirely.

• From left to right: Return to start of track, play from start of track, rewind, fast-forward, stop, play, toggle pause, toggle record

• What the buttons will look like during recording

• What the buttons will look like while paused

Setting up for each reader

1. The audio levels will need to be set for each new reader that enters the booth.
   • Audio levels from the speakers microphone can be adjusted by twisting the knob on the soundboard labelled “Main”.
   • See the section “Soundboard explanation” and Figure 2.0 below for an explanation of the soundboard and it’s knobs.
   • Ideal audio volume is such that it hovers in the yellow section of the sound meter. Too loud and you will clip parts of the audio data, too quiet and not enough information is picked up.
   • Make sure your reader picks a position to stand in and stays still. Prevent them from swaying or bobbing their head as much as possible.
   • Adjust the microphone height and tilt as needed - no one should be stretching to reach the microphone.
2. Make sure the correct script is provided.
3. Provide any information on specific pronunciations of acronyms or words ahead of time.
4. Communicate to the reader the tone and expectations regarding the reading - is it a really light-hearted scenario, or is it very serious subject matter?
5. Remember that you can talk to the reader through the talkback microphone at any time - don’t yell through the glass!
   • Remember that if we have a client in the booth, they can hear everything unless you turn the volume down all the way on the talkback mic and speak quietly (booth is not completely soundproof).
   • Make sure to adjust the in-booth headphone and talkback microphone volumes so that there is an acceptable balance for the reader.

Soundboard explanation

Figure 2.0 - The soundboard volume knobs as they appear from the front, labelled

Please note that all knobs are also physically labelled on the soundboard, memorization is not needed.

Talkback microphone volume

Adjusts the volume of the audio going through the microphone on the computer side, into both in-booth headphones. It must be in balance with the in-booth headphone volume.

Main microphone volume

Adjusts the volume of the audio going through the main microphone in the recording booth, into the computer.

Secondary microphone volume

Adjusts the volume of the audio going through the secondary microphone in the recording booth, into the computer.

Audio level lights

Displays lights indicating volume levels passing through the soundboard, can be used to troubleshoot issues with audio not passing through to the computer or other similar errors.

Monitor (speaker) volume

Adjusts the volume of the monitors on the computer side, does not affect any of the volumes of any recorded material.

In-booth headphone 1 volume

Increases the volume of the headphones labelled “HEADPHONE 1” in the recording booth, must be in balance with the talkback microphone volume.

In-booth headphone 2 volume

Increases the volume of the headphones labelled “HEADPHONE 2” in the recording booth, must be in balance with the talkback microphone volume.

Finishing up

1. Bounce the completed audio.
   • When all audio is recorded, ensure you SAVE the file and then set it up to bounce the audio out.
     • Bouncing audio is the process of converting the audio Logic Pro has recorded into a format that we can use.
     • You will need to turn off the Mute and Record for the MIC 1 track prior to bouncing audio
       • See Figure 3.0 below to ensure you have set up your Logic Pro correctly.
       • Tracks being muted results in a track being bounced with no audio in it
     • Select the sections of the recording you wish to bounce by selecting them with Shift+click or dragging a selection box over them in the track

Figure 3.0 - Your Logic Pro, correctly set up and ready to bounce recorded audio

• Ensure you save the final audio in the project folder you had previously set up - don’t allow random files to be placed all over the computer, keep organized.
• When the audio is bounced, you can transfer your files via flash drive, Google Drive, or via the Y: drive connection accessible via the Desktop shortcut
1. Clean up the recording booth and the computer desk
   • Recycle all unneeded scripts, take with you any scripts you plan to use again.
   • Remove all cups/drinks.
   • Ensure the headphones and microphones in the recording booth are hung up and placed properly.
   • Turn off the monitors (speakers).
   • Turn off the computer screen - computer is fine to leave running in sleep mode.
   • Turn off all lights.
• Ensure the recorded audio is placed in the correct Y: drive folder.
  • Notify the project team that the audio is ready and it’s location.
• Send an Workfront notification on the tasks for recording - let everyone know that they can complete the task now that recording is finished.
1. Open your MP3 file in Sound Forge Audio Studio, resample the audio to 44.1kHz, and save as a WAV file.

Performance tips for audio directors

• If you can give the script to the performer in advance, it helps them to be prepared for studio time.
• Adjust the position of the microphone for the correct height.
• Again, remind the performer of the context of the piece and what feel is expected from the client.
• Get the performer to read from the script at the volume they plan to read while you set up the levels in the booth. This also gives you a chance to see where they are starting from and get them comfortable with the script.
• Make sure the actor is about six inches away from the mic if they don’t know to do this.
• When you are ready to record, tell the performer they can begin when they are ready.
• After the first actual read, see where they are at and make suggestions for getting them to the right place from an emotional perspective (feel the words).
• Ask them to read sections three times over in different ways, this will give you ideas of where to direct them.
• If authenticity seems to be an issue, try to encourage performers to talk to you like you are having a conversation with each other.
• Encouraging exaggerated hand and mouth movement helps get the feeling across in a natural way.
• Dialogue should be recorded with the help of a reader so the performer can respond more naturally with the back and forth.
• Experiment with reading in chunks and reading the entire way through the script, sometimes a flow can generate in either scenario.
• Always record a safety - even if the prior read was perfect.
• If the performer is struggling, help them with emphasizing particular words or entire sentences, this can help them get on the right track, but can also take away from the authenticity.
• Don’t be afraid to go down a different path if it isn’t working.
• Shut of the booth’s audio as the performer is reading so they are not distracted by you.

Performance tips for readers

• Practice reading out loud before going into the booth, if possible, so that you are familiar with problem points before recording time.
• Bring a bottle of water, granny smith apple (gets rid of some mouth noise), and pencil (to record changes to script or make notes of what client/director wants from your next read).
• Don’t try to sound like a “voice performer,” try to sound like yourself, just a little more exaggerated.
• Use hand movements to go through the script, it helps you sound more authentic - and a smile on your face helps you sound friendly.
• If you flub, just start over again from the top of the paragraph or the previous sentence and keep going - It’s easy to cut out a sentence, don’t let it get you down.
• Sometimes using one headphone on and one off allows you to hear things in a different way - Find out what works for you.
• Have fun!