Where should I host my Voice Over Demo? Can I upload it to Facebook?

I've gotten this question a couple times from friends and colleagues, and I've never had a great answer for folks.

From my pal Curtis:

Hey Juan, Do you know how I can upload my vo demo to my fb profile? Or is it best to link from another page to fb?

So here's the deal Curtis, we've never had great solutions for hosting audio online. You'd think in a world of streaming HD video, there's be SOME place we could semi-permanently host high quality streaming audio files like Youtube.

Recently, services like SoundCloud have become popular, and their bandwidth caps aren't horrible if you're focusing on something like your demos. The nice thing about SoundCloud is that it not only offers a handy place to upload the demo, and tools to embed the audio file on other sites, but it also makes it pretty easy to share your demo with a variety or services and social networks.

The tricky thing about directing traffic to web pages and social networking is you'll find people have very little patience. There's about zero attention span online. If someone finds you through Facebook they might not follow you to another link posted on your profile. Vice-versa if someone finds your web site, and you try to ship them off to Facebook or another service.

I'd recommend trying to make sure the basics of what you do are well represented individually on all services you use. If I find you on Facebook, I should be able to easily find your contact info, and listen to your demo, on Facebook. Ditto your own personal site.

But Facebook doesn't allow audio uploads do they? Well this is where all these streaming video sites might actually come in handy. Come up with a static image, a brand logo, something with your name on it, contact info, and convert that demo to a video file where it can live on Youtube, Vimeo, Facebook Video, etc.

Between SoundCloud and streaming video, you should have plenty of options for making sure that your marketing materials are easily accessible regardless of how someone might find you online.

For the rest of my VO audience, what services have you utilized for sharing your demo? Have I missed anything which might help people share high quality audio? Drop me a comment below!

Mailbag: Should I buy a multi-pattern mic?

From reader Anshul:

Hi dude,
I just saw you review on the SE Electronics sE2200a II Multi-Pattern Condenser Microphone. I'm mainly a vocalist and I'm looking to upgrade my microphone. I've been told I don't need a multi-pattern microphone as I am only a vocalist but after watching your Polar Patterns tutorial I've realised that different patterns are important but I still don't understand why. Please could you explain to me what each pattern will change in my recorded sound and when to use each one. And is this microphone a good value for money because I don't want to be wasting money.
Thank you
Anshul

So here's the deal.

Recording has a "feel" to it. The more you do it, the more you intuitively make adjustments on how things sound based on "feel". This learning experience takes a little time, and that time is crucial to you being able to get what you want out of a recording. I can tell you about recording stuff all day long, but as I don't have my ears in your space, it's all hypothetical.

As a general rule your polar patterns will do the following:
***Cardioid - A wide but directional recording pattern. Front is live, sides are dim, rear is dead. As it is directional, your recordings will experience proximity effect.

***Omni - Everything around the mic is live. You'll pick up what's in your environment 360 degrees around the mic. As it is not directional, you will not experience much proximity effect working the mic closer. Some people think this sounds too thin, but it can often provide the most accurate sense of what your subject and environment sound like.

***Figure of 8 - Front and back are live, sides are dim or dead. Each "lobe" is smaller than cardioid, making the mic more directional, which on many mics will increase the proximity effect on top of what you would experience in cardioid.

Ok. So all that is scientific and good, and I basically just repeated what I put in the video. You now "know" that, but it wont really mean anything to you until you put it into practice and actually try and change the sound of your recordings. You'll have to play and fail and play some more. You'll have to develop your ears, and start listening for nuance and (maybe hardest of all) objectively decide on what aspects of a recording you like, and what tone you're trying to achieve.

To answer your question specifically, I don't think I'd recommend you buy a multi-pattern mic just yet. I don't know what kind of mic you're currently using, but I'd recommend playing with whatever you have now some more. Get REALLY good at using it. Play with distance and angle of attack. See if you can thin out your voice with placement, see if you can make your sound fatter or nasally.

If you're working on something really entry-level like a headset mic, I'd recommend moving to a basic "nice mic" like an Audio Technica AT2020. Once you have something like that, or if you're already using a mic of that level, run it into the ground and develop your senses before moving onto nicer gear.

If you don't have your ears in shape, you won't get much of a benefit by upgrading. Take a little time, get a LOT more bang for your buck!

Mailbag: Help With Audio Restoration?

Never forget. The media we use to preserve our memories of friends and family is VERY temporary.

Thank You for posting on you tube. I have been attempting to clean up some horrible audio. These are from some cassettes that were recorded 35+ years ago. They are from relatives talking about life and family history. The sound is either blaring or not there, it sounds like they were either attempting to swallow the mike or put it across the room. I am using audacity to 'record' it onto my pc. Is there anywhere you are aware of that I may get some help? Thank You.
-Al G

This stuff gets tricky, doubly so because you're working with content which is so personal. The basics here, make sure you're using the best possible tape deck you can get your hands on. Anything you can do to make sure the tapes aren't physically damaged in any way.

If possible record using good cables into an interface which will record at least 24 bit / 96KHz wav files. As you try to correct some of the poor recordings, the more information you have in the recordings, the more likely it'll be you can push your salvage tools a little further.

While working in Audacity, you should be able to see loud and quiet fairly easily. Audacity's built in volume tools should allow you to balance out some of those inconsistencies, but you'll most likely be doing a significant amount of that adjustment by hand. After you've balanced that out a bit, you can look at noise reduction and EQ plugins to help take some of the edge off the poor recordings.

As for help, you might be able to hit up a local recording studio to see if they can transfer the audio to a digital format for you. You might also be able to hire a company which specializes in media transferring, but I've never used a service like that personally, so I wouldn't know who to recommend.

For my readers, are there any other tips or tricks to help Al out?
Is there a service you've used which handled your media with care?
Please leave us a comment below!

Mailbag: Distracting Breaths, The AKG C214, MOAR Proximity Effect, Muddy Recordings

Good Morning: My name is Bob and I have recently found your wonderful website. I have a question regard editing breaths from a narration. I have a thing about this. I just don't like the sound of noisy breathing. It's distracting. I was recently listening to an audiobook narrated by John Slattery "Farewell to Arms". I hear practically no breaths and yet the rhythm or pacing is perfect. How is this done? I use ProTools 8.0. I've tried cutting some or all of the breath out and I've tried dropping the volume level at each breath. Nothing I do seems to make it better. Often I just leave the breath in. I want it to sound natural but without the breaths. Impossible? Please help if you can.
Sincerely,
-Bob B.

Hey Bob. I actually don't have issues with breathing in long form narration. Obviously we try to take out deep or cleansing breaths, but sometimes the way an actor respires can help inform the performance as well.
Everyone has their own tricks for dealing with distracting elements like breaths. Often I turn to room tone recordings if I absolutely have to cut a piece out, but need to maintain cadence.

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First of all, your videos and advice are absolutely excellent.
I just want a quick opinion. I have the akc c214. Love the 'color' of the AKG sound but to my ears tath mic's peak around 13k bothers me a lot (and I mean a lot). I am always needing to eq this to suit my taste. I sing and play acoustic guitar. I haven't tried a 414xls..am hoping that an AKG C414 xls will give me more of that wonderful AKG sound I love; maybe an even slightly smoother top end without that damn 5dB peak. You seem to have spent a decent amount of time with the 414. even though voice over isn't the same as singing, I value any opinion or thoughts you might have regarding this. thanks again :-)
-Roland

Thanks Ro!
If memory serves the presence peak on the 214 hits very aggressively, more resembling the C414 XLII. Moving over to the C414 XLS and using it in Hypercardioid or Fig8 should help tame the peak, but the character of the mic wont be radically different.

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Hey, I've actually have learned a lot from your vids on youtube so thanks. I'm working on making my own studio but it wouldn't be for spoken word recording. I'm a musician/producer and i would be doing a lot of live instrument recordings. I'm looking for that high proximity effect while recording acoustic guitar and micing up a cab. would you recommend using multiple mics? As in 1 dynamic mic and 1 condenser and playing with the EQs to get all the highs, mids, and lows of instrument.
-Alex

You're more than welcome Alex. The two mic solution sounds like a great starting place to me. Now proximity is proximity, but depending on how heavy you want to hit, and what kind of room you're recording in, you could look at a ribbon if you really want to start slinging some mud around.
You'd have to weigh the cost and durability of your specific needs (ribbons are fragile), but it might not be a bad option if you're really trying to push the envelope. Otherwise, you can't really go wrong with a solid mid-range dynamic on a hot pre.

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Hello I was wondering if you might help me with some advise. I've been doing some long format VO recording in a small padded booth with a glass window, and wood door. Using a KMR 81 with an api lunchbox preamp. Most of the recordings sound very tubby to me. When I try and eq the tubbyness out, then it's very sibilant... Pretty harsh around 7.5khz, so struggling with the de-sser to soften the top end. It seems to be lacking a punch that I've heard in other VO recordings. If I turn on the high pass filter it feels very thin to me. So I'd love to learn how people are getting these nice warm present recordings that cut through heavy music and sfx.
-Joe

Hey Joe. It's tricky. You have to look at what you're recording, your source. Your source isn't just YOU, it's YOU in your ROOM. If you + your room = muddy, then there's not a lot you can do. An accurate recording of that combo will have to reflect the truth of your source.
There are some things you can do to help minimize some of the issues, but you wont be able to completely escape the core issue which is giving you problems.

That said, I'd also like to point out to people that shotguns can have some serious issues for those recording at home. They were designed to be used in outdoor or large environments to pick up audio from feet to yards away from their desired source. Look at that polar pattern. Sure, the primary lobe is long and skinny, but notice the three other lobes? The two on the sides are often cancelled out in-mic by phase, but that rear lobe still picks up a fair amount of audio.

What would seem a drawback is actually something of a benefit for film and TV. That rear lobe can help imbue recordings with a subtle sense of the location. That's great for those on set and on location, but not so great for those of us in little booths.

Sure in a larger properly treated studio, one with a little elbow room, shotguns are going to be nice and loud, but put them in a small space, and you're going to sound coffin-y. The mic is already going to be over-exaggerating low end because of the proximity, the small space is going to be emphasizing low frequency sound as it bounces all around creating standing waves, and now the mic chosen is also going to be picking up a little of more of the room reflections and ambiance thanks to it's polar pattern.

Shotguns can get claustrophobic, and rather than trying to edit your way out of the problem, renting a few mics and doing a home shoot out might provide you with better solutions for capturing spoken word in a small space.

As always, if any of this has helped you out, please consider using my donation and Amazon affiliate links to the left, and keep those questions coming!

Video Mailbag: Did I Contradict Myself on USB Mics?

So I've got some EAGLE-EYE readers.

Just got this email from a reader:
...in your review of the [Zoom] h4n you said that the zoom was better than a regular USB mic, but you still gave the [Blue] yeti pro a good review. So which is it? USB mic or handy recorder?
-Freddy K

Let's do this.

Mailbag: 414 vs TLM103 and What to Do About Mouth Noise

I get this one a lot.

Hi Juan! I'm so glad I found your site! I was doing a little background on the AKG 414 XLS and comparing it to the Neumann TLM 103. I know your time is valuable and don't want to take too much of it. I was REALLY hoping I could get your professional opinion before I shell out some $$$. I currently use a Rode NT1-A in a professional vocal booth for VO only. The mic is connected to my UA LA-610 MKII and that is routed to an M-Box.

After having some bad luck with a recent MikTek C7 purchase I decided to stick with the Rode. I've always wanted to get a higher quality mic and was wondering 2 things:

#1 What is your opinion on the AKG vs the TLM 103?

#2 This may be a stupid question but...Do you think I'll see much of a difference in the way of sound improvement when compared to the Rode? (I was expecting a huge difference from MikTek and was less than thrilled).

Thank you so much for your time and valuable input! If you have any other educational classes coming up for VO I would love to get some information! All the Best, Mike

First I would ask if there's something your NT1a isn't able to do that one of these other mics might. The LA-610 is a hell of a pre, and should bring some interesting character to the NT1a.
The audio wont necessarily be of a higher "quality" by moving to a more expensive mic. A TLM103 wont sound five times "better" than an NT1a, it will have a unique character which Neumann has assigned a specific price to.
If you need that character then $1000 is the price of entry. If you don't need that character, then I don't think it'll be worth the investment.

To answer your first question. I'm not a huge fan of the TLM103. In the wrong room or with the wrong pre, I think it can sound a little brittle or even a touch metallic. For the same price, the polar patterns, multiple pads, and roll offs of the 414 certainly make it a more flexible option, and I happen to prefer the slightly cooler sound of the reference mic.

And speaking of the TLM103...
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Hello.

In hopes you might have some input on microphones. I currently use a TLM103. I'm having terrible issue with mouth noises - not doubt I'm producing these "clicks" and "ticks" but I think the sensitivity of the mic and the lack of forgiveness in my booth have combined to make them very distracting. I'm needing a mic with not as much sensitivity that still has a nice tone. I can direct you to my FTP and upload some sample "issues" should you have time to take a listen to what I'm currently dealing with.

Thanks! Joe

No samples needed Joe, thank you. I suffer from a pretty extreme case of misophonia...
Mouth noises can be pretty frustrating. Have you tried green apple or tart juices to try and break up the "clacky"? I'm sure we'll get some comments from folks with other methods to help tame mouth noise.

As for a mic, this is where a dynamic mic can help. You'll lose out on some of the clarity and articulation of a condenser, but it'll be a bit more forgiving of environment and biological noises. Mics like the MD421, RE20, PR40, or SM7b are all pretty great. Make sure you back them up with a hot preamp though, as they are much lower output then their LDC brethren.

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As always, if any of my advice has helped you out, please consider using those donation or Amazon affiliate links to the left, and keep those questions coming!

MailBag: More Mics, Demos, and Home Studios

Congratulations for your wonderful review videos!
I have a lot of microphones (neumann KM184, Rode NT4, AKG 451, Oktava's MK12, DPA SMK4061....)but I'm really not satisfied (only Neumann is good -)
So I am looking for avery good matched pair now.
Please what you personally think of the AKG 414 microphones??? Do you think it is the best choice with a Nagra (LB) ? I have the Nagra LB already. I would also like to buy the AKG 414 but I doubt a bit...
Are you perfectly happy with these mics?Are the AKG B-ULS better than he new AKG 414 XLS recording a grand piano???
I think the Rode NT5 matched pair are less good ...I know it is a cheap choice but the reviews are so good for this microphones. But I think the AKG 414 is imcomparable...??? Can you just let me know what your real opinion is?
Many thanks In advance !
Best regards
Franco 

Well, one of the original use for the 414 was to mic dynamic instruments like pianos, so I don't think you could go wrong with a pair of them. It is a reference mic after all.
Honestly miking a piano is more art than science though. You can easily get stuck in the infinite number of combinations, distances, angles, making tiny tweaks and adjustments until you go crazy. In my head a combination of a pair of 414's on the piano and KM184's as overheads to pick up some of the room should sound pretty great.

It's been a LONG time since I last used a ULS, but if memory serves, I think the XLS is a little brighter and has a slightly lower noise floor.

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I'm hesitant to show my "noob"-ness, but I'm still confused about something; how does one go about actually recording a competitive demo? I've read Yuri and Tara's book - should one create/compile everything they want to record themselves and then buy some studio time? Should a director be hired, such as yourself? How can one objectively judge his/her own material before recording it?

There's no right answer. It's part of the journey of becoming a professional. Sure we talk a big game about the feel-good artsy stuff, but we don't always discuss the business concerns as well as we should.
See, you're now starting to deal with marketing. That's what a demo is, a piece of material which promotes you. Before you can make that piece, you have to know what you're promoting. It's easy to say "I'm promoting me", but what does that mean? If you haven't developed a brand for yourself it's very difficult to craft marketing materials to sell that voice of yours.
A lot of the questions you're asking here are some of my warning indicators, that you might not be QUITE ready to jump into a demo just yet.
To answer those questions though, it all comes down to what vibe you want to create for your demo and whether you know any producers you trust to work with on those materials. The answers to all of these questions, including the ability to self-reference, come with time and experience.

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Dear Mr. Bagnell, I'm a Seattle based voice over artist just starting to get auditions with major companies in the area. (Microsoft, Boeing) I'm very interested in improving my at-home auditions in terms of equipment, skill with Audacity and my own technical skill. As far as equipment goes, I live in a carpeted apartment off the highway but near a major flightpath.My computer and apartment are pretty noisy, but I do have a room in which to record. At the moment, I'm using my computer's onboard mic and it sounds predictably terrible. My budget runs in about the 300-600 dollar range. I'm not sure what industry standard is for audition quality, so I don't know how nice they should sound. How would you spend 300-600 dollars to create an at-home recording studio? I know I'm not going to get great quality, but I would love to buy decent products so that I can upgrade piece by piece, not by replacing the whole rig at once. Also, if I were to send you a couple samples of my auditions, could you give me a few pointers? I realize you're a very busy man, so no worries if you can't. Your site has been very valuable for me as a voice over artist and I so much appreciate your time. Thanks, -Quinn 

So glad my site has been helpful!
Hmmm...

Still kinda tricky to outright recommend gear, but I'd almost want to throw the H4n at you. http://amzn.to/Nu8RTM For $260 you'd have a USB mic which could later become an interface as you started upgrading your chain. Here's my mini-review of the H4n from a while back.

Also, as I record a bit from home too, it would allow you to record with the computer off, then move the files over to edit. It's a touch cumbersome to work that way, but it's what I've taken to doing to eliminate computer noise from my recordings.
I don't know what kind of issues you might be running into, but simple treatments like packing blankets in a corner can often help tame some of the reflections in a room. http://amzn.to/MXyIBe
Unfortunately there's not really anything you can do about the flight noise short of rebuilding the apartment complex, so you'll have to do the awkward dance of pausing during recording, or recording later at night when traffic dies down.
I'm always available to do a coaching session. If you'd be interested in that we can chat times and rates.

As always, if any of this advice has helped you out, please consider hitting the donation links, or using my Amazon affiliate links on the left hand side. Thanks for supporting my site!