Exploring the Power of Equalization in Audio Production

If you’ve been around audio and video production for any length of time you know that there is one audio production tool stands as a cornerstone of the craft: EQ, short for Equalization. EQ plays an indispensable role, especially when harmonizing voiceovers with music. You may already know but EQ is the process of adjusting the amplitude of specific frequency bands within an audio signal. EQ can range from a simple to a complex, but it undeniably holds the top spot in processing voiceovers, music, and sound effects for various media, from TV and radio commercials to explainer videos, eLearning modules, and internal corporate training materials. 

Now, as a professional voice actor who is heavily involved in audio production, I find myself reaching for EQ regularly. In this article, I want to share my favorite EQ plugin as well as how I employ EQ to ensure that different audio signals harmonize seamlessly. 

We have a limited frequency range of what we can hear. And when you have multiple audio elements covering the same parts of the frequency spectrum, it’s essential to make room for the most crucial parts and avoid auditory chaos. Here are the three primary ways I use EQ to make it happen.

Fine-Tuning the Voiceover

First and foremost, I utilize EQ to fine-tune the voiceover itself, ensuring that voice and music aren’t fighting over frequencies and that the one of the VO sits nicely in the context of the project. This is not always necessary and I typically do NOT EQ raw files that I send to clients. But in production, this process helps achieve the ideal sonic balance within the mix.

Taming Troublesome Frequencies

The second way I like to use EQ is by employing a Dynamic EQ, which is a versatile tool that aids in managing specific frequencies that sometimes become overly pronounced, such as sibilance without just cutting those frequencies out of the entire signal. Dynamic EQ offers precision and customization, making it my preferred choice over a traditional de-esser.

Creating Space with Opposing EQ

Lastly, I employ opposing EQ on competing audio signals. This usually involves removing select frequencies from the music while simultaneously boosting the same frequencies in the voiceover. This technique prevents the voice from getting buried in the music AND makes it so that you can do minor tweaks in EQ rather than giant cuts. 

My Go-To EQ Tool

Throughout my career, I’ve had the pleasure of experimenting with a wide array of EQ plugins. While they all serve the same fundamental purpose, the differences in speed, features, and effectiveness can be significant. Among the plethora of options, one plugin has consistently stood out for me and has become my go-to EQ: Izotope’s Neutron, specifically Neutron 4.

Neutron 4 is not just your average EQ plugin; it’s part of a comprehensive mixing suite. The plugin suite consists of a mothership plugin that contains seven distinct modules, all of which can function as standalone plugins…which is great. 

We’ll primarily focus on the EQ section, but Neutron 4 offers a treasure trove of features beyond EQ that are worth exploring.

Neutron 4 excels in each of the EQ scenarios I mentioned earlier, which is why it’s my one-stop EQ solution for various audio projects. At the end of the day, I choose to use Neutron because it is massively powerful, feature-packed, intuitively layed out and consistently sounds good.  

Let’s delve into its capabilities:

Single-Track EQ Mastery

Neutron 4’s single-track EQ is a powerhouse, packed with useful features. Laid out as a parametric EQ, it allows you to add up to 12 frequency nodes, adjust the amplitude of those frequencies, and fine-tune the width of the frequency band (known as Q). While these features alone are impressive, what sets Neutron apart is its flexibility: each node can function as either a standard EQ band or a dynamic EQ band. Furthermore, the dynamic EQ can be used with a sidechain, meaning the threshold for dynamic EQ can be triggered by an external source, providing surgical precision in controlling troublesome frequencies.

Here’s where Neutron gets even more fascinating for voiceover work. Not only does it provide top-notch EQ capabilities, but it also boasts built-in AI. This AI allows you to automate the selection of frequencies to optimize your audio signal. While it may not always be flawless, it serves as stellar starting point for audio enhancement. Simply add a node or two, adjust the amplitudes in the desired areas (you can even modify multiple nodes simultaneously), and click the “learn” button while playing back your audio. The plugin will automatically fine-tune the frequencies of the nodes to optimize your signal and then you can tweak from there.

Multitrack Magic

Where Neutron shines is when it’s integrated into a multitrack environment. Whenever I’m working on a project that involves both music and voice, I make it a point to add Neutron 4 to every channel I’m working on. This is where the magic happens.

I label the EQ instance for the voice as “Voice” and the one for the music as “Music” or whatever makes sense for the context of my mix. After you edit the labels, it’s easy to visualize how these tracks’ frequencies interact with one another. By selecting a track containing a Neutron instance from the “Masking” dropdown menu and playing back the audio, you’ll get a visual representation of where the frequencies are competing. 

Stellar Features

At this point, you can either reduce frequencies in the music to create space or opt for the “Inverse Link” feature, which automatically applies the inverse of any adjustments made on one signal to the other (for example, reducing a specific frequency in the music will increase that exact same frequency in the voice by the same amount). 

What’s more, you don’t need to jump back and forth between multiple windows while EQing, because the channel you have selected in the Masking dropdown is accessible within the same EQ window by clicking its corresponding name at the bottom of the plugin. The interface is really streamlined and makes it super easy to fine-tune the interplay between audio signals.

Unmask Module

Although we’ve primarily been talking about Neutron’s EQ section, it’s worth mentioning that Neutron offers additional modules, such as compressors, exciters, transient shapers, sculptors, gates, and an especially useful module called Unmask. When you connect instances of Neutron via the Masking dropdown and add the Unmask module, you can create a dynamic EQ that intelligently lowers one signal beneath another at the frequencies where they clash. 

Now if you use it too heavily this sounds really unnatural, but if you keep the sensitivity and the mix (percentage) at reasonable levels, you can automate much of the mixing of music and voice over. Start with a little Unmask and then add EQ to fine tune it. Just don’t overdo it. Striving for a natural sound is typically the goal.

Wrapping it Up

Izotope’s Neutron 4 is a game-changer for audio professionals. It offers a comprehensive and user-friendly solution that extends beyond just EQ. And the AI features and seamless integration in multitrack environments make it a powerful tool for achieving polished, balanced, and professional audio content. Whether you’re a media producer or an engineer, Neutron 4 is a versatile asset that can elevate your audio production.

Bonus Tip: Unlocking Great Deals on Izotope Products

If you’re eager to get your hands on Neutron and other fantastic Izotope products without breaking the bank, here’s a strategy to snag great deals. While I can’t guarantee these prices, I have seen these tools consistently on sale and with patience you should be able to get a deal!

First you are going to create Izotope and Sweetwater accounts and sign up for their sale emails. Also, grab a free tool from Izotope (like AudioLens or Vinyl…it doesn’t matter). You are doing this so that you are seen by Izotope as a “Customer” who has purchased something in the past and someone who is eligible for Loyalty Offers. 

Now it’s a waiting game. Just keep an eye on the sales and when Black Friday or Christmas roll around you will likely see a good Elements bundle (usually from Sweetwater) for around $29. I have seen it as low as $9! Snag that and start watching your inbox for Upgrade offers. 

Your purchase path is going to come down to what you need. I got Elements for $9, upgraded to Izotope’s Music Production suite for like $299 and then got the Everything Bundle for $199. It took a little bit of time, but that is $2500 worth of tools for just over $500. Like I said, I can’t guarantee these prices, but patience can pay off if you want these tools. 

I hope this article has provided you with valuable insights as you navigate the exciting world of media production. Best of luck on your journey to excellence in this ever-evolving field!

• Create an Izotope Account and Get a Free Tool: Begin by creating an Izotope account and downloading one of their free tools. Currently, I would grab AudioLens, a tool that allows you to play any audio on your computer and create a reference for automated mixing with Izotope tools (only).
• Subscribe to Izotope’s Updates: Sign up for Izotope’s updates newsletter. Subscribing after obtaining a free tool, like AudioLens, will put you on their radar for Loyalty Offers. Izotope frequently extends special deals to loyal customers, so this step is crucial.
• Register for Sweetwater’s Emails: Create an account with Sweetwater and subscribe to their sale emails. Sweetwater often sells Izotope plugins, and sometimes their bundle deals on Elements Suites are even more enticing than those offered directly by Izotope (e.g., RX, Ozone, Neutron Elements Suites for $29).
• Patience and Timing: Now, it’s a waiting game. Keep an eye on your inbox, especially during big sale events like Black Friday and Christmas. You’ll frequently come across deals for RX Elements from Izotope or Elements (with RX and Neutron or Ozone) bundles from Sweetwater at incredibly low prices. I’ve seen as low as $9 but more commonly around $29. When you spot such a sale, snag it. 
• Upgrade Deals: After acquiring Elements, be on the lookout for upgrade sales. Izotope can be pretty aggressive with upgrade deals. If you’re interested in upgrading to RX Standard only (without the need for other tools), wait for the RX Upgrade deal, which typically costs around $99. This puts you under $150 for a tool that retails at $400. Winning!!
• Bundle Bonanza: If you’re considering both RX Standard and the full Neutron, keep an eye out for the Music Production Bundle or Mix & Master Bundle, usually priced around $249 or $299. This represents an incredible value for less than $500. For the most ambitious deal seekers, watch for the Everything Upgrade Bundle (if you already own the Music Production Bundle), at an astonishing steal of $199. Normally priced at $2499, this upgrade path unlocks every tool Izotope offers, plus some additional handy tools, for less than $700.

While this strategy may provide more options than you need (or drive you down a GAS rabbithole), by staying attentive to sales and exercising patience, you can secure incredible deals on the tools that will elevate your audio production to the next level.

I hope this has been helpful for you as you continue to pursue a path of excellence in the crazy world of media production. Chat soon!

The post My FAVORITE EQ (with video) appeared first on Upbeat. Conversational. Friendly. Voice Over Talent - Jason Huggins.

When I built my studio, I kept my personal aesthetic tastes in mind, and designed a space that would not only be effective for my workflow, but would also invite me to work in it and facilitate creativity.  This is also true of the software environment in which you work everyday.

I am a Mac guy. I have been for a long time, and I really love how Mac’s work.  I also love how they look.  This is part of creating an environment of creativity for me.  Can you be creative on a PC?  Absolutely!  It is all a personal choice.  But…let’s not go down that road.  On topic!!

Today, I want to talk about the different audio editing environments that we can edit in.  With the typical DAW (Digital Audio Workstation) software package, you can get two basic environments (depending on the particular software):  multitrack, and single-track.  Both of them have their strengths and weaknesses.  I’m going to quickly unpack why I prefer to use a single-track environment for most of my VO recording and editing.

Note:  This is in NO WAY going to get into every detail, and is in no way an exhaustive review of editor functionality.  I’m talking about workflow for voice over here…that’s it!

Multitrack Editing 

In the typical multitrack audio editing environment, you have a list of tracks….typically multiple…tracks. This list of tracks typically has a full suite of controls (which are great for producing music or doing full production for voice over) that you will probably never use when recording voice overs.  To record in multitrack environment, you click the “record enable” button on the track you want to record on, and you press record.  The DAW then records a “region” to the track or tracks that are record enabled.  Every time you record again, you add another region.  To edit, you manipulate the regions, and they stay separated unless you combine them.  This, for my brain, is not the most effective way to work.

Single Track Editing

Many DAWs have the ability to work in a single track environment.  For me, Adobe Audition does this best.  In a single track environment, you don’t have multiple tracks (duh) and therefore, don’t have to enable a single track to record…because there is only one track.  All you have to do is simply hit record in order to record.  This removes one step from your workflow, and gives you one less thing to think about.

Within many single track audio editing environments, you have one region.  Every time you record, it simply adds to the region you are working in.  One file, one region, one track, not confusing!  That also means that editing is that much easier.  Got a section you want to remove?  Just highlight it and hit delete.  Gone. And the region sucks together as if it never existed. Now, I know there are ways to get close to this workflow in multitrack environments but it is not as clean and streamlined. Want to copy a section, or move a section?  Highlight it and hit copy (or cut to move it) move the playhead to where you want the audio to end up, and hit paste.  Done.  No moving regions around, fading between them, or trying to line things up.

Voice over recording and editing is typically done in a single mono track.  I have found it personally beneficial to keep my environment as clutter free as possible.  THIS is why I prefer to work in the single track environment, and prefer to use Adobe Audition for editing.  Simple and clean makes me feel calm, while busy and complicated stresses me out, when I get stressed out I slow down, when I slow down I make less money, when I make less money my kids don’t eat well, when my kids don’t eat well they get sick, when my kids get sick I get sick, when I get sick I can’t record voice over.  I don’t like being unable to work…so I make things simple and clean.

Thanks for reading!

The post How do you do your Audio Editing? (Specifically VO) appeared first on Upbeat. Conversational. Friendly. Voice Over Talent - Jason Huggins.

What are the steps?

I call this the ‘RAILS‘ of the voice over audition train.  Here they are:

– Receive

– Assign

– Interpret

– Layout

– Send

These are the steps that I have determined to be the most important for me, as I receive and deliver auditions day in and day out.  Let’s go through each one of the steps.

Receive The Voice Over Audition

The Receive step is a pretty important one.  In this step you get an email, phone call or other communication that contains an audition.  A client thought of your voice for a project, your agent got a project that might match your voice, or a P2P site somehow determined that you might be a fit for a project.  Whatever the source, you have an audition waiting.

In the Receive step, the very first thing I do is look at the voice over audition to determine your suitability for the project.  Is it from a client?  Chances are, you should send an audition because the client already knows your work and wants you to do some more.  Is it from your Agent?  More often then not, your agent will send you auditions that they believe you would be good for.  Again, you should probably audition for this one too.  Is it from a P2P?  Here is where the real time suck can be.  You can audition for 100 project that you aren’t perfect for, and not land a single one of them.  Why waste your time?

So first in this step, you look at the copy and determine if your voice is right for the project.  If not, TOSS IT!  Don’t worry about a “missed opportunity.”  If they want a voice similar to James Earl Jones, and you have a voice like Steve Carrell, you stand a good chance of getting trashed right from the start.  Now, if you only get 2 audition opportunities a day…TAKE THEM!  It doesn’t matter what it is…because you are getting experience, and developing your workflow.  When the waterfall begins, then start picking and choosing.

Assign the Audition

The second step is to Assign the voice over audition.  This means determining the priority of the audition and scheduling the time to do it.  This will be determined by a number of factors.  What is the source?  What is the deadline?  Where are you physically when you receive the audition?  These questions will determine the priority that you place on an audition.

There are 3 categories that I place auditions into:

– Do immediately

– Schedule for later today

– Schedule for another day

Immediately

By immediately, I mean that I open the email, open my recording software and record the audition as soon as I receive it.  If I am in the middle of a live session, I obviously don’t stop the session to check my email and send out auditions, but sometimes time is of the essence.  I immediately audition for an urgent auditions from my agents, from prior clients, and sometimes from P2P sites (where I believe my voice is a perfect fit or I was directly requested).  I typically audition immediately for ANY audition that I receive from prior clients.

Scheduled

The other two are based on the deadline for the audition and my schedule for the day.  If I’m at the bank, I can’t audition till I get back, but I’ll mark the email as unread so remember to do it when I return.  Sometimes my schedule prohibits me from auditioning the same day an audition comes in.  If the project allows, I’ll do it the next day.

I always do auditions as soon as I can.  This sometimes gives you the first spot in the listening line, and also shows clients that you are attentive to their needs.  I want to deliver a KILLER read, ASAP.  That way, the client knows they can always count on me in a pinch.

After assigning the job, I move on to the meat of the audition.

Interpret the Audition

Once it is time to audition, you gotta do it right.  You only have one chance to WOW a client.  Don’t waste that chance by sending a rushed crappy read just so you can be the first in line.  Take time to give the client a high-quality product.  You are never auditioning for a “job.”  You are auditioning for a client.  Most of the clients I have worked with come back for more work in the future.  Producers like to work with people they can count on, so why would they go looking for a different voice each time they need a project completed?

On to interpretations.  Here are the parts (for my workflow) of interpretation:

– Read the script

– Understand the script

– Prepare the script

– Voice the script

I’m not gonna get into the ART of interpretation…I just want to make sure you don’t blow through auditions JUST to get through them.  That is a surefire way to get your audition tossed out.  If you really want to be competitive, you have to deliver an intentional performance of the script.  It is your job to determine the intentions of the copywriter and producer, and deliver EXACTLY what they have in their head…or something BETTER!  This is where the real skills of a voice actor are tested.  You’ll need to come up with your own personal method to quickly, and effectively, break down a script, and prepare to record it.

Once you are prepared to voice the script, is your software set up the way it needs to be?

I always have my software (Adobe Audition) open and ready to record all day long.  I also have my controller set up so that I only have to press a single button to create a new Mono audio file.  Once I’ve done all of the necessary prep, all of my equipment is ready to record BEFORE I need to do it.  This will help you keep the flow going.  If you have a great mental concept of the script, have practiced the voicing, and are ready to record, AND THEN have to start messing with the technical side of recording, you can quickly lose your creative flow.  Set your software up in advance so that you don’t have to get into “engineer mode” before you start to perform.

If this is an issue for you, do the technical stuff first (before you start to break down the script).  This way, your software will be waiting for you to just hit record, and you don’t have to think about it at all.  Once you have recorded the spot, it’s time to move on.

Layout the Audition

This is a sometimes necessary, and sometimes not so necessary step.  The Layout step is what you do to prepare the actual audio for delivery.  When you send out a file, it needs to be in a professional “wrapper” to match the amazing read!  But the layout isn’t always the same.

Labels

No matter how you deliver the file, it is of the UTMOST importance that you follow the directions of the person who sent you the audition.  When someone wants you to name files a specific way…DO IT EXACLTY!!  File labing is a BIG DEAL.  Think about it…you have a labeling system that keeps all of the specific files for each project in the same place, looking the same, and nice and easy to use.  Then, one of your thick-headed VOs sends you a file labeled however they want.  You have to take the time to relabel it, or it will mess up your system.  It really gets people upset and they will frequently just toss it because ain’t nobody got time for that!

Format

So you’ve edited the file correctly, removed all of the noise, mistakes, cleaned up the audio so it sounds good, removed breaths if it is appropriate, normalized (this is NOT compression or limiting…but that is for another post) the audio to an appropriate level (I normalize every file to -1db), left a little bit of silence in the beginning and end of the file (I like to do .5 seconds lead, 1 second tail unless asked for something else), and added the appropriate slate (slate or no slate is often part of the specs but if not it’s your choice, make sure you slate appropriately).  

Ok, it’s time for you to prepare the file for delivery.  Most people want an mp3 for auditions, so make sure you export it with the correct specs (did they ask for 44.1khz, 16-bit, 128kbps mp3….then give them that EXACTLY.  Don’t just send an mp3 however you feel like sending it).

Now that the file is prepared, it’s time to send it off.

Send the Voice Over Audition

The Send step isn’t just hitting “send” on your email.  You will sometimes need to craft a message to go with the audition.  Sometimes you have an upload link, and no ability to send a message.  If that is the case, just upload the file, and you’re done.  If you are responding via email or form, don’t load the email with a massive amount of self-promotion.  Instead, keep it short, professional and informative.  Make sure you include any necessary details (phone patch, Source Connect, ISDN?), and when you can deliver the finished product (if that information is needed).  Tell the client everything they NEED to know as concisely as possible, and leave out all of the stuff they don’t care about.

Once you have carefully crafted the appropriate communication, let ‘er rip!

If you start to develop a consistent process, running the RAILS can take only a few minute!  Get the process down…if you take 30 minutes per audition, and have to do 10 of them a day…well, you get the point.  Until next time!

The post The Voice Over Audition Train: Riding the RAILS appeared first on Upbeat. Conversational. Friendly. Voice Over Talent - Jason Huggins.