[Ty Ford]

Standing would raise that up, and get you out of one of the primary room modes. Just a thought..

But might or might not pick up more ceiling bounce…

Regards,

Ty Ford
Cow Audio Forum Leader

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[Ty Ford]

Hello Ashwin and welcome to the Cow Audio Forum.

Where are you pointing the mic and from what distance?

Regards,

Ty Ford
Cow Audio Forum Leader

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[Ty Ford]

The rest of the story…….

Clear Channel was ground zero for creating the present VO market situation. I used to make a “nice” living doing VO full-time from my studio and traveling to others.

When the Internet got big enough to send packets of mp3 files easily, the morning guy from a major market station would get off the air, take a leak, get some fresh coffee and a smoke and head into studio B where he would voice track for 2-4 smaller market Clear Channels. Push a button and the files would fly to those stations, putting 3-4 people out of work.

What did the know how to do? Read stuff into a mic. Sure, many were “too radio” for the work, but the economy was in the dumper and “good enough” was good enough, especially for the low ball rate. Copy writers also got pounded and those that replaced them for less money “wrote simpler” so the new talent could make it work.

Instead of going “off card”, I went sideways bought a camera (after Nick Griffin loaned me his XL2 for a few weeks – thanks, Nick) got fop and began shooting and editing. Eat my lunch and I’ll find someone else’s lunch to eat.

I still do some VO and even have non-union performers who come to me because I can make them sound much better than they can by themselves.

The Mid-Atlantic SAG-AFTRA office has just started offering lower rates in an initiative to bring the business back. Time will tell if it even matters anymore.

I recall one ad agency friend who hired me because I could, “take the stink off” his car dealer copy with my read. I still have those chops.

Regards,

Ty Ford
SAG-AFTRA

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[Ty Ford]

Bob you ignorant slut….(SNL reference)

There is still some life left in some “legacy” gear.

At some point, every piece of gear hits the wall.

Try the old “slap and tickle” approach. See how ingenious you can be with how to squeeze the last iota of capability from the old stuff, then explain how th new stuff does so much more, or so better.

Regards,

Ty Ford

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[Ty Ford]

It’s more of a gain staging feature.

Each circuit and/or device has a sweet spot – a level at which it’s more linear and better sounding (if you like it there).

Looks like this feature lets you change that a bit.

You can also amaze yourself with a John Hardy dual preamp mod of this design: https://www.johnhardyco.com/JTS9902ChDetails.html

$ 1715 M-1 plus output xformers ($350.)

So $2k for the finished piece.

Talk to John at 847-864-8060.

Regards,

Ty Ford
Cow Audio Forum Leader

Want better production audio?: Ty Ford\’s Audio Bootcamp Field Guide
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[Ty Ford]

Ross,

Sounds like the ART is the Weakest Link.

Would something like this be better: https://apiaudio.com/product.php?id=122

Regards,

Ty Ford
Cow Audio Forum Leader

Want better production audio?: Ty Ford\’s Audio Bootcamp Field Guide
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[Ty Ford]

Hello Ross and welcome to the Cow Audio Forum.

Are you recording 24-bit to the Tascam?

(I hate it but it does offer good signal diversity)

Please explain “signal diversity.”

Thanks,

Ty Ford
Cow Audio Forum Leader

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[Ty Ford]

Hello Shelly and welcome to the Cow Audio Forum,

I doubt it was the AVX system. I have been in situations in kitchens and work room spaces in which appliances or the AC they are plugged into, are not properly grounded. Touch the sink faucet or handle and the refrigerator (or some other plugged in appliance, even if it’s not turned on) and you can get a shock.

Does any of that resonate?

Regards,

Ty Ford
Cow Audio Forum Leader

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[Ty Ford]

Hello Steve and welcome to the Cow Audio Forum.

Hmm, let’s see….

I have never normalized a dialog track.

If you’re getting DC offset then something’s technically wrong with the recording.

Which clicks and pops?

Noise reduction is frequently the result of a bad location decision. While some may be used, if it’s that bad ADR is the solution. Exterior scenes in “Nurse Jackie” are ADR, for example, and stunningly good.

If you’re mixing with automation, you may not need to compress anything but the two mix (or 5.1).

I’d probably EQ earlier, if needed.

Adding reverb or other effects to ADR to make it sound more like the location dialog ambience may help, but just adding it to add it is not called for,

I usually have a compressor followed by at least one limiter in the two mix, but your mileage may vary.

It sounds like you have been handed some poorly recorded dialog tracks. Each may have their own problems (or this one worse in one area than another) . Sorry to hear it, but I don’t think there’s a gold standard recipe to salvaging bad audio. For me, it’s about making whatever I have sound as though it’s never been touched.

Regards,

Ty Ford
Cow Audio Forum Leader

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[Ty Ford]

Excellent sleuthing, Steve,

Thanks for sharing it here.

Regards,

Ty Ford

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