The new radio interview and podcast studio
Remote contribution to the recordings can be patched in from other studios via ISDN, Source Connect, ipDTL, phone patch or Skype.
Our first booking was for an interview with Ultravox and Band Aid legend Midge Ure with Philippa Starns of Spafax Audio.
Acoustic treatment is by GIK Acoustics.
To hire the studio call 01225 470011 or email.
It’s easy to imagine that the visuals are the most important part of your promotional film, but when it comes to making the right impression, audio is equally as important if not more so. When shooting a video, a lot of time is spent thinking about and planning things like focus, angles, lighting and such, but sometimes less time is focused on making sure the audio is captured and produced properly.
It’s worth remembering that we tend to be more forgiving of poor quality video than we are of poor quality sound. We’ll happily watch something ‘interesting’ whether it’s in SD or 4K, there might indeed be an artistic or abstract element to a grainy low-resolution picture, whereas sound recording issues such as distortion, excessive background noise, poor voiceovers, hard to comprehend dialogue and wind rumble are distracting and irritating to our sensitive ears. In fact, a less than perfect film sequence can be saved by an excellent soundtrack, conversely, a superbly shot picture can be ruined by poor quality sound. Don’t expect a round of applause for professional quality audio, but do expect a wholly negative response if the sound quality is distracting for the wrong reasons.
When it comes to adding a voiceover to your film, using a suitable professional to do the job gives you the opportunity to add a shiny layer of polish to your film.
As good as digital audio restoration tools are these days, and they are very good, nothing can beat getting the audio recorded properly in the first instance. If you think you can just stick a portable audio recorder near the camera, press record and somehow fix the audio later in post, think again. There are almost always artefacts. A bit of tweaking is possible and definite improvements can be made, but it’s much better to get the audio recorded properly in the first place. Get dialogue recorded up close and personal to make sure it’s crisp and clearly intelligible. There’s nothing more annoying than muffled hard to comprehend speech in a film. Use decent fit for purpose microphones and furry windshields to avoid wind rumble, and monitor the audio carefully on headphones.
When it comes to adding a voiceover to your film, using a suitable professional to do the job gives you the opportunity to add a shiny layer of polish to your film. If you are producing your own films it can be tempting to voice them yourself – after all, how difficult can it be to record yourself reading aloud? Well as it turns out, it’s quite an art and definitely worth investing in a professional. However, make sure your script is well written, edited and finessed so that it reads fluently and easily.
At Sounds Visual we specialise in post-production mixing, sound design and voiceovers. To discuss a project why not give us a call for a friendly chat on 01225 470011 or email jono@soundsvisual.com
The days of using ISDN to connect studios and artists together may be numbered, but it’s still used by studios, radio stations and voice artists around the world. However, there are now many excellent alternatives that use IP connections rather than ISDN.
Source-Connect
Not to be confused with Source-Connect Now, (see below) Source-Connect by Source-Elements has been around for a long time and is well established as a high quality, full-featured app for connecting studios and artists. The deep feature set includes extensive facilities for working with audio and video including RTS (Real Time Sync)
Source-Connect Now
This is a free popular option that works in the Chrome browser using the high-quality codec ‘Opus’. The free version allows 4 studios to connect in stereo at up to 512kbps (kilobits per second) (256kbps mono)
ipDTL
ipDTL is billed as an ideal replacement for ISDN. We use it at Sounds Visual for live broadcasts with the BBC World Service and it has proved to be super reliable and easy to use. Notably, when broadcasting live, we now run ipDTL as the main connection to the BBC and have a separate ISDN line using Audio TX as the backup. That’s simply because ipDTL has proved to be rock solid, whereas ISDN can be temperamental – usually when using different codecs at each end.
As with ‘Source Connect Now’, ipDTL can run in the Chrome browser, but ipDTL also runs in the Opera and Yandex browsers, and now has its own dedicated ‘ipDTL Browser’. There is an excellent feature set depending on the subscription type you take out. Options include the ability to receive and call ISDN numbers, justifying their claim to be an ideal replacement for ISDN.
If you only occasionally need ISDN or a phone patch for recording phone interviews, the ipDTL Day Pass, which gives you access to all ipDTL features including receiving and calling ISDN numbers, is an affordable option at just £10 + vat per day.
Session Link Pro
High quality bi-directional audio connection with low latency through a web browser. Session Link Pro also offers an add-on for video sync and another add for high-quality video and audio conferencing.
Cleanfeed
Cleanfeed also utilises the Opus audio codec to enable remote studios to connect high-quality audio in real time. There is a free version and Pro version available.
AudioTX Communicator
AudioTX has been around for quite a while and provides a software solution for using your PC as an ISDN codec, however, it also features an excellent IP codec.
Skype
The appeal of Skype is that it’s free, easy to use and pretty much everyone has it. The quality isn’t good enough for broadcast but for situations where the voice is recording the audio their end, and just need a connection to be directed, or so the client can clear the read, then Skype is invaluable.
At Sounds Visual we use ISDN, ipDTL, Source Connect, Source Connect Now and Skype for remote voiceover sessions.
ISDN studio available for hire as used by the BBC in Bath for voiceover recording and ADR. Call 01225 470011 or email jono@soundsvisual.com
If you find you are getting a long delay when recording voiceovers into Logic Pro using Source-Connect there is a known issue and easy fix…
Turn off the plugin latency compensation located under Logic Pro X -> Preferences -> Audio -> General.
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ISDN, Source Connect and Cleanfeed, Air Conditioned Voiceover & ADR Studio in Bath. To book call 01225 470011 or use the contact form below. Email: jono@soundsvisual.com
Audio can be recorded and delivered straight after session – 24bit raw or edited.
Microphones include Neumann U87, Sennheiser MKH416, Beyer201, Rode NT2A, ElectroVoice RE50, Beyer M10 and Shure SM58.
Sound Devices and Focusrite Clarett 8 pre Audio Interfaces, Logic Pro & Reaper DAWs, Davinci Resolve and Final Cut Pro. ADAM monitoring.
Audio editing and sound design services available as well as comprehensive music and FX library.
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Here’s a useful list of some of the best sites for finding and downloading sound effects for your production.
Terminolgy…and the small print
Royalty free when applied to sound effects usually means that you purchase the sound for a ‘flat fee’ and then you the ‘purchaser’ can use that audio on any number of productions without paying further fees or royalties. However you need to check the licensing terms before purchase to be clear what you can and can’t do. For example with Pond 5 you can use their sound effects on any number of productions, and as with most libraries that licence is restricted to what they refer to as 1 ‘seat’. With Pond5, a “seat” is a ‘single user, person, or computer, hard drive accessible to one person. A “seat” cannot be shared, or passed along. Each new user of the content is an additional “seat” and that licence is limited to one person using it.’ If you need more seats you can buy an extended licence.
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Explore the world’s largest collection of royalty-free stock video and creative assets.
https://www.pond5.com
[/et_pb_text][et_pb_text admin_label=”AudioJungle” _builder_version=”3.0.106″ background_color=”rgba(224,153,0,0.18)” border_radii=”on|1px|1px|1px|1px” border_width_all=”1px” border_color_all=”#bfbfbf” custom_margin=”10px|10px|10px|10px” custom_padding=”10px|10px|10px|10px” box_shadow_style=”preset1″ background_layout=”light”]
Audiojungle have huge amount of sounds from just $1. The licence covers you for use of that sound in one ‘end product’ production only – if you want to extend that to unlimited end products / productions you need to select an extended licence.
https://audiojungle.net/
[/et_pb_text][et_pb_text admin_label=”Sonniss” _builder_version=”3.0.106″ background_color=”rgba(224,153,0,0.18)” border_radii=”on|1px|1px|1px|1px” border_width_all=”1px” border_color_all=”#bfbfbf” custom_margin=”10px|10px|10px|10px” custom_padding=”10px|10px|10px|10px” box_shadow_style=”preset1″ background_layout=”light”]
Professional sound effects libraries for use in films, games and interactive projects.
https://www.sonniss.com
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[/et_pb_text][et_pb_text admin_label=”AudioBlocks” _builder_version=”3.0.106″ background_color=”rgba(224,153,0,0.18)” border_radii=”on|1px|1px|1px|1px” border_width_all=”1px” border_color_all=”#bfbfbf” custom_margin=”10px|10px|10px|10px” custom_padding=”10px|10px|10px|10px” box_shadow_style=”preset1″ background_layout=”light”]
AudioBlocks.com is the first subscription-based resource providing UNLIMITED downloads of royalty-free production music, sound effects, and loops.
https://www.audioblocks.com
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General sound effects, public domain sound effects, free royalty free sound effects
https://www.partnersinrhyme.com
[/et_pb_text][et_pb_text admin_label=”Soundsnap” _builder_version=”3.0.106″ background_color=”rgba(224,153,0,0.18)” border_radii=”on|1px|1px|1px|1px” border_width_all=”1px” border_color_all=”#bfbfbf” custom_margin=”10px|10px|10px|10px” custom_padding=”10px|10px|10px|10px” box_shadow_style=”preset1″ background_layout=”light”]
250,000 SOUND EFFECTS AND LOOPS. UNLIMITED POSSIBILITIES. SEARCH NOW.
https://www.soundsnap.com
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YouTube has its own library of FREE royalty free sound effects and music. You’ll need a YouTube account and once logged in you can search for sounds and download them. See the YouTube royalty free licensing terms.
https://www.youtube.com
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If you make broadcast productions then you can now get access to the Sounds Visual Music production music library. Refreshing new music – non-mcps and free to use on broadcast productions.
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No-one likes being kept on-hold but it’s fair to say that these days, to a certain extent, we mostly put up with it, as long as it’s done well. By that I mean we’re not left waiting in silence with no idea if anyone is coming back to us, or bombarded with aggressive loud music, or irritated by an annoying voice trying to flog us something else while we wait…
So here are 10 top tips for keeping your customers reasonably content when they are on-hold…
Use a professional voiceover.
Choose music or a soundscape that represents your brand rather than something you like.
Think about your customers. Apart from reassuring them that you won’t be long… what information would actually be helpful for them to hear.
Keep the voiced messages short and concise.
Avoid the phrases that drive you mad when you’re on hold. Surveys have suggested that phrases along the lines of ‘your call is really important to us’ irritate customers.
Making your messages personal creates a connection between the company and caller. For example you could mention a staff member by their first name and their department.
If you’re unsure of your writing abilities it’s worth paying a professional to script up your prompts / messages. Your on-hold production company will be able to help.
Don’t be afraid of humour. If it’s appropriate for your brand, a little light-heartedness could keep your callers amused and in a more receptive mood.
Plan to change your on-hold messages when necessary to keep them up to date with your business.
See No 1
Jonathan has been producing telephone hold audio for UK businesses for over 20 years. To discuss an on-hold package for your business call 01225 470011 or contact Sounds Visual here.
If you have a vocal recording that you wish to adjust the tuning of with flex pitch, can you also make some timing adjustments with one of the flex time algorithms and have them act on the audio file at the same time?
The answer is yes.
Flex Pitch in action in the tracks area
Now change the flex mode to flex time and you’ll get this warning…
So whilst you edit the timing of your vocal, your flex pitch adjustments will be suspended and then reinstated once you return to Flex Pitch Mode. So to have both processes take affect at the same time you have to be in Flex Pitch mode.
