These days, a lot of voiceover artists operate from home. In this article, we look at some of the key points to consider when doing this, in order to achieve the best possible recordings. The article is primarily aimed at those who perhaps don’t have a technical audio background, but want to do what they can to optimise the quality of their sound.

Microphones

It all starts with selecting the right microphone. I won’t aim to go into absolute detail here, but there are two common categories of microphone: dynamic and condenser.

Dynamic microphones don’t require power, and work purely from the acoustic energy of the sound moving the microphone diaphragm. This moves the coil attached to the back of the diaphagm, which causes current to flow as lines of flux from the magnet are cut across by the moving copper coil. Dynamic microphones are usually less sensitive than condenser microphones and often have a bit less clarity in the top end. One popular model, the Shure SM7B, has found favour in podcast productions. Dynamic microphones generally produce a less neutral sound than condensers, but can be useful for certain types of content, including the ‘warm’ sounding radio voice style. 

Condenser microphones require power, most commonly Phantom Power, which is a 48 volt system that powers the microphone through the same XLR cable which carries the audio signal from the mic. Condenser mics are the most commonly used microphone type in voiceover recording due to their higher sensitivity and improved clarity over dynamic mics. Remember when using any XLR mic that you’ll need an audio interface to connect it to. The interface typically connects to your computer via USB. The phantom power button on the interface will be indicated with either 48V, +48 or Phantom.

Another important point about microphones is the polar pattern. This governs the microphone’s directionality. Mostly, you’ll want to use cardioid mics for voiceover recording. This polar pattern picks up sound coming from directly in front of the mic and reaches a point of maximum rejection at the back. This is good if you’re sitting in front of a booth window or some other reflective surface which could bounce sound back into the mic, causing undesirable effects. Many condenser mics have switchable polar patterns, so choose cardioid if you have the option. This is the pattern which looks a bit like a heart, hence the name, cardioid. Avoid omnidirectional patterns, unless you intentionally want to pick up lots of reflections from all around the room. Bi-directional or figure 8 polar patterns pick up sound equally well from either face but completely reject sound from the sides. There are plenty of scenarios in which this is preferable, but for voiceover, it would only be useful in the rare circumstance where you might have two people facing each other, sharing a single mic. Another common pattern is hypercardioid. This is similar to cardioid, but with a tighter pick up from the front and good rejection from the rear apart from a very narrow pick up from directly behind. This is a good choice for unfavourable acoustic environments but watch out for that rear lobe which could cause more of the room reflections to enter the back of the mic which is generally not preferable for voice recording at home. 

Microphones range in price massively, but expect to spend at least a couple of hundred dollars to get a reasonable one. Don’t buy one for $30 from Amazon. I actually encountered a voiceover artist doing this once, and it did not sound good.

Room Acoustics

Something which goes hand in hand with your choice of microphone is acoustic treatment. The goal with voiceover recording is generally to eliminate any sound reflections from walls, the ceiling or other surfaces, leaving just the voice itself. Acoustics is a very complicated subject, but some simple treatment goes a long way. In the most minimal setup, a few absorbent panels can be used to deaden reflections near the microphone. One approach is to place the acoustic panels on the two walls of a corner. In this scenario, the mic should be positioned so that it is facing the corner, with the rear of the mic facing into the room and the front facing the panels. You’ll therefore be in the corner facing outwards. The cardioid polar pattern I mentioned earlier aids with this by having the microphone’s null point facing into the room, rejecting most of the unwanted reflections.

Acoustic panels can be purchased, or you can make your own. The easiest option is just to buy them. I personally recommend the 242 acoustic panels from GIK acoustics. These come in different sizes and thicknesses. The thicker the panel, the lower the frequency to which they are effective. In other words, thicker panels can absorb bass as well as higher frequencies. For voice, panels of moderate thickness will be fine.

As well as absorbers, another category of acoustic treatment is diffusion. Diffusers are designed to scatter sound randomly, dissipating the energy of reflected sound and making it less focused. Diffusers come in a variety of designs, but usually include an uneven surface of some kind. They can be both functional and decorative and help to add visual interest to a room as well as serving their intended acoustic function. Once again, I’ve used GIK Acoustics for this, so check out their range of diffusers if you’re creating your own setup at home. 

Pop Filters

The blast of air from your mouth when pronouncing plosives such as P’s and B’s can cause the mic to pop. Avoid this by using a pop filter. You might have a foam wind shield over the mic, but this may not be enough to stop the pops. A separate pop filter is a good idea. There are metal and cloth ones available. In my experience, a double skinned cloth pop shield works the most effectively.

Background Noise

In a home setting, background noise can be a challenge. Try to seal windows completely when recording voiceovers. Even a partially open window will let in a significant percentage of the outside sound. If the window is fully closed but external noise is still an issue, consider using window and door sealing strips to make the seal more airtight. These adhesive foam strips make for a tighter seal around windows, reducing transmission of sound. A similar principle can be applied to the room door. A room which has both a sealed door and window will stand the best chance of reducing unwanted external noise. If you have any double glazing panels which have fogged up, they’ll no longer be as effective at preventing sound from coming in so get them replaced. 

Also consider the effect of sounds emanating from within the room itself. Turn air con off during recording, and position computers as far away from the mic as possible if they have an audible fan. 

Levels

This is a basic thing, but an important one. Get your audio levels right. Clipping is the most obvious thing to avoid here. The last thing you want is audio which distorts when you go loud. Set the level according to the intensity of the performance. If you’re looking at digital peak meters, a reasonable level to go for would be around -18dBFS for moderate level speech. This provides a good amount of headroom for the moments when you need to go a bit louder.

Of course, you’ll be recording into some kind of DAW (Digital Audio Workstation) software. There are plenty of options available, and it doesn’t really matter which you use. If you want a free option, Pro Tools Intro is a good option, providing all of the functions you’ll need for recording voiceover, and editing it if necessary. If you’re recording locally and then sending files to the client, always send WAV files. Don’t export in a lossy format such as MP3 or AAC.

Sample Rate And Bit Depth

This is a slightly technical point, but one which I’ve had to advise several voiceover artists on before. Without going into too much detail, the sample rate governs how many digital samples get taken every second. The two most common rates are 44.1kHz and 48kHz. Of these, 48kHz is the one you’re most likely to want to work at for this type of work. Check with your client before the session, but if in doubt, go with 48kHz. This is the rate which is used for most film and TV work. The bit depth affects the dynamic range of the signal which can be represented within the digital recording. Common bit depths include 16 and 24 bit, with 32 bit float also being used occasionally. If you want a general setting to use which nobody should ever have a problem with, go with 24 bit.

Source Connect

Working from home, you’ll need software to send and receive audio in real time. The most widely used of these is Source Connect. This software uses your internet connection to link you up with others in your contact list, allowing high quality audio to be streamed bi-directionally with low latency anywhere in the world. Source Connect offers a variety of great features for voiceover sessions including Multi-Connect, which allows you to connect with multiple people simultaneously. Another very useful feature which Source Connect provides is automatic backups. With this active, your audio gets recorded locally, so if you encounter any network issues which result in drop-outs or glitches, the performance is still captured. If you aren’t using Source Connect yet, try the free trial.

Summary

There are many factors which come into play when recording voiceovers in a home setting. Naturally, it always start out with a great performance, but the points listed in this article will help to increase your chances of capturing your performance in the best possible way. A little knowledge goes a long way, and by factoring in the various considerations I’ve mentioned here, your audio should do full justice to your voice and hopefully keep your clients happy too.

What are your favourite tips for recording voiceovers at home? Are there any we’ve missed? Let us know in the comments!