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Old 04-14-2012, 05:14 AM   #1
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Default "REAPER vs WAVES" Try to match this sound with Reaper Plug-ins ONLY

Hi all,

I am a VO guy of 25 years- but brand new to Reaper and probably donīt have the technical expertise to pull this off on my own- at least not without some severe headaches. I am in critical need of your expertise and assistance. I have a colleague who has an awesome sound who uses Waves as his EQ. Granted, he has some equipment that is different than mine- but I want that sound or as close to it as possible (if possible). I was encouraged by Reaper support to issue this challenge: Is it possible using Reaper plug-ins only to duplicate as closely as possible his sound? (no I do not know what plug-ins he uses within Waves). There are comparative files attached to this thread for you to use in this quest. The file "What I have" is my raw out of the mic audio with no EQ, no compression and no sweetening. The "What I want" is his audio using Waves EQ and his compression which was designed by a pro audio guy. Any help whatsoever will be greatly appreciated! If you are able to pull it off, please let me know which Reaper plug-in (s) you used and what their settings should be. I do VO work daily, but just cannot seem to find that "sweet spot" and with me being brand new to Reaper- I get a bit overwhelmed by all that is available. Help me Obi Wan- YOUīRE MY ONLY HOPE!

UPDATE*********************************4 / 17

OK guys,

I think I mentioned that I am brand new to Reaper- I am probably doing something or many things wrong. But- the only file that loaded properly was Renoīs- the rest are missing files and they are offline in Reaper. I am sure it sounds like a newbie stupid thing- but you know what? I am a newbie and stupid when it comes to Reaper. So, I am going to the soundbooth now to record a piece of audio where I do not move and treat it just like one of my client sessions. If any care to give another go at it and upload "all" the files so that I can double click on the Reaper session file and go with it- it will be greatly appreciated. Many thanks!

*********************UPDATE 2 4-17 Tuesday******************************************* *****************************

OK, Here is a revised version of "What I Have" that I just did. I also need to tell you that- the original What I Have was not recorded in Reaper but a version of Adobe Audition. I have noticed a significant difference in the raw recording between them. This one was recorded in Reaper and no efx, eq, compression was added. I know everybody is doing this on their own time and I cannot express my gratitude enough. Maybe this will be a better file to edit since it is more in line with how I position myself etc. The only thing I did to this was normalize to -1. This style of read is similar to the style I am asked to perform quite often and will be a better source for your processing.

**************************update after listening******************************* 4-17 Tuesday***********************

(Please see my previous post for a new file actually recorded in Reaper)

Once again- thanks to everyone who took part in this little experiment.

All were good in their own right. But, Ollie and Tod were getting close to what I was looking for and Tod even more so because there was a bit more high end and clarity. I think all of these are a bit over compressed though. There are times when I need that "punch" like for some video games or movie trailer that I do. If you will notice in my colleagues audio- it has that "big" sound- but doesnīt sound like it is in a vice-grip. Tod, is there any way to bring this about- a bit more clarity, yet keep that big presence? I have placed the revised audio in the track where you chain resides and it is very nice- but a bit too much compression and a bit too "boomy". I understand if you guys are all getting tired of me- but any additional help would be great. We are getting very close.

I dont know if you all saw my post where I said I am happy to offer some free voice-work for the person who finds the sweet spot for me. Maybe you need a trailer or something for a club mix of some sort. Give a listen to what I might can do for you here: http://www.voices.com/demos/montylewis and let me know if any tweaking can be done on this Tod. Thanks! BTW- I was able to adjust one of Tods efx a bit and brought down the rumble a bit. Gettin there :-) I just brought down the freq between 88.8 and 100 on the Rea EQ and itīs even better.

BTW- how do I get rid of the popping on playback?

Just checked this out in my sound booth and did a sample read based on the Tod fx chain- (which I believe was initially created by Jonny and tweaked by Tod?) and I gotta say- WOW! What a freaking change! And what is interesting to me is that I hear absolutely NO room noise whatsoever. Obviously that is one of these plug-ins hard at work. How did that happen? Which one is it? I am absolutely stoked and damn happy right now!
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Last edited by Falcon; 04-17-2012 at 03:01 AM. Reason: Status update and new audio
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Old 04-14-2012, 06:30 AM   #2
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Ill take a look at it today.
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Old 04-14-2012, 06:59 AM   #3
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Ill take a look at it today.
Thanks Jonny! Greatly appreciated!
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Old 04-14-2012, 07:15 AM   #4
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This is interesting to me. Will you post the resulting fx chain?
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Old 04-14-2012, 09:50 AM   #5
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Hey there,

I couldn't match the voice... well.. because its a different voice... and Your friend kinda sounds like a robot.. ha

Your vocal talent seems more "movie" like.

Anyways, Here is a DropBox link to the session an file.

https://www.dropbox.com/sh/s9waammfu...8GCuv21/VO.zip

Not sure iits what you are looking for... but to me it sounds more like what I'd expect from a voice over.
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Old 04-14-2012, 09:54 AM   #6
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Originally Posted by JonnyGinese View Post
Hey there,

I couldn't match the voice... well.. because its a different voice... and Your friend kinda sounds like a robot.. ha

Your vocal talent seems more "movie" like.

Anyways, Here is a DropBox link to the session an file.

https://www.dropbox.com/sh/s9waammfu...8GCuv21/VO.zip

Not sure iits what you are looking for... but to me it sounds more like what I'd expect from a voice over.
AWESOME JONNY! Ha- yeah I guess I do sound like that and he does a little
:-P I will DEFINITELY take a look at this. Were you able to make me some notes on what plug-ins were used and their settings?
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Old 04-14-2012, 09:56 AM   #7
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Well its the session with the FX chain in there. So you will probably be able to just make an FX chain out of your channel if you like it.

Give me soem feedback if its the right sound.
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Old 04-14-2012, 10:02 AM   #8
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I'm gonna give this a listen, too. It's great to see and hear how other people specifically approach things as opposed to hearing something general like, "Use a bit of EQ and some moderate compression."
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Old 04-14-2012, 10:08 AM   #9
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Got to love those "oh yeah just throw a bit of EQ on there and compress it" comments. heh heh.

doesn't look like he did it but I could think Normalizing your audio would help too since it will hit and let you hear the compressors "sound" more evenly.
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Old 04-14-2012, 11:19 AM   #10
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gate -> tune -> comp -> eq -> comp -> comp -> comp...
I don't understand in detail what's happening there and why...but the result is astonishing.
Could you probably give a (short) explanation?
One nitpick, maybe not only a nitpick: There are "plopps" after silence. E.g. 01:06.000 "I appreciate all the help..."
With ReaXcomp disabled the plopps are gone (but the effect of it too of course)

Michael
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Old 04-14-2012, 12:05 PM   #11
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Alrighty.. Going down the line.

1. Gate - Me not wanting to edit out all breaths and lip smacks. If the recording was cleaner then you don't need this.. Or if you are willing to edit all the audio your good to go without the gate.

2.ReaTune - Trying to make him sound a little robotic like his friends recording. You may or may not hear a difference when this is off.

3.ReaComp #1 - Super Fast attack and release get a more "growly" sound. I wanted the compression to be touching the entire track. thats why the knee is 24db. notice the pre-comp so you don't get any compression blips.

4. ReaEQ - 60hz for the nice fatt/warm sound that you expect from this kind of voice. 350hz happens to be where his "resonance" and the "bass ass" is in his voice. 3k for a little more presence of the vocal. 15k for some more air sound.

5. ReaComp #2 - Same as Comp #1 to smooth out sound.

6. ReaXComp - A multiBand gives you more control over the frequency areas and the reason that the 200-700 range is constantly being touched is to hear that growly sound in the voice at all times even when he is speaking in different ranges.. and compressing it to keep it under control. Save for the other frequencies.

7. ReaComp #3 - Acting as a DeEsser. If you look at the low and high pass area you will see its only reacting to 4k and up.

The PLOPPING you were hearing was not the Gate it was ReaXComps auto gain function i think.. when I disable that for #2 and just push the gain a bit on #2 it seems to be gone.

Those descriptions will hopefully help you.. but I did everything by soudn as I did it... not my technicality
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Old 04-14-2012, 12:49 PM   #12
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Quote:
Originally Posted by JonnyGinese View Post
Hey there,

I couldn't match the voice... well.. because its a different voice... and Your friend kinda sounds like a robot.. ha

Your vocal talent seems more "movie" like.

Anyways, Here is a DropBox link to the session an file.

https://www.dropbox.com/sh/s9waammfu...8GCuv21/VO.zip

Not sure iits what you are looking for... but to me it sounds more like what I'd expect from a voice over.
Nice
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Old 04-14-2012, 01:08 PM   #13
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Originally Posted by JonnyGinese View Post
Alrighty.. Going down the line.

1. Gate - Me not wanting to edit out all breaths and lip smacks. If the recording was cleaner then you don't need this.. Or if you are willing to edit all the audio your good to go without the gate.

2.ReaTune - Trying to make him sound a little robotic like his friends recording. You may or may not hear a difference when this is off.

3.ReaComp #1 - Super Fast attack and release get a more "growly" sound. I wanted the compression to be touching the entire track. thats why the knee is 24db. notice the pre-comp so you don't get any compression blips.

4. ReaEQ - 60hz for the nice fatt/warm sound that you expect from this kind of voice. 350hz happens to be where his "resonance" and the "bass ass" is in his voice. 3k for a little more presence of the vocal. 15k for some more air sound.

5. ReaComp #2 - Same as Comp #1 to smooth out sound.

6. ReaXComp - A multiBand gives you more control over the frequency areas and the reason that the 200-700 range is constantly being touched is to hear that growly sound in the voice at all times even when he is speaking in different ranges.. and compressing it to keep it under control. Save for the other frequencies.

7. ReaComp #3 - Acting as a DeEsser. If you look at the low and high pass area you will see its only reacting to 4k and up.

The PLOPPING you were hearing was not the Gate it was ReaXComps auto gain function i think.. when I disable that for #2 and just push the gain a bit on #2 it seems to be gone.

Those descriptions will hopefully help you.. but I did everything by soudn as I did it... not my technicality
Thanks a lot for those explanations!
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Old 04-14-2012, 01:08 PM   #14
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Quote:
Originally Posted by JonnyGinese View Post
Hey there,

I couldn't match the voice... well.. because its a different voice... and Your friend kinda sounds like a robot.. ha

Your vocal talent seems more "movie" like.

Anyways, Here is a DropBox link to the session an file.

https://www.dropbox.com/sh/s9waammfu...8GCuv21/VO.zip

Not sure iits what you are looking for... but to me it sounds more like what I'd expect from a voice over.
Great job! Now to figure out how...
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Old 04-14-2012, 01:13 PM   #15
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Great job! Now to figure out how...
I posted what I did and why above. lol
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Old 04-14-2012, 01:35 PM   #16
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I posted what I did and why above. lol
Saw that - very informative, thanks!
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Old 04-14-2012, 02:12 PM   #17
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Default My simple FX

What Johnny did is great so I tried to keep it a little simpler by just using EQ and a Limiter. I did this on the little speakers of the computer I use for the net so I'm not sure whether it's in the ball park or not.

The sibilance is a little difficult and a de-esser would probably do the trick but like I said I wanted to keep it simple. Incidentally Falcon, I think you have a great voice. Here's a short mp3 of the results:

http://dl.dropbox.com/u/63198126/03%...alcon)%201.mp3

Here's a project file with just the FX I used. You can either load it and save the FX as a FX chain or drag the oringinal dialog track in.

http://dl.dropbox.com/u/63198126/03%...alcon)%201.RPP
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Old 04-14-2012, 02:17 PM   #18
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EQ it like a Kick drum. haha
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Old 04-14-2012, 02:20 PM   #19
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EQ it like a Kick drum. haha
OK Jonny, I'll bite?
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Old 04-14-2012, 02:22 PM   #20
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here's my attempt

http://dl.dropbox.com/u/30049114/VO%20reno.zip
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Old 04-14-2012, 02:26 PM   #21
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Ha.. traditionally you will push 60hz, cut 300-700 and push 3-5k and 10k for a Kick drum...

with one compressor and an EQ you like that can get close to the multiband comp sound I posted. It won't have the consistency as the Multiband though.
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Old 04-14-2012, 02:49 PM   #22
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Ha.. traditionally you will push 60hz, cut 300-700 and push 3-5k and 10k for a Kick drum...

with one compressor and an EQ you like that can get close to the multiband comp sound I posted. It won't have the consistency as the Multiband though.
Heh heh, well I wasn't going for anything traditional nor was I thinking of a kik drum, I just went by what I heard and wanted to keep it simple yet natural. I thought the bottom end on Falcons voice was pretty good so didn't add anything to it, however I did put a highpass on it to take what I thought might be unnecessary freqs out of the equation.

Like I said above, the hard part was the sibilance and I probably should have tried a de-esser but, oh well.

I did use your gate though, I thought it worked pretty well.
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Old 04-14-2012, 03:08 PM   #23
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Not meant to nitpick, just FYI: your mic seems to have some pronounced proximity effect, making your head movement/distance quite obvious (since the effect is missing at some points, which made it necessary to use much more (low band) compression to clamp the lows. More distance to the mic (avoiding the effect at all) and dialing it back in using EQ and compression would get a more homogenous result. Also, I feel I got carried away a little.

A gate is taking away some of the breathing as well here, then EQ, ReaComp and ReaXcomp are set up spontaneously and without much of a plan, a limiter makes up for lost gain and prevents clipping.

Right-click this (and select "save linked content as" or similar) to download .RPP.
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Old 04-14-2012, 05:19 PM   #24
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I like these challenges. Here is my attempt.
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Old 04-15-2012, 03:11 AM   #25
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Nice work Johnny! That's a close-quarter combat radio voice alright .

Here's my track. I'm more of a smoothy and mostly mix dialogue in post, so that probably shines through.

See my post below for the download link of a decent version.

This contains Johnny's track, my track and a track with the original on it. It will ask for the original media.

Keep in mind that the mic performance is where it really counts. VO artists, as you very well know, are really good at holding the right position when speaking in to the mics. And that's what you sometimes didn't do . You moved around, so that's where the different colorations come from. Johnny's track certainly deals with this a lot better than mine.


-edit1- Added a second track that takes a different, punch-the-tops-only approach in the compressor, and tries harder to match the other guys sound, though of course the performance is not very similar.

That track is called "Airon top-clamp".

The orignal has been looped across the top for comparison, and everything is volume matched too, as far as it was possible to do that without volume automation.


-edit2
Tried Johnnys idea of compressing/controlling the lower mids, and that worked out well. Thanks for that idea.

Link updated. Added a track view screenset to focus on a specific looped area.

The chain on my(-soft and deep-) track is simple:
  • Gate
    Looks ahead, pushes breathers and roomtone down by 16-17 dB

  • Tuning EQ
    Get rid of whatever resonances there are, control the tone(softly), get an even non-offensive sound before the compressor hits it.

  • ReaXComp, multiband compressor
    Catch the upper mids and nasty "sh" and "s" sounds. Here's where you should test some of the other products available, namely the Sonnox Suppressor, the Waves Renaissance DeEsser and the Eiosis deesser. You're likely to get better control with those tools.

  • Compressor
    look-ahead, bending in to the attack softly, 3.5:1 so not too harshly. Softknee with a slightly larger RMS detector, controlling for low rumble and treble peaks with the sidechain filter. The auto-release works well here, but off gives you greater control.

    I'd probably add a versatile limiter after this for radio sound, or a colouring compressor, or even a versatile saturator like Fabfilter Saturn for a denser, more aggressive sound.

    -edit-
    To be honest though, I've achieved better VO with other compressors in less time. ReaComp will often perform well for me, but it does require a little more tuning and getting to know it.

  • Sound EQ
    Here's where the final tonal shaping happens. It now depends heavily on the other elements of the mix actually.

    This was done to somewhat match the other VO artists sound. It doesn't come very close, but the general direction is there.

Hope this helps.

You can find some of my free-time mixes with VO in a full mix in this video and the other Top10 videos back to August 2011. That VO is heavily cut to fit in the mix, because Jeff Extine(the VO artist) has quite a lot of throat sound, just like you do. And that can be fatiguing in a longer piece, so he was cut a lot in those frequencies.
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Old 04-15-2012, 03:45 AM   #26
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Very interesting approach, especially using the resonance of the high and lowpass filters.


Quote:
Originally Posted by Ollie View Post
Not meant to nitpick, just FYI: your mic seems to have some pronounced proximity effect, making your head movement/distance quite obvious (since the effect is missing at some points, which made it necessary to use much more (low band) compression to clamp the lows. More distance to the mic (avoiding the effect at all) and dialing it back in using EQ and compression would get a more homogenous result. Also, I feel I got carried away a little.

A gate is taking away some of the breathing as well here, then EQ, ReaComp and ReaXcomp are set up spontaneously and without much of a plan, a limiter makes up for lost gain and prevents clipping.

Right-click this (and select "save linked content as" or similar) to download .RPP.
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Old 04-15-2012, 04:46 AM   #27
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Quote:
Originally Posted by Tod View Post
I tried to keep it a little simpler by just using EQ and a Limiter.
I'm amazed at how you used the equalization. Your example inspire me to work in a more radical way: more pronounced cuts, less boost (no emphasis at all in your work!). All is in the wave.

Great work. Thanks for share it.
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Old 04-15-2012, 06:52 AM   #28
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Updated mine again. I rushed out for an errand and when I came back with fresh ears, I thought what the hell. That doesn't match the target sound.

Hopefully this will.

http://shup.com/shup!/549768/VO-John...-and-Airon.zip
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Old 04-15-2012, 06:59 AM   #29
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Quote:
Nice work Johnny! That's a close-quarter combat radio voice alright .
I was wonderong when you were going to post Airon. Your are the only audio engineer that specializes in dialogue editing on these forums that I know off. Lol
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Old 04-15-2012, 08:40 AM   #30
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Airon, what is this and how do you make one? o_O



Ok, got it: Insert empty item. Cool stuff.
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Old 04-15-2012, 09:37 AM   #31
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Here's my attempt. It's a bit brighter than the reference audio clip but I intentionally added more high end since I think it sounds better this way. Also, I agree with what Ollie wrote; you can notice the varying proximity effect depending on the distance to the microphone. But in my opinion it's an advantage to make use of the proximity effect as long as it's constant and cohesive. That way you don't have to add that much low end in the processing. However, it depends heavily on what type of voice you're working with and what effect you're aiming for.

A one minute clip of the ReaPlugs in action
http://speedy.sh/3yqKQ/Voice-over-with-ReaPlugs.mp3

The Reaper project
http://speedy.sh/rQ8Au/Reaper-vs-Waves-Voice-over.zip
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Old 04-15-2012, 11:26 AM   #32
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Hi marrecords, for some reason I can't extract your file on any of my comps, any chance you could just post your RPP file without the audio tracks?
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Old 04-15-2012, 12:21 PM   #33
marrecords
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Sure! Here's the RPP file.
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File Type: rpp Reaper vs Waves Voice-over.RPP (8.1 KB, 156 views)
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Old 04-15-2012, 12:39 PM   #34
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Sure! Here's the RPP file.
Thanks, I thought I'd put all the project-tracks into one project file, it's rather interesting how everyone approached this.
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Old 04-16-2012, 05:41 PM   #35
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Wow- I didnīt get any emails telling me about all these posts! I have some serious listening to do. Jonny, I appreciate your attempt at this. But, that type of sound may work for say a club or a mix in a pop-album. But for VO work like for corporations and broadcast production- it has way to much low end. Sounds cool- but not what I need in my line of work. My friendīs delivery may sound robotic- but his eq, compression and such is spot on for what I need. I will listen to the other files that have been submitted and get back to you all. Again- to everyone- thanks a mill! I really appreciate this!

Also, if any would like to hear the sound I have been creating in the past- my demos are available here among some other websites: http://www.voices.com/demos/montylewis

Most applications require a standard system of eq, compressione tc. There are a few however, that might require some specialty efx such as Graphic EQ, Distortion etc. But for the most part- I am looking for that sweet sound that will pretty much fit into anything I do.

Also, if I end up using someoneīs fx chain- I will be glad to give you a reasonable amount of free voice-over should you need it (no audiobook or full length documentary please :-). Maybe a Movie Trailer type thing or something. Just depends on what you need. I am pretty versatile as you will see in my demos. If I can do it, I will of course be happy to give it for your effort.

Last edited by Falcon; 04-16-2012 at 05:49 PM.
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Old 04-16-2012, 06:40 PM   #36
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Hi Falcon, I did put all of them together yesterday but didn't get around to posting it. Just direct this Reaper file to your audio and it should work. Thought it might help.

http://dl.dropbox.com/u/63198126/03%...20in%20one.RPP
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Old 04-16-2012, 07:21 PM   #37
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Hi Falcon, I did put all of them together yesterday but didn't get around to posting it. Just direct this Reaper file to your audio and it should work. Thought it might help.

http://dl.dropbox.com/u/63198126/03%...20in%20one.RPP
Thanks Tod! Boy, I have an exciting day tomorrow checking all this out. I will post when I have thoroughly checked the files. I really appreciate this.
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Old 04-16-2012, 07:28 PM   #38
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Originally Posted by marrecords View Post
Here's my attempt. It's a bit brighter than the reference audio clip but I intentionally added more high end since I think it sounds better this way. Also, I agree with what Ollie wrote; you can notice the varying proximity effect depending on the distance to the microphone. But in my opinion it's an advantage to make use of the proximity effect as long as it's constant and cohesive. That way you don't have to add that much low end in the processing. However, it depends heavily on what type of voice you're working with and what effect you're aiming for.

A one minute clip of the ReaPlugs in action
http://speedy.sh/3yqKQ/Voice-over-with-ReaPlugs.mp3

The Reaper project
http://speedy.sh/rQ8Au/Reaper-vs-Waves-Voice-over.zip
Great thanks! I will check it out. I heard the mp3 and it sounds good! I just need to listen to these in my soundbooth system.
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Old 04-16-2012, 07:32 PM   #39
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Nice work Johnny! That's a close-quarter combat radio voice alright .

Here's my track. I'm more of a smoothy and mostly mix dialogue in post, so that probably shines through.

See my post below for the download link of a decent version.

This contains Johnny's track, my track and a track with the original on it. It will ask for the original media.

Keep in mind that the mic performance is where it really counts. VO artists, as you very well know, are really good at holding the right position when speaking in to the mics. And that's what you sometimes didn't do . You moved around, so that's where the different colorations come from. Johnny's track certainly deals with this a lot better than mine.


-edit1- Added a second track that takes a different, punch-the-tops-only approach in the compressor, and tries harder to match the other guys sound, though of course the performance is not very similar.

That track is called "Airon top-clamp".

The orignal has been looped across the top for comparison, and everything is volume matched too, as far as it was possible to do that without volume automation.


-edit2
Tried Johnnys idea of compressing/controlling the lower mids, and that worked out well. Thanks for that idea.

Link updated. Added a track view screenset to focus on a specific looped area.

The chain on my(-soft and deep-) track is simple:
  • Gate
    Looks ahead, pushes breathers and roomtone down by 16-17 dB

  • Tuning EQ
    Get rid of whatever resonances there are, control the tone(softly), get an even non-offensive sound before the compressor hits it.

  • ReaXComp, multiband compressor
    Catch the upper mids and nasty "sh" and "s" sounds. Here's where you should test some of the other products available, namely the Sonnox Suppressor, the Waves Renaissance DeEsser and the Eiosis deesser. You're likely to get better control with those tools.

  • Compressor
    look-ahead, bending in to the attack softly, 3.5:1 so not too harshly. Softknee with a slightly larger RMS detector, controlling for low rumble and treble peaks with the sidechain filter. The auto-release works well here, but off gives you greater control.

    I'd probably add a versatile limiter after this for radio sound, or a colouring compressor, or even a versatile saturator like Fabfilter Saturn for a denser, more aggressive sound.

    -edit-
    To be honest though, I've achieved better VO with other compressors in less time. ReaComp will often perform well for me, but it does require a little more tuning and getting to know it.

  • Sound EQ
    Here's where the final tonal shaping happens. It now depends heavily on the other elements of the mix actually.

    This was done to somewhat match the other VO artists sound. It doesn't come very close, but the general direction is there.

Hope this helps.

You can find some of my free-time mixes with VO in a full mix in this video and the other Top10 videos back to August 2011. That VO is heavily cut to fit in the mix, because Jeff Extine(the VO artist) has quite a lot of throat sound, just like you do. And that can be fatiguing in a longer piece, so he was cut a lot in those frequencies.
I can of course do a more standard read where I donīt move (which is what I normally do when doing client jobs) but this was just a flash in the pan experiment and I guess I didnīt keep to my own rules. Let me konw if another recording needs to be done.
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Old 04-16-2012, 07:35 PM   #40
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Originally Posted by Ollie View Post
Not meant to nitpick, just FYI: your mic seems to have some pronounced proximity effect, making your head movement/distance quite obvious (since the effect is missing at some points, which made it necessary to use much more (low band) compression to clamp the lows. More distance to the mic (avoiding the effect at all) and dialing it back in using EQ and compression would get a more homogenous result. Also, I feel I got carried away a little.

A gate is taking away some of the breathing as well here, then EQ, ReaComp and ReaXcomp are set up spontaneously and without much of a plan, a limiter makes up for lost gain and prevents clipping.

Right-click this (and select "save linked content as" or similar) to download .RPP.
Thanks Ollie! AS I mentioned below, I normally do not move at all when doing client recordings- this was just a different animal and kind of an experiment. Would it help if I post another audio file where I donīt move?
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