So I have a bunch of raw dialogues from my VA that I’ll like to process and optimise.
Could anyone take a look at this raw audio sample in general and recommend some improvements that can be made?
I have already applied dynamic compression and noise reduction, but there is always this inherent fuziness in the audio.
I suppose this can’t be helped much, but are there any techniques to at least ‘clear’ it?
Overall, the clips are very clear (except for the overload point), and you can probably benefit from crispening up with the EQ offered, but you may do well to throw some soundproofing in. I can almost tell the size of room you’re recording in. It’s very subtle. It’s a very delicate version of this:
Not that bad, of course, but if you’re supposed to fit into a theatrical presentation, you have to come with Just You and no echoes or other room sound errors. I can also hear some possibly fan noises in there, but you have to really dig for it and they’re not a serious problem, particularly if you speak over music or other effects.
Regard the following sound shoot. Don’t freak, I know you’re not doing anything like this, but see the heavy, doubled-over blanket on the table to eliminate the table “slap” sound. Also see the funny half-round thing behind the right-hand microphone. That’s an echo suppressor and helps to take the wall echoes out of the shoot.
You can get a similar effect by piling a quilt over a cardboard box behind the microphone.
I’m recording in a sound proof conference room, so I’m being completely obsessive. The client loved the shoot.
You’re in the good news/bad news area. You have a very good voice track. You left the newbie problems a long time ago, and now have to worry about those little nit-picky things to turn it into an excellent track.
This was another theatrical sound shoot I did. Voice track for a cartoon. I had a quiet room but it had echoes.
Remember to make the recording environment perfect before you start messing with the quality of sound. The Shure SM-58 is widely regarded as one of the better rock band vocal microphones. It has a dip at the low end to get rid of room rumble and handling noises, and a “haystack” peak starting around 2.5 KHz. It’s that peak that give you the slightly forward, bright sound. I would not have left that little notch in there, but that’s just me. Note that it’s not much. 5dB or so. Much beyond that and you’ll start to run into sibilance and baby screaming sound problems.
You should be ready to describe the sound system you’re using to set these sound qualities. In general, if you can hold your speakers in one hand, that’s probably not good enough. Headphones are good if you can find a set that does not try to help you by boosting anything. I was using Sony MDR-D150 headphones as generic monitoring (purely from habit) and I stopped when I discovered they have a very pronounced bass boost. So everything I was mixing was weak in the bass. It sounded fine to me.