followed by Noise Reduction of the beast (6, 6, 6).
And as we constantly remind people who flop down on the sofa glad all that’s over, that’s only the technical part of the process. You still have to pass the theater part. At ACX, your submission goes to Human Quality Control where a real person (we assume) listens to your work and complains about room echoes, tongue smacks, gasping for air and terrible timing.
When you get it so you can regularly crank out chapters and passages in a stable manner and repeatably, you can submit a test to ACX.
The desktop, since that first picture has been covered in a towel.
Good call. Note in the last picture, the table is covered with a double layer of furniture moving blanket.
A bare desktop doesn’t give you echoes. It’s much more evil than that. It gives you comb filtering effects. Science Fiction tonal warbling as you talk and move.
Most of your wet mouth noises and popping goes forward and down. So it pays handsomely to keep the microphone either level with your nose or slightly high.
And if that’s not enough, you can arc the microphone sideways slightly.
If you can experiment to make the boxy sound worse by placing the mic closer to the screen, that could confirm screens are causing the problem. Hand-hold the Yeti and move it about whilst speaking into it :“this is 6 inches from the screen”, “this is 12 inches from the screen, “this is at forehead height””, etc, then review the experimental recording.
I feel a bit more confident in my reading and theatrical skills than any of these technical ones. I’m attaching an audition I read that got me a part as an AI in a sci-fi novel. (doesn’t need to be evaluated for technical stuff, just to throw out a sample of my reading and theatric abilities) They have their own sound people so I don’t need to worry about as much of this technical stuff with them but upon hearing my voice and narration samples I recently signed a contract with a Best Selling author to do an audiobook for her and if this goes well she has like 6 more for me and then I got one that’s due in 6 days for 17,000 words on Aquarium care which is why I’m stressing over being able to get this technical stuff down. I’m running out of time. I have been out all day and evening so I’ll be back shortly with the sample while moving the microphone and maybe to save me time in this situation let you the experts evaluate it for me again and I’ll save the rest of the learning for when my deadline is met. Pulling my hair out lol
Ok, so this was holding it, nothing special no pop filter etc. I’m going to guess that forehead placement is best by the looks of the waves on the screens? I truly appreciate all your help since like I said I’m running low on time with the aquarium one I was hired for. Also curious if the buzzing is still there because I turned off that critter deterrent in the other room.
After this, hopefully I’m going to subit a chapter for testing which I greatly appreciate you telling me about!
Your test (1.56 MiB) confirms that having the mic close to monitor screens causing the boxy problem. “six inches from the monitors” is definitely unusable. “forehead at an angle” is the best sounding of the four takes, IMO.
I’d avoid the very cheapest scissor (anglepoise-type) boom arms:
they may not be strong/rigid enough to hold the Yeti mic in the same position, (and may creak & ring).
There’s no buzzing on your mic test “audacity sample.wav (1.56 MiB)”.
That test (865.04 KiB) sounds very poor: boxy (not buzzy). Your previous test at forehead-height without the pop filter was much better.
It is possible to talk into the wrong side of the Yeti if it is set on cardioid sensitivity pattern, (which it should be).
The “Blue” (yeti) logo side of the mic should be facing you …
Ok so it seems the only thing I had right was to have the correct selection on the mic settings lol. I did a bunch of rearranging of desktop and foam panels and am trying the mic just placed on the desk normally with a slight curve as shown to make it so the logo is facing directly at me. I’m attaching a new sample untouched, can you tell me how I’m sounding now? Am I getting there?
I have to agree and have been reading up on issues with plosives and sibilance. Would turning my gain down or recording volume down help with that you think? Regardless I’m studying up on mastering that part. I notice in here but when I read out in my big open living room I didn’t hear that as much. Maybe it’s also that I didn’t take much care in reading that sentence as I was more concerned with the boxy sound and the buzzing sound. So aside from my issues with plosives and sibilance is my overall sounding better as far as not being boxy or buzzy now? Once I know I’m good there I’ll apply what I’m learning tonight to tame down the hissing etc in my narration.