Noise floor pass/fail/pass/pass

Mastering with its three tools…

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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.

Among others.

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.

Had enough?

Koz

mic boom arms can be had for $25 new … https://www.amazon.com/s?k=“microphone+stand”+tripod+“boom+arm”+"shock+mount"

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!

Ok and this is at the forehead, with pop filter. After I saved it raw for you guys here, I performed the 3 steps and got it to pass ACX but just curious if it’s no longer boxy and buzzy?

I’m going to guess and say that it did sound boxy because it sounded better to me after the noise reduction steps.

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 …

How about now? Better?

Actually this one. I think this one sounds pretty good?

Both of your last two tests (982.73 KiB) & (967.73 KiB) sound very boxy to me.

The mic is the wrong way round on your desk …

If you still have it that way you need to turn it so the “Blue” logo is facing you.

[ See this Blue Yeti tutorial video … https://youtu.be/WIBTbRWuNG4?t=157 ]

Is this the right way with the logo now with it being up at forehead angle? Facing down towards my lap?
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The “Blue” logo should be facing you directly, not pointing downwards, (or in any other direction).
Also the Yeti mic body should be close to vertical, but upside-down is OK …

Omg! Maybe this has been part of my problem then. I somehow thought I’d read to face it at an angle. Ughh oh boy. Ok well I’ll try it the proper way when I get up and hope that helps fix issues.

The graphics in the instructions are no help. But if you dig enough.

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If you’ve been speaking into the end, then you’'ve been recording the reflections from the walls and desk.

This is Nataly from Pomplamoose using her Yeti more or less properly.


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It should be tipped up a little more, but as she said in this segment, the object is a quick guide track, not theatrical release.

The switch on the back should be position three, Cardioid or heart-shaped. I’ve heard it called “Kidney Shaped.” That makes the micophone record mostly from the side with the BLUE name.

Koz

The Trebor picture above features the vibration and shock mount. The microphone is literally floating on rubber bands to keep mic stand, floor and desk vibrations away from the sound.

I made one a bit ago from plumbing pipes and postal service rubber bands.

Those are both microphones where you talk into the end rather than the side, but you get the idea.

Koz

That’s your foam block holding up the Yeti, right? You can get good acoustical effect with the book and towel technique.

Sounds and vibrations can’t make it through the fluffy bath towel to move the heavy book. So no, you don’t actually need the rubber bands.

If you’re using the foam block for spacing then you have to ad-lib different techniques.

Note the desk is covered with a dark blue, heavy moving blanket

Koz

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?

Just like that it meets ACX with AudioBook Mastering and 6, 6, 6 Noise Reduction of the beast.


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But.

Your voice has some powerful “Essing.” All your SS sounds are boosted.

"CatSSkil farmSS … iSS produSSed by… Some microphone makers do this because they think it makes them sound more “professional.” I don’t agree. It makes my ears hurt.

I can’t get the DeEsser tools to get rid of it. We’ll see what others say.

Koz

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.