She's a screen and stage actor who has voiced more than 200 audiobooks in varying age categories, genres, and styles. Find your new favorite below!īahni Turpin's range, incredible track record, and many accolades have landed her in Audible's Narrator Hall of Fame. It was difficult, but we rounded up some of the best female narrators with a robust list of audiobooks under their belts. Luckily, there are so many wonderful voice actors narrating audiobooks that you might just find yourself gravitating to certain books solely because of the narrator. This is understandable, as audiobooks are at least a few hours long (with many clocking in at 20 hours long-or more!), and sticking with one person's voice for that time period can feel like a big commitment. I’m not afraid to turn up the ratio on the radio because it’ll just get broken afterwards.One of the biggest questions listeners have when it comes to approaching a new audiobook is whether or not they'll enjoy the narration style. However, if the radio spot has actual characters rather than just an announcer, I’ll give it some more animation-like distance.įor safety considerations, I always use a compressor when doing voiceover. That proximity is required for movie trailer voice of God and loud radio announcer stuff. If we’re talking about a radio commercial, I’ll often move closer and lower the angle. However, if the actor/actress is inexperienced or does not have a good ear in general, they will frequently have their entire head shifted down at the stand rather than just gazing down or using clips to shift their paper up. I hate having to redo a take for technical reasons. To avoid plosives, I like a fairly acute angle. This necessitates the use of a great room. You want a little space between the motion and the character voice to make it sound more realistic. This will also add some early reflections and distance, so be sure the room you choose to record in produces the sound you want. ![]() This eliminates the desired proximity effect while recording voice-overs, and the radiation pattern of the voice will not be captured as clearly as when the mic is immediately in front of the actor’s mouth. ![]() ![]() This will undoubtedly help in the creation of a more natural sound. When recording the natural-sounding conversation for a film, a decent quality mic on a stand about half a metre above the actor with a boom microphone facing them at a 45-degree angle towards their chest would be used. To get this look, you’ll need a few mic placements, which will be decided by the environment in which you’re working. The voice and visuals must blend together as much as feasible. The audience must believe that the characters are real and conversing with one another, thus any effect that detracts from that illusion or sticks out in any way should be avoided. In contrast, you want the voices in an 3D or animated film to seem truer and more lifelike so that the conversation sounds more natural. As a result, the voice will stick out and become a strong focal point. ![]() You’ll also want to employ ducking software, which reduces all sounds save the speech. In this situation, the voice-role over’s is more like to that of an announcer, thus you’ll want to generate a sense of strength or God-like sound. To take advantage of the proximity effect in a voice-over for a radio commercial, for example, the actor will need to be close to the mic. Because you want different sorts of sounds for different expressions, the biggest difference in approach with voice-over vs narration will be visible in your mic location.
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