Mic Tricks EVERY Voice Over Actor Should Know скачать в хорошем качестве

Mic Tricks EVERY Voice Over Actor Should Know

Don't forget to subscribe for more info from Voice Actor and Voice Over Coach Gabby Nistico For coaching and more VO tips, head to: http://www.gabriellenistico.com/ http://www.voiceovervixen.com   / gabriellenistico     / voiceovervixen     / voiceovervixen   Microphone techniques, voice over auditions tricks, the best ways to use your microphone for voiceover and more. Gabby breaks down skills you need to book more voice over work! Transcript For Full Transcript Go To: https://www.gabriellenistico.com/blog... 7/25/17 – Mic Tricks EVERY Voice Actor Need to Know! - 6:31 I swear to you no microphones were harmed in the making of this video. Hey, it’s Gabby. So today we’re going to talk about microphone techniques, microphone tricks, if you will. No, not the kind where I take a microphone and fling it around. That's not what we’re doing. What we are talking about is ways to use your microphone to achieve different sounds, different things. Sometimes it’s not about using your mic, it’s about you, it’s about using your body and you in relation to your microphone. Let's get started. First thing I want to show you is something really common that you hear people talk about all the time, but kind of hard to really understand what they’re saying unless you see it. And it is talking off axis. Why do we do this? It’s really simple. It’s to avoid something called a plosive or a P-pop for, you know, slang, I guess. So here’s the thing. When we say words that start with a P or a B, like the word “poor,” we can pop the P and this is what that sounds like. Pour. What’s happening is I'm speaking directly into the microphone and there is this big rush of air that’s hitting the mic’s diaphragm all at one time, and that’s what creates that puh pop. So off axis means I’m tilting. I’m moving my body and my mouth to just kind of graze the microphone at a different angle so when I say the word pour, it doesn't pop anymore. Also you get yourself one of these, it’s a pop filter, pretty essential for reducing or eliminating plosives, but it doesn't do all of the work for you. You’ve got to do your part, which means speaking off axis. Next step we’re gonna talk about ways that you can create an environment with your microphone. Probably the easiest, the simplest and the most in demand for today's performances is something intimate. It’s creating an environment where you’re really up close and personal with the audience, and it sounds like you’re in very, very close proximity to them. So you cozy on up to the microphone. The closer you get to the mic, the more of an intimate type of communication you’re gonna achieve. And you’re not really dropping your volume. You’re not reducing that so much, but you can see the richness and the fullness of sound that comes when you really sneak in close to that mic. Ok? Very different, very effective especially when you again are trying to create intimacy. What if you’re trying to do the opposite? What if you’re trying to create something that’s spatially very big like maybe you’re supposed to be outdoors or you’re supposed to be somewhere that’s really loud and you can't quite hear yourself? This is common in a lot of scenarios. So let's say you’re supposed to be in a crowded bar or restaurant. And you can't quite hear what everyone else is saying, and you’re talking over this really, really loud crowd! And we’ve all had this happened when we’re standing right next to somebody but we’re basically screaming into their ear? To replicate that you have to be off-mic. You have to back way up and increase your volume, but by backing up, you’re gonna make it so that you don't over-modulate and the track doesn't become rendered useless. Ok? So it helps you to create that sound. That’s a really fun one to play with, and it’s all about that spatial relationship to you and your microphone... (continued) Don't forget to subscribe to get notified about my monthly videos!