i recorded an interview using an overhead boom, but...

L

LateArrival101

New member
ok...my teacher gave me a list of all basic audio effects.

i remember on there it said what to do if u want to RAISE someone's voice when it got low.

i filmed/interviewed each one of the members in my band and used an overhead boom to record the dialogue.

now, for the most part i got a really good level, but someones they would get TOO comfortable and talk really low, and it gets kinda hard to hear especially when there is an instrumental track beneath it (the beat's volume is low, but the dialogue still becomes kinda hard to hear when their VOICES become low).


what technique/s do i use to fix this?
do i use an "enhancer" on the dialogue?

please let me know.

thank you,


_chris
 
I wouldn't recommend heavy limiting as a first way to treat the situation though that may come in handy.

Any compressor should be able to take care of this fairly well. Set the threshold of the compressor so a little bit above that of the lowest level. Use a low setting for the attack and a medium to long release. You want the compressor to kick in when the person gets loud so it is why you want a fast attack. You also want the compressor to hold the level which is why you want the release to be medium to long, but you can play around with this. Then set the ratio to a value that doesn't let the signal get too much above the lowest level.

This should even out the levels a bit more and yet still let you keep some of the dynamics. Playing with the attack and release help making the compressor sound more natural.
 
HEY GUYS...
ANOTHER QUESTION:

what's a good eq setup (or any tip for that matter) to make my interviews stand out.

i mean, i have an instrumental track in the background, so i wanted to know if there are some rules/methods/tips to making the interview dialogue stand out a little more so it doesn't get too lost in the background music...ya know?



_chris
 
you should be able to 'duck' the accompanying music track 'under' the spoken track. automate it to be as tight as possible. as far as eqing it, just fool around with it, see what you can do. the only problem is that different voices will react differently to eq, so it might sound funny, but give it a go.
 
I would go with compression first...fast attack and release, starting ratio of 3:1.

In the future, just FYI:

The overhead miking technique used by TV and movie production crews is really only effective if you're using a shotgun mic like they are. Shotguns are expensive, so for a lower-budget alternative, get a (couple) good small-diaphragm condenser for each voice, position out of frame (I'm picturing a knee-level placement if you're shooting seated semi-close-ups) and preferably in the general direction the person is looking.
 
cool guys...thanx :-D

audiotecnicality said:
I would go with compression first...fast attack and release, starting ratio of 3:1.

In the future, just FYI:

The overhead miking technique used by TV and movie production crews is really only effective if you're using a shotgun mic like they are. Shotguns are expensive, so for a lower-budget alternative, get a (couple) good small-diaphragm condenser for each voice, position out of frame (I'm picturing a knee-level placement if you're shooting seated semi-close-ups) and preferably in the general direction the person is looking.
Click to expand...

hey brotha...
i can u explain the ratio thing for me.
i mean...i know what it does when it gets moved around, but i kinda would like to know what it actually means.
lol...ya know?

also...i DID use a shotgun.
:-D

a sennheiser shotgun, to be exact.
i was gonna use this SONY they had.
sounded a bit better than the sennheiser...a lit bit warmer.

felt good...but it was already checked out (bastards).


_chris
 
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