It takes a bit of trial and error though.įor starters, some parts are inherrently going to be louder than others so one gate setting will not work. Someone mentioned earlier to set it up so that only the loudest parts get through, which is absolutely correct. Seeing as you can't re-record, I think a noise expander / gate is your best option. Well, I'll just have my kite flying a little higher :) The production tracks I got were hyper roomy and I tamed them! The funny thing is that I was just suggested to add a little bit more reverb. Well, the mountain is the waveform of your voice, and the kite is your expander accompanying the waveform in its rises and its falls from very close. If I was to paint what I'm trying to explain, I'll paint the side of a mountain with a person and a kite gliding down, 3 feet off the ground, accompanying the shape of the terrain all the way down. Set your expander so that it glides down at the end of the words of the character. You can tame that down and you'll lose some echo without impairing the body of the voice too much. What happens? For this particular freq, well there is twice more! The amount of freq from the voice plus the reverb. If you have a not-too-long-to-come reverberation (which is the case in normal size rooms as opposed to cathedrals), the frequencies the room accentuates will be heard as the talent is emitting sound. I first EQed out critical reverberation frequency. My experience is little however I worked on a 15 minutes movie with roomy sound, and I went about it as follows:
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