Radio Production 101

Hi Members,

i wanna know how to recreate the common vo effect used in radio at the moment. Im talking about where the voice talents is very compressed and there speech is in almost in a whisper. This is effect is on most CHR stations like Z100 and with Voice talents like Chad Erickson. Thanks for all your help.
I'm using Soundforge and Vegas at the moment but any tips such as CEP/AA and Protools r welcome.

ps lookin for tips on how to create a clipping compression effect wit my VOs

thxs
Jay

The effect is more EQ than compression, though there is a good deal of compression going on ... it is radio after all.

Typically the EQ effect brutally cuts away all off the bottom end, and may trail out the top too.  The best way I've found to do this is with the FFT filter.  With the curve flat at 100%, use the nodes to create a total hi pass filter at around 400Hz.  Everything above 400Hz is at 100%, everything below 400Hz is at 0%.  The line is vertical.

My own turn on it starts with the "On Hold 400-4k" preset.  Notice that the hi pass filter is already created on the bottom end.  What I do is to grab the 0% node at 4220Hz and drag it up to 0% at 22kHz.  This rolls out the high end for a different tone.  Add a more than generous amount of compression, some hard limiting, and a touch of Studio Reverb (I generally start play with the Room Ambience presets and adjust to taste), and you have instant edgy radio voice.

My setup for that sound is similar to Craig's...Same idea, anyway.  I prefer a parametric EQ over the FFT Filter, but I don't care for Auditions parametric EQ interface, so I use a third-party plug-in.  I use a more gradual slope, starting around 500Hz and cutting completely by 200Hz.  I use a narrow Q and boost at 3kHz and 5.5kHz, which really helps make it edgy.  I make a small dip around 8kHz, to help keep sibilance from getting overblown.  I start rolling off the highs around 12kHz and they are out at 20kHz.

Normally for VO, I compress first, then EQ.  In this case, however, I EQ before I compress because I like the "tight" sound it gives me.  I usually run an expander first, followed by EQ, then compression, and finally limiting.

For compression, I use a 4:1 ratio and set the threshold pretty deep into the file.  I use a slower attack and faster release, which gives a punchy, edgy, almost percussive sound.  After I compress, the levels are all over the place, so I use a brickwall limiter to beef it up.

I don't care to use any reverb...Just personal taste.

Can someone upload an example please.

Here's an example using my filter described above.  First is the line "dry".  It's not REALLY dry as the voice (Z100 in NYC's Dave Foxx) sends the tracks with compression.  I add more compression and a light EQ to brighten it.  It might be limited too.  2nd is the same line passed through my filter and a very light Studio Reverb.  Sounds pretty crappy just sitting there by itself, but in radio promo or liner context it works perfectly.

Thxs guys,

Great filter Example Craig sounds awesome. Tried it myself n it sounds ok. I guess I just need to practice some more

Another thing you could do - which I think sounds better - is to set up a Dynamic EQ effect in Multitrack.
- add dynamic EQ to effects rack, set both automation lines to Automated and Spline Curve.  Set filter type to High Pass.
- add small Studio Rever to effects rack, only about 1 sec decay and aobut 15% wet.

Draw with the pink line the eq curves, bending the eq over time over the voice track.  Add TINY gain boosts as needed (watch headroom, though the distortion can be an appropriate effect).  Now you end up with the same effect as just the filter described above, but it moves over time, giving motion and drama to your voice tracks.  You can also sweep the cut off point for the High pass filter way above 400Hz.

The attached MP3 example uses David Kaye as voice.

Oh, now I really like that one.  Gives me an idea I'll have to try tonight.

thats a great 2nd filter u came up wit. makes the vt stand out and sound really dynamic.

tried it myself in AA and it sounds good.

If only I could get a FFT Filter or dynamic EQ in Sony Vegas then i'd be set.

I use Soundforge to adjust voicetracks and vegas to put it together.
I have never really been a fan of CEP/AA but I have to admit there plugins blow away the competition. I Now find myself doing the VT effects in AA.

How about this filter?  Is this anywhere close to what you are wanting?


Smiles,

I've got to say, from the examples I've heard in this thread, by the time this reaches the radios it sounds practically identical to the telephone effect and hardly worth the effort.

Oh, I don't know if that's true...BUT I do use the On Hold quite a bit by itself.    That and the Tweeter Only, with a flange sometimes.

I've got to say, from the examples I've heard in this thread, by the time this reaches the radios it sounds practically identical to the telephone effect and hardly worth the effort.

Mine, which I haven't had a chance to put up yet, sounds completely different than a telephone effect.  I can't speak for the other samples, as I haven't heard them on air, but the one I use has a much more "sharp" sound.  It has a very nice practical effect, in addition to sounding cool.  It stands out VERY well...I often use it in rock concert spots because I can have song hooks blaring at 0dB and when I layer the voice, I don't have to reduce the song level much.  One of my pet peeves is when I hear a song hook and then the music level drops about 10dB to allow a voiceover.  The filter I use helps the voice to stand out so there are no drastic level drops in the backing music.

As you know, Bernie, I use Ozone for my processing and this is no exception...So I just have a few presets saved for this purpose, so it's no trouble at all to do.

I've got to say, from the examples I've heard in this thread, by the time this reaches the radios it sounds practically identical to the telephone effect and hardly worth the effort.

Spoken like a lowly voice "talent".  There are those that get it, and those than b***h about it.

Yup, lowly voice talent, so low down the stations' priorities that stations always take forever to pay us .. come the VO Talent Red Light Revolution

It says producer in my sig too Craig, so I produce too eh?

Yeah, it's a really tasty effect, no question and I can appreciate it in pro production terms. But I try always be objective and place myself in the listener's place, and when I do the listen-as-a-listener test with the cans on the desk and me 3 feet away, I've got to admit the thing sounds like the old phone effect. Like a lot of the stuff we producers slave hours over, it's hardly ever appreciated, it's just a few seconds of stuff that was on the radio and then it's forgotten. I - want - my - recognition - and - I - want - it - NOW