Radio Commercial Recordings – Studio Rules for First-Timers

So you’re the client. The newest custodian. You have booked the airtime to your radio campaign. You’ve approved the 23rd suggested script. You know what you want and just what the commercial should provide in terms of measurable results and revenue. Now it is time to record the commercial. Just one small problem – you’ve never been in a recording studio before.

For most people, the very first time within a recording studio Toronto is a daunting experience. But if you understand the basic rules and etiquette, it’s an experience that’s exciting and enjoyable. Not to mention advantageous to your brand.

When a recording happens a special chemistry develops between the folks who live in the studio. A magic ribbon is spun that links them to each other and to the delicate thing they’re generating.

After a recording goes wrong. . .the threads turned into chains that drag everyone down. You frequently hear it on the radio: The voices seem strained, the audio is only a bit too discreet and also the mixing overcompensates a bit too much. The general result seems like a chain being dragged through a hollow hallway.

Remembering a couple of simple things will help your very first recording be a lot less painful. Most of them are common sense.

Most studio’s have a red light outside the studio door. When the red light is on, it means that audio has been recorded in, or broadcast from, the studio. In any event, it means a microphone is on somewhere and any noise you make while going into the studio could be recorded.

The microphones might be on within the soundproof booth. Or the microphones may be active inside the studio.

So when entering a studio (whether it’s a red light or not) the basic rule is to stay quiet until you’ve seen what’s up.

2. Eat, Drink and Be Merry

But not at the studio.

It also stores enormous amounts of information, plug in’s, programs and tracks. So generally, it is a fantastic idea to never drop or spill anything on the gear.

Take your queue from the audio engineer. He or she will likely encourage you to bring your drink in with you; even order some catering.

Just keep all fluids away from the desk. And speakers aren’t coffee tables.

3. Do not Phone Home

Generally, cell phones shouldn’t be used within a studio.

Generally, cell phones should be switched off, even the quiet ones that vibrate madly on top of glass coffee tables.

The apparent explanation is sound cancelling. In the event the studio you’re recording in doesn’t have top of the range soundproofing and super directional microphones, your cell phone noise might end up embedded in the recording.

Apart from that, it’s very distracting for a voice artist to try and deliver lines in personality using a one-sided dialogue carrying on. Ditto for the engineer trying to focus on the blending.

4. Talk the Talk

If you’re the customer and it is your first recording, then you might initially find the entire process just fantastic. After a time, it could turn into a bit dull. Notably the technology and mixing component.

Which is fair – if you loved listening to the exact same bar of music that a hundred times over, you would be behind the desk mixing it.

You might not believe much is happening when things get dull, but really, magic is being made.

Therefore, in the event that you feel like some company, step outside for a conversation. Or ask the engineer when he minds you going about your business. However, in general, only be inside the studio if you’re interested in the process or can make a significant contribution.

Stick to business. After all, you are paying by the hour.

This is a funny one. A true killer occasionally. When a piece of commercial audio (i.e. a voice over for tv, corporate video, tv commercial or an online advertisement ) is being listed, a few parties are usually included. These are the voice over artist, the audio engineer, the copywriter and the customer / service person / ultimate approver.

1 person needs to tell the voice over artist what to say and how to state it.

Only one.

If two people give leadership, tragedy looms. In my experience, the person who has the best radio ears usually gives the best direction.

Voice over musicians hear particular terms quite frequently in a studio – phrases such as”say it with a smile” and”more emphasis on…”. They know precisely what to do if they hear these terms, since they are trained professionals.

It leaves a whole lot of room for doubt and throat-restricting frustration.

This doesn’t mean everybody else’s remarks are less important than the director’s. In reality, everyone’s input is crucial. But only 1 opinion at a time, and only after the manager (in my view the author or engineer) has given the best damn management they can possibly give.

The manager will then ask everyone else present for feedback and ideas. At this point, the entire process begins again and advancement in another direction in the event the customer isn’t happy with the delivery. If everyone is happy, it is a wrap along with also the voice over artist could leave.

So generally, await the manager to request comments before you intervene and save the record. But jump in ahead of the voice artist renders the studio!

6. Recording Children

It is hard to record kids authentically. Often the best way to begin is to get rid of your parents. Get the parents out of this studio (unless the kid is a novice and fearful of all of the buttons and strangers).

Not only do parents divert children, but they love directing even more than clients do. Which usually only motivates everyone else in the room to begin acting like kids and to shout even more directions in the terrified child.

Instead, a fantastic director (wearing the headphones) could sit inside the booth together with the kid (no headphones). They will talk about everything apart from the script before the youngster sounds at ease. At some point, the sneaky manager will attempt to acquire the line naturally from the child as an answer to an unrelated question. Or coax the child towards the natural sounding delivery.

Older children respond well when the ad notion is explained to them and they are able to imagine themselves in the circumstance. The majority of the time that they can then deliver the line obviously.