Recording Software for Voiceover: Are Multitrack Workflows Helpful?

Everyone has a favorite recording application for voiceover. If your software helps to get work out the door efficiently and makes sense when you use it, that’s really the only test that matters. It’s important to use what works for you. Some recommend multitrack recording systems. These Digital Audio Workstations (DAWs) can sometimes seem overwhelming in their complexity, especially since they are geared toward multitrack setups and workflows. We often end up simplifying them to be more efficient.

Searching For My First Recording Software

When first beginning to deliver voiceover auditions and projects, I found my way to a stable and robust MacOS multitrack recording app called Amadeus Pro. It was about the third software I’d tried. After first jettisoning Garageband for its very clunky waveform editing, an instructor suggested using Audacity “because it was free…” That lasted only a few short weeks, as back in version 1.3.3, the stability on my machine was not terribly impressive. I always knew when it was about to crash (typically between the third or fourth take), but even when it behaved, I never liked the quality of the audio detail shown onscreen. 

On my auditions and projects, most of what I was doing was cleaning up background noises and editing together separated phrases. My first setup had good acoustic treatment but less than stellar isolation from environmental sounds. I tended to end up with chunks of sentences separated by vehicle noise and other sonic interruptions. 

Another voice actor put me on to Amadeus Pro, which was a revelation. The mouse-controlled zooming and scrubbing let me zip in quickly with great detail to efficiently find edits, and it had an interesting two cursor workflow that adapted well to long-form editing. I got in the habit of putting different audition takes onto different tracks so I could quickly toggle through them using a keyboard command. Over several months of regular use, I dialed in my workflow. That let me focus on auditions and getting work out the door. 

Using Multitrack Recording Software for Voiceover

I got very used to spreading things across multiple tracks and sliding chunks around within a timeline. Both of those are hallmarks of a multitrack recording workflow. Those types of recording applications are digital versions of what we used to achieve with a multitrack tape recorder when working in music studios. That approach is great for separating different instrument types and composing songs. 

At the same time, I was also starting to engineer some VO classes on a Windows-based system running Adobe Audition. Though it did have a multitrack mode, Audition’s direct waveform editor saw all the action. It was quick and direct. With everything in the same linear window, it was easy to space out multiple takes without stacking up additional tracks. The problem at that time, was that it ran only on Windows machines, and I didn’t want to replace my home computer setup. 

Mimicking the approach of Audition, I started playing with the Amadeus Pro screen layouts and reduced additional tracks to make it behave in a similar fashion. That actually worked well – Amadeus had plenty of detail in the wave for quick editing, and I simply stopped using all of the multitrack aspects – stripping things down for a very VO-centric working environment. When Twisted Wave appeared on the scene, it looked an awful lot like what I was already using, but without the overhead of multiple tracks and other tools I simply didn’t need. 

The Switch to Twisted Wave for Voice Recording

As I’ve mentioned before, the switch over to Twisted Wave began a very painful couple of weeks. In the new software, each step was just a little different – keyboard commands, menu placement, and dialogs had to be relearned. Things weren’t where they were “supposed” to be. Simple tasks took twice as long. 

That’s where many just stick with what is familiar. Almost everyone I’ve worked with finds frustration when they shift to a new working environment. But as I retrained my habits, things became more intuitive. Then they got noticeably better – sort of like working through “The Dip” that Seth Godin talks about. In the end, I was getting projects out the door more efficiently with the simpler approach. 

Efficient workflow is a bit different for everyone. It’s a big ask to request that someone who has gotten used to multiple tracks suddenly change the steps which have become second nature. Initially things seem slow and labored. Focus must be directed at simple tasks. It seems easier to fall back to the old method, even if it’s more complex. My encouragement is to push through this awkward phase. At least to gain enough facility that you can see potential benefits. The key question is whether your current workflow is serving your purpose, or if you are just accustomed to it. 

A Few More Thoughts About VO Recording Software

If something goes wrong, do you know where to look to fix it? Most of the established recording software works reliably these days, so it becomes a question of using tools that let you retain your focus on the end result. Given how many hats we have to wear when running our own voiceover business, it can be helpful to reduce those variables. In most multitrack environments, we end up stripping away things and hiding various functions. 

I talked about “non-destructive” editing last week, and that’s certainly a strong plus in most multitrack recording systems. Certainly, if the system you use makes logical sense and allows you to focus on the performance, that’s a good reason to stick with it. However, if it’s just “familiar” and doesn’t always support your effort, then it might be worth seeing if another approach could be more beneficial. 

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