The Critical Question: Should We Compress Our Voiceover Auditions? – Tuesday Voiceover Tech Tip

The cold truth is that I usually try to talk folks out of using compression for most voiceover applications. I’ve always been a bit less likely to bring it up as an option – especially with voice actors who are learning studio skills. The main rationale is that while it can “sound like” audio we might have heard, it’s far too easy to overuse the effect.

Used inappropriately, we lose the nuance of performance dynamics as we push our audio into a narrow volume range. The tool we use becomes very apparent and can easily overwhelm the performance itself. 

Many audition specs often give direction such as “non-announcery”, “conversational”, or even the dreaded “don’t sound like a voice actor…” When we layer on compression, it tends to make things sound the opposite of those guidelines. 

Certainly, if a client asks for “RAW” audio as a deliverable, that’s usually followed by the example “No Compression!”  Compression reduces the dynamic range of our performance. Once compression is applied to the audio, it can severely impact what the “next” person can do to our audio. 

A simple High Pass Filter can reduce rumble, it shouldn’t interfere with further processing. I have no problem applying that type of EQ to a file and still calling it “RAW”. But dynamics tools – Compression or Limiting – should really only be used if the client signs off on it. As I mentioned in last week’s article, it’s easy to make things sound overproduced with careless compression use. 

Paying attention to the Threshold is a key place to begin. That makes us ask exactly why we are reaching for compression in a given situation. This more surgical application of this powerful effect is key to setting things right.

Compression Resource Update: I’ve created a companion video demonstrating some of the settings in typical compressors – check it out @JustAskJimVO on YouTube.

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