VO Weekly Workflow – You Can’t Outrun Acoustics

Over the past couple of months, I’ve encountered an increasing number of new-to-VO individuals asking for microphone recommendations to use in an untreated space. Hopefully that question triggers a “Danger!” response, as “untreated space” and “microphone” continue to be two words that do not function well in the same sentence.

Perhaps these microphone queries arise because someone, somewhere made a video and touted Magic Microphone A or their Patented Super Secret Effects Stack that enabled “broadcast quality sound.” They may have even let you in on “a secret that pro engineers won’t tell you!” It’s quite possible that within the confines of their chosen medium, the resulting heavily processed audio may have sounded decent-ish.

The fact is that you can’t overcome acoustics. There’s always an effect from the surfaces and dimensions of any enclosed space. That’s why I always encourage anyone setting up a home recording space to budget for treatment within the room. It really is that important.

Common (and less than helpful) suggestions

Unfortunately, the first option often offered is “use a dynamic microphone.” As I detailed in my voiceover microphone overview resource, dynamic microphones are often used in less well treated spaces because that type of mic is much less sensitive to sound. They are purely mechanical devices that need a fair amount of force to react. The sounds which are further away tend not to be as evident. That type of mic may not pick up other noises and sounds, but will still render the sonic quality of the input.

The same is true with a supercardioid or “shotgun” condenser microphone. Since this type of microphone has a narrow and directional pickup pattern, it will tend not to “hear” sounds from either side. But, it will accurately pickup reflections and resonances that occur along with the vocal signal.

Reflections are not “Noise”

Part of the problem is that many of us think of reflections and resonances as “noise.” Those aspects of sound are actually much more difficult to address than simple rumble or moderate background noise. That’s why we’ve seen a number of useful noise reduction tools appear in the past few years. To describe that in the simplest possible terms, those tools algorithmically decide what is “voice” and what is “not voice.”

When we are addressing reflections and echoes, and the increase of frequencies through the resonant properties of a space, things get really complicated fairly quickly. De-reverb type tools have to solve issues of wave forms that are out of phase with one another. When waves are out of phase, then cancel and enhance certain parts of the sound. Solving that is still pretty hit and miss.

Acoustics Matter

It all gets back to the basics. Work in a bigger space if possible. Rectangular rooms are are better than squares. Once you have established the space, don’t be afraid to play with different mic locations. There will be spots in the room that are pretty neutral, acoustically. Most of all, invest in decent treatment – heavy acoustic blankets or rockwool type panels are high value, while thin foam attached to the wall can actually make things sound weirdly muffled.

Finally, take some time to listen to the results, or have someone review them. We become very used to how our space sounds and our brain compensates for it. The longer we listen to recordings in a consistent space, the more normal it sounds.  An outside perspective can help greatly.

Posted 2/3/26

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