it was the second of my deliveries and i did so with added volume/excitement, this had the effect of making the room sound much more noticeable - especially when compressing as I did with a total gain reduction of 10dB. There is also slight side chain compression on the "f" sound which seemed a bit strong. I also noticed it was very important when editing that the initial "th" sound of the first word was represented adequately to make it sound good.
Also familiarity with the script, as I noticed a mispronounced word that wasn't picked up on the day.
http://ed.growerscollective.com/uni/aa2/week02/01EdLoud.mp3
This second example, recorded by Freddie, retains an amount of the dynamics of the delivery, but not as much as the original. This highlighted how the excitement of the actual recording could give new volume levels in the delivery.
http://ed.growerscollective.com/uni/aa2/week02/02freddieDynamic.mp3
This third example was a quieter more relaxed delivery from myself, I tried to maintain the relaxedness with a bit of evening out.
http://ed.growerscollective.com/uni/aa2/week02/03EdNotSoLoud.mp3
There is also a slight amount of eq on each, to help remove room boxiness. The above picture is of example 3.
The vocals were recorded with a Neumann U87, with a pop filter placed about 2 inches away, and the voice over person at various distances.
References
Haines, Christian. "AA2 - Planner - Week 2 - Voice Recording.pdf"
Anon. 2004, Recording Background Vocals, viewed 05/19/2006
http://www.eqmag.com/story.asp?sectioncode=41&storycode=4716.
White, Paul 1998, 20 TIPS ON.. Recording Vocals, Sound on Sound, viewed 12/1 2007,
http://www.soundonsound.com/sos/oct98/articles/20tips.html?print=yes.
White, Paul 1994, WORD UP: Recording the spoken word, Sound on Sound, viewed 12/1 2007,
http://www.soundonsound.com/sos/1994_articles/jun94/spokenword.html?print=yes.
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