Usage of Reverb for Dialog (narrator)

soundslikejoe · 21st April 2008

In search of opinions and advice on the usage of reverb on dialog for narrator VO:

I mixed a feature documentary and, at the request of the director, used a tiny amount of reverb on the VO. On smaller system playback (home, home theater) it sounds OK.

I had a chance to see the film in a very large theater and was not happy with the translation. The reverb was more noticable (to me). It wasn't terrible but I just did not think it was as tight as other doc's. (almost a slight slapback.... maybe room or encoding process?)

1) What are your opinions regarding the usage of reverb for dialog and/or narrator VO?

2) Are there mixing alternatives to create spatial presence or avoid excessive dry VO? (let's agree that mic techniques & acoustics during tracking achieve this.... my interest are responses related to mixing practices)

JoeMilner · 21st April 2008

On a straight VO/narration, on either a doc or a narrative feature, I never use reverb at all. Although I usually shoot ADR with a 416, I like a U87 for VO with a GML mic pre.

Of course, every situation and film is different, but so far I've never had the need to use reverb on narration.

My 2¢

best,

Lake · 21st April 2008

I hate to say it, but it's really a case of different horses for different courses. I've mixed on docos where the director wants a "Voice of God" approach and on projects where there is call for a very natural, dry approach. I do think that some projects benefit if the Narrator/VO track is in a separate "zone" from the rest of the production sound/dialogue.
In feature film you don't need to look any further than Apocalypse Now, where Martin Sheen's VO is recorded close up and spread across the front channels to give it an intimate feel and really place it in a different zone from the rest of the dialogue track.

danijel · 21st April 2008

i have a theory about misconception involving narration and reverb:

- radio speakers are traditionally recorded in small little-treated booths. those booths have lots of early reflections, and that's why their voices sound intimate and convincing (we feel we are in the same small space as they are), + they get more low frequencies.
- when recorded in a dead room, or in a bigger room, voice doesn't get that familiar sound, so people have added early reflections to match the 'live-booth' intimacy. and this is where the talk of 'adding a little reverb to a narration' originates.
- some people have heard they should add reverb, but didn't know it should be a small room, so they started adding hall reverb. today, there's a slight hall reverb in one out of 5 narrations.

i personally feel one could try adding first reflections to enhance voice colour/intimacy, but maybe better result can be achieved with eq, or leaving it alone. longer reverb should be added only as an effect (as when the narrator is a wizard, or a dead man).

danijel · 21st April 2008

Quote:

Originally Posted by joenovice

I had a chance to see the film in a very large theater and was not happy with the translation. The reverb was more noticable (to me). It wasn't terrible but I just did not think it was as tight as other doc's. (almost a slight slapback.... maybe room or encoding process?)

in bigger theaters there's always reverb (and some slapback). perhaps this added to the reverb you already had. but maybe this 'tightness' has more to do with the talent's voice, eq and compression?

soundslikejoe · 22nd April 2008

I feel better hearing you comments about larger theaters.

It seems we have some poll contributions... What about some commentary?

What reverbs do you guys like to use for creating ambience? Right now I'm limited to UAD stuff. I'm planning to get Altiverb XL if I ever invest in surround monitoring. What's you verb?

ggegan · 23rd April 2008

I'm not a big fan of noticeable reverb on VO, to me it usually sounds phony. Danijel's suggestion about using subtle small room early reflections might help take the curse off sterile VO, however, if that doesn't satisfy the director and they actually want a wet sound, we're not in the business of saying no to them. If what they want is reverb, then they're going to get reverb. That's probably not very helpful technically, but sometimes you just have to grit your teeth and mix it til it goes away.

soundslikejoe · 23rd April 2008

Quote:

Originally Posted by ggegan

.....but sometimes you just have to grit your teeth and mix it til it goes away.

I totally dig that phrase. Kudos...

ggegan · 23rd April 2008

Quote:

Originally Posted by joenovice

I totally dig that phrase. Kudos...

It's been passed down over many generations of mixers.

View Poll Results: How do you use reverb on VO?
I dont... get it right while tracking	2	9.09%
I try not to but will on request or for FX	6	27.27%
Reverb.... always a touch.	3	13.64%
Every situation is different... liberal intuitive use	11	50.00%
Voters: 22. You may not vote on this poll

21st April 2008	#1
soundslikejoe Lives for gear Joined: Jun 2006 Location: Carolina Guy Posts: 719 Thread Starter	Usage of Reverb for Dialog (narrator) In search of opinions and advice on the usage of reverb on dialog for narrator VO: I mixed a feature documentary and, at the request of the director, used a tiny amount of reverb on the VO. On smaller system playback (home, home theater) it sounds OK. I had a chance to see the film in a very large theater and was not happy with the translation. The reverb was more noticable (to me). It wasn't terrible but I just did not think it was as tight as other doc's. (almost a slight slapback.... maybe room or encoding process?) 1) What are your opinions regarding the usage of reverb for dialog and/or narrator VO? 2) Are there mixing alternatives to create spatial presence or avoid excessive dry VO? (let's agree that mic techniques & acoustics during tracking achieve this.... my interest are responses related to mixing practices)

21st April 2008	#2
JoeMilner Gear addict Joined: Sep 2007 Posts: 312	On a straight VO/narration, on either a doc or a narrative feature, I never use reverb at all. Although I usually shoot ADR with a 416, I like a U87 for VO with a GML mic pre. Of course, every situation and film is different, but so far I've never had the need to use reverb on narration. My 2¢ best, __________________ Joe Milner Puget Sound, Inc. Los Angeles, CA IMDB Puget Sound on Facebook

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21st April 2008	#3
Lake Gear interested Joined: Apr 2008 Location: Wellywood, NZ Posts: 13	I hate to say it, but it's really a case of different horses for different courses. I've mixed on docos where the director wants a "Voice of God" approach and on projects where there is call for a very natural, dry approach. I do think that some projects benefit if the Narrator/VO track is in a separate "zone" from the rest of the production sound/dialogue. In feature film you don't need to look any further than Apocalypse Now, where Martin Sheen's VO is recorded close up and spread across the front channels to give it an intimate feel and really place it in a different zone from the rest of the dialogue track.

21st April 2008	#4
danijel Lives for gear Joined: Jan 2008 Location: Belgrade, Serbia Posts: 1,732	i have a theory about misconception involving narration and reverb: - radio speakers are traditionally recorded in small little-treated booths. those booths have lots of early reflections, and that's why their voices sound intimate and convincing (we feel we are in the same small space as they are), + they get more low frequencies. - when recorded in a dead room, or in a bigger room, voice doesn't get that familiar sound, so people have added early reflections to match the 'live-booth' intimacy. and this is where the talk of 'adding a little reverb to a narration' originates. - some people have heard they should add reverb, but didn't know it should be a small room, so they started adding hall reverb. today, there's a slight hall reverb in one out of 5 narrations. i personally feel one could try adding first reflections to enhance voice colour/intimacy, but maybe better result can be achieved with eq, or leaving it alone. longer reverb should be added only as an effect (as when the narrator is a wizard, or a dead man).

22nd April 2008	#6
soundslikejoe Lives for gear Joined: Jun 2006 Location: Carolina Guy Posts: 719 Thread Starter	I feel better hearing you comments about larger theaters. It seems we have some poll contributions... What about some commentary? What reverbs do you guys like to use for creating ambience? Right now I'm limited to UAD stuff. I'm planning to get Altiverb XL if I ever invest in surround monitoring. What's you verb?

23rd April 2008	#7
ggegan Lives for gear Joined: Mar 2008 Location: The Heart of Screenland Posts: 1,603	I'm not a big fan of noticeable reverb on VO, to me it usually sounds phony. Danijel's suggestion about using subtle small room early reflections might help take the curse off sterile VO, however, if that doesn't satisfy the director and they actually want a wet sound, we're not in the business of saying no to them. If what they want is reverb, then they're going to get reverb. That's probably not very helpful technically, but sometimes you just have to grit your teeth and mix it til it goes away.