ABSTRACT
The best way to find out a room will work for voice-over or dialog replacement is to walk around in it and listen for noise and echoes. A voice-over exists in limbo. There should be no sense of a physical space between the narrator and the viewer. Any reverberation can destroy that illusion of intimacy. Voice-over recording usually has more bass than dialog recording so a rumble that would be tolerable at a location shoot can be a problem for the voice-over. The high-pass filter built into many professional microphones and mixers can help reduce these rumbles. Condenser mics are almost always a better voice-over choice than dynamic mics. While radio engineers and stage performers love dynamics for their ruggedness, these mics lack the crispness and overall tonal balance that can make a voice-over track stand out. Large dynamics specifically designed for voice-over, such as the ElectroVoice RE-27 and Shure SM-7, are exceptions. •.
