0104 – Cutting Mouth Clicks By Balancing Proximity, Projection And Levels

0104 – Cutting Mouth Clicks By Balancing Proximity, Projection And Levels So the closer you are to the mic when you speak, the softer your voice will be and the input level on that mic channel will be tweaked to achieve appropriate recording level. If you get close and shout then the input level will need to be low to avoid distortion on the playback of the recording. If you move away from the mic and also drop the loudness of your script, then the mic input level will need to be increased. You can see there has to be an optimum level between all three variables. Bearing that in mind, if you get close and whisper you need to turn up the input levels and that will mean that the comparative levels between your speech and mouth noises are similar; if you are further away and speaking louder and the levels are reduced then the difference in volume between mouth-noise and speaking volume is greater and so they are less likely to be heard. In short: greater distance + greater volume = less mouth noise, and if you simply move away from the mic, yes the sound of the click will be quieter, so will the overall voice. So the level has to be increased and you’re back to square one!Through these under-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection and projection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a career spent in TV and radio studios.And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTER BROADCAST, PODCAST AND VIDEO VOICE.Look out for more details of the book during 2021.Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists.He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”.Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls.The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience?This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demo License: https://filmmusic.io/standard-license  "Beauty Flow" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flow License: https://filmmusic.io/standard-license  "Envision" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/4706-envision License: https://filmmusic.io/standard-license "Limit 70" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5710-limit-70 License: https://filmmusic.io/standard-license "Rising Tide" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ Link: https://incompetech.filmmusic.io/song/5027-rising-tide License: https://filmmusic.io/standard-license "Wholesome" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ Link: https://incompetech.filmmusic.io/song/5050-wholesomeLicense: https://filmmusic.io/standard-license And no: a pop shield is great for preventing popping noises on plosive p’ sounds as we will see later, but is no good at all against mouth clicks.  Hosted on Acast. 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