Audio Dramas, studio set and techniques

[Mr Turtle]

I am in the process of setting up a recording space to be used almost exclusively to record voice actors in the production of an audio drama/comedy. The space is in the first floor of a large freestanding building 400' from a country road. I've built a separate control room that looks into the main room (13'x36' w/9' ceiling) and into a sound booth (6'x41/2' w/71/2' ceiling).

I have two questions;
1) Which signal path will produce the least latency and the least distortion in the finished recording?
mic -to- analog mixer -to- DAW OR mic -to- I/O -to- DAW

2) The writer/director in me wants to bring the 3-5 actors into the studio and have them all stand in a semi circle and address a stereo array of mics in turn, and thereby record it all at one go, adding sound effects, bed music etc in post. The engineer in me wants to record each actor separately and build the final product in post production. Suggestions?

[Hugh Robjohns]

Latency isn't an issue whichever route you choose -- provided the mixer is an analogue one.

And it shouldn't be an issue if you use e a digital one, either...

A mixer is handy if you want to ride levels in real time, or want other physical routing controls for effects and foldback, etc... but recording straight into a good interface is perfectly workable, especially one with decent monitoring features like RMEs totalmix.

Whether you record multiple actors around a simple stereo array, or mic and pan them individually comes down to the nature of the script, the type of performances and -- most importantly of all -- the required acoustics. But either way, expect to record all the actors playing a scene tobether at the same time because actors need to react to each others' performances.

Individual overdubbing can work in music, sometimes, but it usually gives a very unnatural and stilted result in radio drama! (It does in music too.. But that's a different discussion! )

In my experience, the single most important aspect of credible radio drama is recording in credible-sounding acoustic environments -- and that means either recording on location, or in a well designed studio with the ability to control the perceived size and character of the recording environments, normally through the use of well thought out combinations of fixed and movable acoustic panels and structures.

There are several good books on the subject and techniques of producing radio drama, such as:
https://www.amazon.co.uk/Radio-Drama-Handbook-Practice-Context/dp/1441147438/ref=sr_1_1?dchild=1&hvadid=80264448945612&hvbmt=bb&hvdev=c&hvqmt=b&keywords=the+radio+drama+handbook&qid=1609527548&sr=8-1&tag=mh0a9-21

[BJG145]

The writer/director in me wants to bring the 3-5 actors into the studio and have them all stand in a semi circle and address a stereo array of mics in turn, and thereby record it all at one go, adding sound effects, bed music etc in post. The engineer in me wants to record each actor separately and build the final product in post production. Suggestions?

I wouldn't have thought it would make much difference from an editing point of view, but it would make a huge difference from a performance point of view. Recording individual instruments to a backing track is one thing, but recording actors to...what, nothing...? Nope. Performance trumps production finesse here. (If you're just talking about mic'ing methods, that's another matter.)

[Mr Turtle]

Thank you both for the quick replies.

I will purchase the suggested book.

I can very much imagine actors all gathered and stepping towards the mic when its their turn......but I can also imagine wanting each actor on a different track if/when there are problems that need corrected or re-recorded.

As to actors responding "...to nothing..." are you suggesting that the special effects be inserted as the actors record their parts, so that they are responding to the actual sound either aloud in the studio space or in their cans?

I should mention that I'm coming at this from a theater perspective; I'm a playwright and actor, with a long interest in radio, not a trained sound tech.

Any advice is appreciated.

[BJG145]

I probably got the wrong end of the stick; I thought you might have been talking about getting people in separately, so I was really just echoing Hugh's point.

But either way, expect to record all the actors playing a scene tobether at the same time because actors need to react to each others' performances. Individual overdubbing can work in music, sometimes, but it usually gives a very unnatural and stilted result in radio drama.

In terms of replacing lines later, the idea of the recording being on a "different track" doesn't matter, unless two people are speaking at once. That's probably not going to happen often, and you'd want to replace both parts if it did.

Perhaps you could record the whole thing as an ensemble twice and cut between them if necessary...? Just thinking out loud.

[Hugh Robjohns]

I can also imagine wanting each actor on a different track if/when there are problems that need corrected or re-recorded.

It's more normal -- at least in my experience -- to record each ensemble scene as a complete take, or part-take, as a stereo mix, and then edit together as necessary. Some scenes might require individual mics on individual performers, but it's often quicker and easier to set up a stereo mic array and have actors positioned and/or move around the mics as required in the script. That way you get much more natural acoustic perspectives and movement, in a way that you can't replicate easily in the DAW.

But if you want to put a mic on each actor and record to separate tracks, you can work that way too... it's just that you're potentially making a lot more work for yourself.

As to actors responding "...to nothing..." are you suggesting that the special effects be inserted as the actors record their parts, so that they are responding to the actual sound either aloud in the studio space or in their cans?

I think he was referring specifically to actors responding to each others' performances in real time... But it is also quite common to create spot effects in the studio in real time, and/or to play pre-recorded effects over the Foldback/phones, so that the actors can react and respond naturally.

[Mr Turtle]

BJG, I agree that having all the actors there at the same time is much better from a performance stand point, but then should I plan on just having the two tracks provided by the twin mics, or should I attempt to sonically isolate each actor and give each their own mic? And if that is so, do I need an I/O that will pass all the mic signals right on through to the DAW? So, if I had four actors, I would have four tracks, one for each actor, plus a music track, a special effects track, etc...?

[BJG145]

...just out of interest Hugh, do people follow the multiple-take/comp system in that world, or not so much...? (I suppose in view of your remarks about movement round the mics etc it might not really work.)

[Mr Turtle]

Slight change in subject;
The script I'm working with is, in tenor, along the lines of "Wooden Overcoats" which I find quarkie and very amusing. Is that production successful in England?

[Hugh Robjohns]

... should I attempt to sonically isolate each actor and give each their own mic?

Different techniques suit different styles of production... And vice versa...

If its a drama involving multiple actors performing a scene in the same specific acoustic environment, then working with and around a stereo mic array, recording the straight stereo output, could well be the best way. But if it's individuals delivering one-liners then separate mics on individuals could be more appropriate. And if the latter, you have the choice either of recording each mic to a separate track through a multi-channel interface, or recording a stereo mix via a mixer.

Personally, I'd generally record stereo mixes rather than individual tracks. Most actors and directors prefer to record complete scenes, and do several takes to get right, rather than patch separate lines...

Which is another way of saying, I don't think recording to separate individual tracks would be the safety net in practice that you think it is!

[Hugh Robjohns]

...do people follow the multiple-take/comp system in that world, or not so much...?

Again, it depends on the kind of show, but in my experience its more common to record full takes of whole scenes (with occasional pickups if necessary), rather than anything else.

[Random Guitarist]

Another factor with individual mics is you can be constantly adding/removing/adjusting mics for different numbers of actors, and you will have to document each setup if you might need to recreate it a couple of days (or months) later.

The two times I recorded audio dramas I set up a nice M/S pair, got the position and acoustic in the room right, then left it alone.

Another factor will be budget. If you are buying new (to you) gear then you may have to choose between two very good mics for stereo or a larger number of lesser mics and stands and cables, and a bigger interface ...

[Mr Turtle]

Thank you.

Great point about having to document mic set ups etc... in order to be able to recreate the set.

I have some gear and have a fair budget to augment as necessary.

I agree that gathering the necessary actors around a mic is really the better option but that's going to have to wait until we here in the states get this crazy virus under control. Until then I'll work on building out the studio, casting, and getting scripts to the cast so we can be ready to start recording as soon as it's safe to do so. Multi mic'ing the Foley station and sending them through the Mackie mixer would allow me to adjust the levels for the 'door closing", the sound of heels on a wood floor, etc...

So at this point I'm thinking;

Stereo Mics for actors -to- Behringer UMC-404HD

Multi mics on foley station -to- Mackie analog mixer -to- Behringer UMC-404HD

Behringer -to- DAW

How to foldback the signal to the actors? From the DAW? Should I consider a separate headphone amp with volume level adjustment available to the actors?

[BJG145]

I've never done this. But if you look at images of radio drama recording, people don't generally wear headphones. They do sometimes. But I'd have thought people would be more comfortable and natural without. Perhaps you could create audio cues over a speaker and replace them afterwards? I guess it depends what the background noises are, and how integral they are. (I'm just looking at a few clips like 'behind the scenes at The Archers'...)

https://www.youtube.com/watch?v=xY9S18zTFiE

[pk.roberts]

I've had some experience in recording radio dramas for broadcast and have used a couple of techniques. I've found that the actors are most comfortable if they can interact as they are delivering a piece, so would, if technical limitations allow, always try to accommodate this. As with most recording, I never think it's worth making a technically superb recording of a compromised performance. The studio set-up was frequently a coincident stereo pair and we would change the acoustic of the recording space, using a combination of plain wooden floor or lay a carpet over it and soft/hard sided reversible acoustic screens. I would, for each scene (or part of a scene) make myself a sketch of the 'virtual geography' of the action on a sort of 'radial map'. I would sometimes also mark this out with tape on the studio floor so actors could reproduce their positions in terms of distance and angle from the mics. If your actors are experienced in radio drama, they will understand the importance of this, if not, be prepared to explain it to them (along with the technique of silently turning the pages of the script!). The technique of acting for radio drama is very different and some performers will need help with this. As a personal choice, I would have an assistant doing 'spot effects' (practical effects) in the studio with the actors only when the timing was critical to the performance - I preferred the control of adding as much as possible once I'd captured the main performance, but others preferred to do as much as possible 'as live'. I never had the need to give actors headphones and if, on the very rare occasion, foldback was needed, I'd play it in to a studio speaker as quietly as possible so it would be pretty much 'lost' in the final mix.
I have seen actors individually mic'd (and 'multitracked) but still simultaneously recorded - I recall an article about one of Dirk Maggs sci-fi dramas being recorded this way with the actors each mic'd with a 416. I thought the article was in SOS some years ago, but can't seem to locate it; maybe someone else's memory will be better than mine?
I hope your sessions go well!

[Drew Stephenson]

I have no experience in this area but it's the internet so i'm going to offer my opinion anyway...

Actually, whilst I have no experience of recording radio plays, I do have experience of working with people who are not used to being recorded...
So on that front i'd definitely try and avoid the need for headphones, and would second the suggestion of a small speaker, in the null of the microphones* as a better bet.

The other thing i would suggest is to remember to capture some photos and video when recording - phone quality is fine. At some point you're going to want to promote the show and having some 'behind the scenes' footage can be really useful. Just make sure your actors are aware and comfortable with it. Oh, and you'll need additional or extended release forms for that.

* even if you're using omnis there will still likely be some attenuation behind the mics at higher frequencies.

[Mr Turtle]

P.K.Roberts,

Thank you, thank you! You're thoughtful and through comment is very helpful (Blind Drew, BJG145, Random Guitarist, and Hugh Robjohns input has been helpful and much appreciated as well).

I have struggled to find producers/techs/directors of spoken word recordings. Most posters on websites such as this one are involved with recording musical acts, not audio dramas. The actors I'm working with are good solid actors but have little or no experience in front of a mic. I, and they, are "theater people" so it's been a challenge trying to put together this project.

So, at this point I'm going to plan on recording the actors "live" with a pair of stereo mics, no headphones unless someone has a specific need for such, the director in the booth with a view of the actors in the studio, and the sound effects recorded separately and added in post production. We'll mime the sound effects during the "live" recording session for the actors, if need be, for timing purposes.

I want to build and record my own 'sound effects' so that I own them and don't have to worry about the 'rights' to these effects in the unlikely event that this production takes off on the internet and someone wants to try to cash in on our success.

Also because, when we can again put on live performances, I want to produce these episodes as part of a "live radio show" ala "Prairie Home Companion" and I know that people love to watch the 'sound guy' make all those sound effects in real time.

Have I missed anything? Looking over the signal flow chart, would anyone do it any differently?

Thanks to all who've taken the time to read and respond.

[BJG145]

Sounds like a plan.

I am in the process of setting up a recording space to be used almost exclusively to record voice actors in the production of an audio drama/comedy. The space is in the first floor of a large freestanding building 400' from a country road. I've built a separate control room that looks into the main room (13'x36' w/9' ceiling) and into a sound booth (6'x41/2' w/71/2' ceiling).

(While you're working on the space, I'd suggest that you give some thought to acoustic treatment...which is an area some forumers are quite expert in. Pics would help if you were interested in advice.)

[Mr Turtle]

BJG 145,

Excellent suggestion. Just as soon as I can figure out how to get pictures from my phone to my laptop, I'll post such.

I've already do a fair bit of work in the "sound booth":
1) built a second heavily insulated, with no drywall covering it, wall, unattached to the first wall, on the outside wall
2) insulation under a heavily padded thick wall to wall carpet
3) lots of 2" think 12"x12" acoustic foam panels
4) Three 2' x 4 1/2' sound absorbing panels, spaced 2" from the walls

I'm waiting (and waiting and waiting, come on USPS) for an order of a dozen heavy duty "moving blankets" to use in the main studio space. I intend to use them to build portable panels I can move wherever needed.

[BJG145]

(...another thought I'll throw in just in case you haven't come across it is products like Audioease Indoor. Basically, if you record a reverberant space, you're stuck with it. If you record dry, you can fake the space afterwards...)

[James Perrett]

I have struggled to find producers/techs/directors of spoken word recordings. Most posters on websites such as this one are involved with recording musical acts, not audio dramas.

It may be worth taking a look through the back issues of Line Up magazine

https://ips.org.uk/line-up/

There are almost certainly a few people in the IPS who are involved in radio drama.

[Kwackman]

Mr. Roberts' post would be my (limited and long ago) experience too.

A couple of additions.
Rehersal. - This gives the actors a run through, but you also get the chance to sort out levels, mark up your script for level changes and where to give cues - which brings up....

Cue light-. Dead simple. A silent (no relay) light (usually green) that is portable so it can be positioned where all the actors (or those who need to) can see it. It's usually controlled by a non locking foot switch, as your hands will probably be busy on faders!
Usually, the first flash of the light means "we're recording, start in your own time", but there may be other times in the scene (maybe after a sound effect not heard by actors) for further cues.

Loudspeaker - (someone has already mentioned this) Perhaps for letting the actors hear some low level sound effects, but also, for talkback from you and/or the director to talk to all the actors at once.

As P.K. said - a person doing spot effects is useful. Backgrounds can be laid in afterwards, if you don't want to play them in at the time of recording.

One other thing, actors on separate mics- some producers/directors think this defies the laws of physics! If two actors are in the same room with separate mics, you ARE going to hear the "other" person on each mic. It will be lower level, but you will hear it.

[Hugh Robjohns]

I have seen actors individually mic'd (and 'multitracked) but still simultaneously recorded - I recall an article about one of Dirk Maggs sci-fi dramas being recorded this way with the actors each mic'd with a 416. I thought the article was in SOS some years ago, but can't seem to locate it; maybe someone else's memory will be better than mine?

I think it was Resolution magazine, actually. There's a PDF here:

https://www.resolutionmag.com/wp-content/uploads/2020/02/Dirk-Maggs-Resolution-V17.2.pdf

[Mr Turtle]

Kwackman,

Thanks for taking the time to read and respond.

The cue light is something I've meant to build and have let slip from my list (which means it's been replaced by five other to-do items......sigh.) It's a good idea, it's cheap, and I can do it myself. Perfect. Thanks!

I'm guessing that it would be best to place this "talk back" speaker as much as possible in the 'dead zone' of the pickup pattern of the stereo mics being used. We're not looking to use this speaker to play the sound effects with enough fidelity and volume to actually be part of the recording, are we?

Speaking of sound effects, as I've posted above, I want to build my own effects (opening doors, various shoes on different flooring, cars, noisy bars, etc..) library and be able to take those machines/effects on the road at a later date.

Sooooooo, do I want to put the sound guy right in with the actors and let him do his thing in real time and record the whole shabang, or put him in another space where the actors can hear the effects but only faintly? Or record the effects entirely separate in an earlier session and then just play them back faintly to the actors for their benefit and then add in those effects to the final product in post production?