More pronunciation frustration!

You would think something like pronunciation would be pretty cut and dried, wouldn’t you?  At least that’s what the engineer in me wants to believe.  Just tell me the right way to pronounce it, and I’ll make sure I read it that way.  What could be easier?

Except that apparently, the world of correct pronunciation is actually a battlefield.  Who knew? 

I was listening to “On The Media” on NPR yesterday, and learned that September 18 was the tercentenary of Samuel Johnson of England, who wrote the first dictionary of the English language.  At least, it was the first “modern” dictionary in terms of format.  I also learned that Webster, an American, decided that since America had declared its independence from England, with our own constitution, we should have our own American English language, complete with a unique American English dictionary.  Thus the origin of Webster’s Dictionary.  (Eventually, the Merriam brothers bought the rights to it when Webster died, thus creating the Merriam-Webster’s dictionary we know and love today.)  To make it unique, Webster changed not only the spelling of many words (for example, -re became -er, and -our became -or), he also changed the pronunciation of many words.  (al-loo-MIN-ee-um became a-LOOM-inum?)  Eventually (in the 3rd editing, I think) the author decided to include not just the “correct” pronunciation (which keep in mind was different from the original Queen’s English pronunciation), but also local and regional pronunciations.  By this point of course, the  whole “correct pronunciation” thing had gotten pretty gummed up. 

Fast forward to the present.

Hans Peterson posted a comment with a link to another pronunciation guide, this one from a professional voiceover.  Mark Pennington posted a different link:  the site posted by Mark Pennington

These two sites agree on some things , but completely contradict each other on others.  For example, one says “off-ten” is the right way to say “often” while the other says “off-en” is correct because you would never say “soft-en”. 

The bottom line?  I decided to let Merriam-Webster serve as the official tie breaker.   I looked up “often” in their online dictionary, which has the VERY handy function of an oral pronunciation guide, and guess what?  It had two correct pronunciations: off-ten and off-en. 

I think I’ll go with Han’s site, which points out that there’s a difference between formal and informal reading, and told us to figure out which we’re reading before, then decide how to pronounce the debatable words.

Ahhh, the things we delve into to perfect our craft!

What do you think about all this? Petty or Pet peave?

Money well spent!

I hired an audio engineer – Steve from The Audio Suite – to come to my house, examine my setup, and help me figure out what – if anything – I could do to improve things. 

One of the pieces of advice he gave me (among many) was to import several audiobooks into my editing software (Cubase), and listen to them through my monitors and headphones.   Although I listen to audiobooks all the time (much to my kids’ annoyance!) I had never thought to listen to them through my recording/editing equipment.  It turns out, it’s very different.  About half of the audiobooks left in all the mouth pops, breaths and “stickiness” that I had been working so hard to take out. 

What Steve told me, and which I didn’t really believe until I listened to them through my equipment, is that the ideal to strive for is not perfection, but  ”naturalness”.  And all conversations naturally contain mouth pops, breaths and “stickiness.”  We hear them all the time, and ignore them with no problem. 

It was true, when I listened through my monitors, I heard all of the things which I had very slowly and painstakingly been editing out of my own files.  I had achieved a level of perfection in the recording that couldn’t possibly exist in real life, even if I had the most well-lubricated mouth on earth, simply because I do have to breathe.  And here were all these award winning audiobooks, getting great reviews, and yet including pops and clicks that sounded gigantic on my monitors, but which I had never once noticed while listening on my iPod. 

While this may seem like a small, relatively insignificant thing, it is in fact, huge.

I’ve been spending something like an hour editing every single minute of my recording.  With a 60:1 ratio, I’m not going to finish anytime this century!   

 Now that I have officially received permission from a professional set of ears, I’m going to force myself to relax my standards.  I know it’s not going to be easy, but I simply have to do it.

Wish me luck!

Saffire Blues: The saga continues!

I got my replacement unit yesterday: it’s a Focusrite Saffire Pro 24 DSP, first released a few months ago in June.  I really like the new horizontal form factor, the heavier gage case, and the more detailed dial labels. 
It took all day,  installing, uninstalling and reinstalling, but I think I’ve finally  got the Saffire’s new software interface all figured out.  On top of that, the Saffire and Cubase appear to be playing nicely together.  Woo hoo!   
Then I listened back to some of the files that I thought were already complete, and was very disappointed (read: disgusted) by what I heard.  It’s too early to tell, but it’s possible I may be starting over from scratch. 
 
I was already thinking about it before, but now I’m decided.  I’ll be calling an audio engineer on Monday to come over and help me configure everything.  I hoping that if he can optimize my setup (mic placement, hardware, and software), I can re-record the whole thing in a tiny fraction of the time it took me to get this point.  And in less time (I hope!) than it would take me to try to clean up everything I’ve already done.
 
This feels like one of those stories where bad news becomes good news and good news becomes bad news.
 
My Saffire started blasting static – How terrible!
But it’s under warranty, and they (eventually) replaced it with a better unit – Oh, well that’s good.
Unfortunately, the new unit is so good, it revealed how crappy my recordings were – Certainly, that’s bad!
Yes, but thankfully I now have a chance to fix it!  – Well, that’s good!
See what I mean?
 
I think I’ll wait until tomorrow to start futzing with recording.  I’m tired!

Changing it up: lessons in good recording

I’ve made several changes to the way I record.  Other than the headphones, everything is the same, I’ve just changed some of the settings.

1.  Before: I had dropped the mic down below mouth level to try to eliminate plosives (hard B’s, P’s and T sounds).  It had reduced the plosives, but hadn’t completely eliminated them.  After: I raised the mic back up to mouth level but shifted it to the side, at a 45 degree angle.  The plosives are still there (so Hans tells me) but to my ear, are much better.

2.  Before: I didn’t know what those little switches on my microphone were for, so I simply didn’t use them.  After: I looked up the specs on my Sterling Audio  ST66 microphone and discovered that I had a 10dB attenuation pad and a Switchable 75Hz, 12dB/octave high-pass filter.  Did that make any more sense to you than it did to me?  I did a little digging, and figured out what those two terms meant.  It turns out, an attenuation pad means I can put the mic in front of a REALLY loud sound source, like a drum, and it will be able to record the sound without distorting it.  As a lowly little voiceover, this was NOT something I needed use, so I left it turned off.  The other switch is called a high-pass filter, because it’s a filter that lets everything higher than it’s threshold pass, while everything below it gets rejected.  In this case, anything below 75 Hz (somewhat lower than my voice can go) gets rejected.  That sounded good to me!  I switched that baby on, and on it’s going to stay!

3.  Before: I tried to use the compression and eq on my audio interface.  After: I realized that I really didn’t know what I was doing and decided it might be better not to mess with the recording up front, but rather to wait and do all my audio processing after the fact where it’s reversible, using software plugins.  (Obviously, I also had to learn how to use software plugins, but that’s a discussion for another night.)

These three changes have made a big difference on the noise floor of my recording, as well as on it’s overall quality. 

Now my big dilemma: although better is good when it comes to short projects, better means different, and different is terrible for long audio narration.  This probably mens I’ll be re-recording the beginning of Advent. 

Ah well, that’s how it goes, doesn’t it?  Three steps forward, two steps back.  But in the end, all forward movement is a good thing, and  I’ll just have to be satisfied with that.