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Voice Actors Jason Bermingham & Amanda de Andrade on Mics, Home-Studio & Voiceover in Portuguese
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This interview took place through voice messages in BR PT, on 8th January 2024 and is transcribed and translated to EN below.
Microphones for Voice Over Services
Jason, great to have you here! Here we are today to address common topics, such as microphones, voiceover studio and native voiceover with American and Brazilian accents, but from a different perspective and in the form of voice messages, just like in a telephone interview.
Well, you are recognized for your experience and expertise in the technical and technological area of audio, with regard to audio recording, equipment and acoustics, and you have even written for prominent magazines in the area.
But now I wanted to know more about Jason, the voice actor. What is Jason's favorite microphone or what are the few microphones that are at the top of Jason's list? Because you know so many microphones and I was curious to know if this complicates or facilitates Jason's life as a voice artist? So which microphone(s) is your favorite and why?
Jason Bermingham:
Let's go, Amanda! About the microphones. I think nowadays the difference between a good microphone and a great microphone is so subtle that the speaker shouldn't spend too much time thinking about it. For example, an input microphone for me, for a professional setup, would be a Neumann TLM 102 or 103 and up.
I don't think a USB microphone for a studio, for a home studio is enough. I would use an XLR microphone. These USB microphones, for what they offer being USB, they are great, but they work best in my opinion for traveling, when you are in a hotel, when you need to record in the car, but when you are in the studio or have already set up your studio, the minimum microphone that I think the speaker should have is in this input range of a microphone that will cost around 700 USD or more. There are hundreds of wonderful microphones, and you have to understand which microphone is best for you.
For example, when I set up our studio, I bought a Neumann U 87, which is that reference microphone that all the big studios in the United States use. But this microphone, as wonderful as it is, ended up having radio interference in our neighborhood and I couldn't remove this radio interference. So I ended up switching to a TLM 67, which is a very good microphone. And it solved this problem I was having, so sometimes you also have to understand the circumstances, it's not just the microphone, but what works best in your space, because sometimes, for example, if you have a space that is not so well treated, where the acoustics are not so good or suddenly you have external noise leaking into the recording environment, and if you buy a super microphone, it will only highlight the flaws in the environment even more, because it is so powerful that it will capture everything, including that neighbor's dog that won't stop barking when you are using Source-Connect in the studio.
So, the first step is not the microphone. The first step is always space. You have to first think about isolating the sound that comes the outside and treating the acoustics inside. You want natural acoustics, that don't have reverb, that don't sound like there's only foam, that don't sound like it is muffled. You want a pleasant natural environment to work in, because that's also important: you feel good in your studio so you can work all day.
For example, I have a recording area, which is the vocal booth, and also an editing area, which is another space with a window, because the vocal booth doesn't have a window. So when I edit, when I work outside, it's another environment and I prefer to have these two different environments. So you have to think first about the space, first about the acoustics, then you start thinking about the microphones, interfaces and the computer.
But anyway, we love talking about microphones, but as I said, the difference between a microphone that costs 700 USD and one that costs 3000 USD is very, very difficult to hear. The most notable difference is if you are working in an environment that is not perfectly treated, then the process of investing in a studio is an organic process, you will invest in equipment according to your needs and also according to the space in which you record.
Broadcasting Home Studio with Source Connect
That's interesting, Jason! Speaking of studios, a few decades ago, we had the emergence of the home studios, right? And then it hasn't stopped growing yet. This contrasts with the period of voiceover when the standard (or even the only option) was to go to a physical and fixed professional studio so that the voiceover could be directed and recorded by sound engineers and directors, who watched and assisted the process.
However, with home studios and the development of technology, and the simplification of the technology needed to make voice over broadcasting quality recordings, can a voice actor feel empowered and without limitations if he has a good home studio? Or are there still limitations, from a technical point of view, regarding audio quality, recording and all other details? Even if the voice actor has a good home studio?
So, in short, is there still this limitation that can separate a voice talent from the best job opportunities, because he doesn't have access to a studio, and he only has a good home studio?
Or do you think that this difference no longer exists, and with a home studio, everything is connected and everything is accessible with maximum quality?
Jason Bermingham:
I think the home studio issue today is here to stay. It's not a controversial issue anymore, everyone has it. You have to have it. Everyone works from home, even the big production companies closed during the pandemic and everyone is in their own corner working. So this has become routine for many people.
Now, when you think about working from home, there are 2 sides, you have the side that you feel comfortable with, because you are in your own home, so sometimes you can deliver a more natural voice, with less pressure, you can record as many times as you want, you can try different things that maybe in the production company, with the director, you wouldn't do, because you might feel embarrassed. At home you can try something new and see if it works, and then you choose the takes you like and send them. Now, what’s missing is feedback, right? So, it's good to go record with other people, because sometimes the director will take you to a different place, or the agency will take you to a different place.
So, my tip nowadays, when people are going to build a home studio, is that the audio does not require a beautiful environment, the sound of a messy environment can be very good, and you can record a voiceover that goes to the TV in a very messy and very ugly place, because the sound is great there, but when you turn on the camera and you go to record with the director online, or with an agency or a person who will see you on camera, you will see the environment where you're recording, you want to give off a professional atmosphere, so sometimes it's good to have that corner of your studio, which has good light, which has a camera that shows an environment that is professional, and then you can have the best of both worlds, you can take a job and tell the client or agency: “look, I want you to watch the recording.”
You're recording in your house, so you have the freedom to stay at home. You don't have to cross the city. But the director, the creative or audio producer, he or she can also accompany and give direction, give ideas, give tips and take the speaker to places and different artistic directions. So, think not only about the audio, but also think about this side of the video and the visual environment, this space in which you will create for people to see you working.
Nowadays, my wife and I record most of the games we participate in this way. We include the client, the agency and let the person have the option to follow the recording, because then the result is better. The person who is paying for our services already knows what they will receive because they were there watching the work being recorded and it worked very well for them too, because if they need an adjustment, something right away, we make that adjustment right away. We don't have to leave the house again and go to the external studio to record a phrase and make sure that phrase will fit exactly into the sound we sent for the first time.
American English & Brazilian Portuguese Voice Over with Native Accent
My last question is about speaking in Portuguese, since you are American but live in Brazil. You communicate in Portuguese very well. So I wanted to know if you record in Portuguese too. And how do you view the fact that you are bilingual? Do you use your accent to your advantage or do you try to omit it?
Jason Bermingham:
Well, in short, I'm North American, I've lived in Brazil for 20 years, but I rarely record in Portuguese, almost never! I only record when it's a foreigner's role, do you know why? Because I think that when you speak a second language, it's very difficult for you to interpret well. You have to have a lot of practice, so what do I do? I do all my communication in Portuguese with the Brazilian public. I have a company here in Brazil, which helped a lot, because I live here, I understand the culture, this helps a lot with the briefings. I understand the Brazilian way of narrating a voiceover, because sometimes the Brazilian way of narrating a voiceover is more interpreted; for foreigners, especially Americans, their voiceovers tend to be much more linear.
And sometimes, if I do a voiceover in English for an American audience, it has to be very flat, very linear from beginning to end. If I do it like this in Brazil, for an agency or for some company, an institutional video, for example, sometimes Brazilians think it's lacking emotion. So sometimes I do something more interpreted here in Brazil than I would do for the American public. But I only record in English and only American English, because I think it's very important for us to be transparent and know what we do well.
There are people who can do a British or American accent, and there are people who do it very well, there are Brazilians who record in English, which is not their mother tongue, but who record very well.
So I encourage this, I think it's important for people to know how far they can go with their talent, but at the same time we have to accept our limitations. So, sometimes, for example, let's say there is a Brazilian voice actress who speaks English well, but maybe if she tries to speak native English without any accent, it's not what the client wants. The language is different, so what do I do? I assume that I have an accent and I record with that accent, and that's fine, and sometimes I think it's good for Brazilians to do the same thing: assume that they have an accent when speaking in English and do it their way, with emotion, with natural interpretation and without worrying about the accent.
If you have a word that isn't correct, that's okay, you have to resolve that, but if you have an accent, that's part of your style. And nowadays there are so many regions of the world, so many accents of the world that it even becomes charming. Sometimes the customer will like this, so it's important for us to understand our style, understand what we do well, what we don't do so well and sell well what we do well. Because then the customer will be happy and we won't give the impression that we are going to deliver a product that won't be exactly what the customer is expecting.
Read the original interview in Brazilian Portuguese: Locutora Amanda de Andrade e Locutor Jason Bermingham