To record my audiobook voiceover, I booked a session in the Live Studios at university, ensuring I had access to professional recording equipment and an acoustically treated space. With the guidance of the technician, I carefully selected the most suitable microphone and setup for a solo recording session. After considering different options, I ultimately chose a condenser microphone, as it is the preferred choice for voiceovers due to its ability to capture a richer, more detailed vocal performance. While comparable to dynamic microphones, it can often yield superior performance at the frequency extremes (high and low) when compared to dynamic types (Edwards, 1980). This wide frequency response makes it particularly effective for audiobook narration, where vocal clarity, warmth, and nuance are essential.
The recording process was relatively smooth. I completed the narration of the short story in a single sitting, drawing upon my prior work and practice with Altaluna’s character using Chubbuck’s Technique. This method helped me embody the character’s emotions and deliver a natural, compelling performance. However, I encountered a common challenge in voiceover work—mouth dehydration, which can result in clicking sounds that interfere with audio quality. To counter this, I took frequent water breaks to maintain vocal clarity. Fortunately, I was satisfied with my initial recordings and felt no need for excessive retakes, allowing me to maintain consistency in tone and delivery throughout the session.
After completing the recording, I moved on to the post-production phase. I used Logic Pro to edit the vocals, ensuring a clean and polished final product. Additionally, I utilised iZotope RX 11 Elements, an industry-standard audio restoration tool, to remove any unwanted background noise, mouth clicks, and subtle imperfections. This step was crucial in enhancing the overall professional quality of the audiobook, ensuring that the narration sounded seamless and immersive for listeners.
For my second session in the Live Studios, I recorded the voiceover for Aurelia, a character that required both spoken and sung performance. I cast my sister, Siena Baker, for the role, as she is a theatre actress fluent in Italian, making her an ideal choice. Her background in theatre meant she was comfortable with performance, but since she is accustomed to stage acting, her initial takes sounded more theatrical than required for the audiobook format. To achieve the right tone, I provided direction throughout the session and introduced her to Chubbuck’s Technique, guiding her towards a more natural and intimate delivery.
One of the key moments in this recording was capturing her rendition of La Bella Lavanderina, a traditional Italian children’s song. To ensure authenticity, I recorded long takes of her singing and humming, allowing for a more organic and unstructured vocal delivery rather than a rigidly performed piece. This approach helped create a softer, more natural sound that aligned with the audiobook’s atmosphere.
Overall, both recording sessions were successful. I effectively applied my knowledge of voiceover techniques, character development, and audio post-production to create a high-quality audiobook recording that met my creative vision.
Bibliography
Edwards, Jim. “Choosing The Right Microphone.” The Choral Journal, vol. 21, no. 3, 1980, pp. 5–8. JSTOR, http://www.jstor.org/stable/23545594. Accessed 3 Feb. 2025.