The Studio Archives - Dane Reid Media

I Used To Steal Software and Plugins For Voiceover

audio, Studio, Technology & Voiceover, The Studio, voiceover, Voiceover Career

I used to steal software and plugins for voiceover. I started my career with Cubase LE which came as free software with my Emu 1616 audio interface. As I realized the limitations of that software, I wanted to grow but I didn’t have the money to grow. But having friends in audio engineering, I found out that there were ways to get what was called cracked software.

My first cracked software was a Cubase SX. There was a company that was famous for cracking audio software called and I used to find their software either online or through a friend who had it. Cubase 2.1 was how I really learned to produce commercials. But a DAW (Digital Audio Workstation) is only as good as the plugins. So for that, I had to find more cracked software.

Free Plugins? Or Digital Piracy?

The hot plugins of the day were waves plugins. Waves were really good and really expensive. Of everyone that I knew who did audio, maybe only one of them actually bought any of the waves plugins legally. Waves plugins could run 10k for a bundle. Being who I am I had to have the best bundles. I had the waves platinum, mercury and gold bundles at some time in history.

As my career grew, I never really considered buying the actual plugins. They were still out of my reach in price. Plus, what was the point? I was getting them for free. Free beats cheap any day. So I perfected my skills with free software and even upgraded as more cracked software replaced the older versions. I went from Cubase SX to Cubase 2.1. Then I moved on to several Nuendo versions for a few years. Meanwhile, voiceover and commercial orders piled on. I had a nice workflow.

I never shorted on hardware though. I bought my first Neuman for $1500. UA LA 610 for $1400. I owned several computers. A Mac and a PC and a PC laptop. I had travel gear and swapped out several audio interfaces at that time.

The Day It All Went Bad!

So what happened? Well, one morning I got up to do my work. I had several commercials in the pipeline for the day. I fired up my computer and my trusty Emu and then started Nuendo and BAM. Nothing. It wouldn’t start. I tried it again and still nothing. So I restarted the computer hoping that would help. Nothing again. I tried a few times and no result. I was in a bad position.

I called a friend and fellow talent to ask if I could come to his house and record this work and he asked me what had happened. I told him. And his response was something I didn’t expect. He said to me “Why don’t you just buy the software?” I had never thought to actually buy the software. So I did. I bought my first version of Cubase, which was Cubase 5. It cost me $300 at Guitar Center. I came home that morning with my dongle and installed the software and BAM…. Nothing!!

At this point, I’m even more panicked. Installing and getting up and running was much easier with cracked software. So I called Steinberg to help me. I went over several things troubleshooting with the tech before I finally had to admit to the tech that I previously installed unauthorized software. He went silent for a second, and in a judgemental tone said “Well then you have to wipe your entire computer clean and reinstall windows to install Cubase properly.

You can imagine my horror. But I had work to do and the day was coming to a close by now. I got off the phone, backed up as many of my files as I could, and wiped my hard drive. I realized that I had to change at this moment. I did put the plugins back on the computer because I needed them at that moment but over time I began to buy them. I didn’t buy all of them but I bought some.

Pay The Money. It Will Pay You Back!

Over the years I replaced Cubase 5 with Cubase 7 Artist. I also bought Cubase 8 Elements for my mobile rig and then upgraded to Cubase LE AI Elements 9.5. I also bought Cubase Artists 9 for my desktop home studio. That version made all of my 32-bit plugins obsolete so now I had to buy all new plugins. That’s when I bought the Apollo Twin and then the Apollo Arrow with all the plugins for those machines. Now, I can’t steal plugins. I buy them. I also fell in love and buy the Izotope plugins. I have several of those bundles for mixing and mastering. I continue to buy software and plugins for voiceover. For Christmas, I bought UAD’s Manley VoxBox and Valley People Dyna-Mite.

Where To Find Free Software

You don’t even have to steal software and plugins. For plugins, there are literally thousands of free ones online. All you have to do is google free audio plugins. For a DAW everyone knows about Audacity which is free but you can also download a free version of Mixpad which seems better than Audacity.

In my opinion, I get the fact that starting a business or learning a new craft is very expensive, but with free software and plugins for voiceover available now, don’t steal. Don’t steal anything actually. People work hard designing this software and they deserve to make a profit for their efforts. I left some links in the description for Mixpad and Audacity.

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And if you need software and plugins for voiceover or music production, my Rep at Sweetwater is Jason Koons 260-432-8176 ext 1389. Give him a call

Building A Mobile Voiceover Studio – Unboxing UA Arrow

audio, Studio, Technology & Voiceover, The Studio, Travel, voiceover

I started working on a plan to create a full-service, professional mobile voiceover and production studio comparable to my home studio about a year ago. It began when I purchased my Universal Audio Apollo Twin and began tweaking it to get the best sound of my career. Once I realized that Universal also made the UA Arrow, I began planning how to get the best sounding commercials out of a mobile voiceover studio.

Voiceover and audio professionals are very particular about their sound. While it’s the talent that gets you the VO gig, a persons sound can quickly ruin for them. Throughout my career I’ve had moments of sound issues. There have been times when there was noise from the background, or reflection from the room. But in all those moments I was able to fix those issues, except when it came to my mobile voiceover studio. Those issues are much harder to fix.

Because I travel for both business and frequent adventures around the world, it’s important to be able to record wherever I go. I have been caught off guard and had to even record a radio imaging voiceover in the bathroom of IAH moments before I boarded a 10 hour flight to Brazil. I had no other options. It was me, my cell phone and an echoey bathroom and a job that had to be turned in before I landed. I also once recorded in the parking lot at the airport in San Jose, Costa Rica with my mobile voiceover rig. When I listen back on the sound of those recordings, they all sound bad. There are various problems with a mobile studio. The first of which is that you can’t control your environment.

Most talent aren’t recording in the bathroom of an airport. They are recording in a hotel room when on vacation. And mostly these environments are out of the control of and unknown to the voiceover talent before entering the situation. We use things like pillow forts and kaotica eyeballs to get the best sound but I’ve never been able to get the same sound that I get at home. I think part of the reason is that the home studio isn’t mimicked by the mobile studio.

Even though I have a better environment at home, I also have better equipment that filters the environment. At home for example, I have a DBX 166 exclusively to gate noise. As you can imagine, carrying that around “on holiday” would be quite awkward. So instead, whatever hardware I have for the mobile voiceover studio has to do the same as the home studio, but in a much more compact form.

I’ve tried the iRig Mic Studio, the Steinberg UR 22 and most recently the Focusrite 2i2 recording bundle, but none of them gave me the same warm compressed sound that I get at home. And none of them offer the same plug-ins. So when I found out that Universal Audio created a thunderbolt compatible smaller version of the Apollo, I was super excited. The only problem is that my PC was not thunderbolt compatible. So in September of 2018 I bought a Dell XPS 15 (9575). I loved the big bright screen and the portability of it.

I then purchased a gently used Rode NTG3. At home I have a Sennheiser 416 but didn’t want to carry that around with me everywhere I go. It’s a tough piece of gear but it’s also expensive. I was able to get the Rode NTG3 from eBay for only $300. Additionally I purchased several plug ins by Izotope like RX 6 and another Plug-in which cleans up audio that my good friend and colleague Jean Francois Donaldson swore me to secrecy about. Now all I needed was the same interface.

The UA Apollo has grown in popularity among voiceover talent over the past few years. I purchased mine in 2016 at the recommendation of an old High School friend who is now a world class engineer. The plug-ins that come with this thing are incredible and duplicate the sound of some of the greatest analog hardware in the history of gear. Plus the dedicated DSP chip processes the audio on the Apollo itself, relieving your computer of the strain.

The UA Arrow does the same but with one less DSP chip for slightly less power out the box. It offers the same on screen interface to allow you to control your studio like a pro studio. None of the other audio interfaces that I’ve tried had the same level of control. And out of the box, the UA Arrow has the same plug-ins that I mix with like the Precison Rack Strip. The Arrow also has the DBX 160 plug-in and the UA 610 which both recreate the effects of hardware that I use in my home studio. In fact included in both the Arrow and the Apollo are the:

UA 610-B
UA 1176LN Legacy
UA 1176SE Legacy
Ampeg SVT-VR Classic
Marshall Plexi Classic
Precision Channel Strip (Precision Mix Rack Collection)
Precision Reflection Engine (Precision Mix Rack Collection)
Precision Delay Mod (Precision Mix Rack Collection)
Precision Delay Mod L (Precision Mix Rack Collection)
Pultec EQP-1A Legacy
Pultec-Pro Legacy
Teletronix LA-2A Legacy
Raw Distortion
RealVerb Pro

It’s still early. I haven’t fully tested the system with all of the components in an uncontrolled environments. But the elements are there and this is the best hope I have for having a mobile voiceover studio that sounds like my home studio. If you’re an established voiceover talent, please share your experience with the Universal Audio Arrow or with the mobile gear you use. I am always keeping my eye open for new audio tech.

When To Retire Your Old Voiceover Gear

Blog, Studio, The Studio

Whether you’re a Photographer, Videographer, DJ, Graphic Designer or a Voiceover Talent and Producer like myself, you can relate to the hard decision of knowing of “when to retire your old voiceover gear?” There is a old adage that says “If it ain’t broke then don’t fix it. And for many people in many industries, we stick with what we know and works for us. I’m like that to a degree. I love new things but don’t always want to put in the effort to go with the latest and greatest and so I don’t. Meanwhile the latest and greatest flashes across facebook ads and post by fellow voiceover pros who get new audio gear. And that fuels my temptations. But usually unless I really need something, I don’t switch. Recently though, the need became obvious, so I switched out my old gear.

I did a video a few years ago called “What’s in my voiceover studio?” At the time it was about how my studio of some high end gear and some low budget solutions can get you into a pretty productive voiceover career. But as of 2016 some of that gear began to wear, especially the computer. My Dell XPS from 2011 just didn’t want to do the trick anymore. So I tried to do some upgrades but after months of being in denial, it was time. So I consulted my computer guy (Gerald X– Identity Kept Secret To Protect His Family And Friends) who steered me towards a number of great PC’s that would both do audio and some video editing. After much deliberation, I picked the HP Omen because of the graphics card. I upgraded the RAM to 32 gb instantly and I was good to go.. Right? Well No.

Now I’m faced with the other problem. I had been using a single piece of old audio gear since I started my career in late 2004. I was the EMU-1616. This was my audio interface and after getting the new Omen I realized that I couldn’t just attach the EMU to it quite so easily. The place in the back where I attached the audio card in my previous computer, now had upgraded installed ports. So now I’m stuck. It means I have to upgrade yet another piece of my set-up. This wasn’t the plan.

Figuring Out Industry Standards

So I consulted with other talent via conversation and through chats online and decided that I was going to get a Focusrite Scarlett 2i2. I was ready to pull the trigger when an old friend and classmate who is a world renowned audio guy recommended the Universal Audio Apollo Twin. I read up on it and fell in love. It seemed amazing. You mean to tell me all my plug-ins being processed on a separate box and freeing up the processing power of my computer? Plus some of the cleanest audio the industry produces. This is what all the big boys (and gals) were switching to (or had already switched to) and I model myself after the big boys. But there was a slightly higher price. It was triple the price of the 2i2. But I went with it. Plus I bought plug-ins for the UAD plus Izotope RX6, Ozone 8 and Neutron 2. Throw in some video editing software and all in all I spent a good few thousand bucks. Ok more than a FEW!!! Still, I kept using my old computer for nearly a year.

I Don’t Have Time For the Learning Curve

Some of it was fear of the new shiny gear. Some of it was attachment to the old gear. But much of it was that I was too busy earning money with my old gear to learn the new gear. It was more complex than the old stuff. And I couldn’t mess up my clients voiceovers and radio commercials while I figured it all out. And my clients were happy with what they got. They didn’t notice the difference. And legacy clients definitely weren’t gonna pay me more for my steep investment. So I continued using what I knew best. I couldn’t stop the show and restart it.

Facing The Facts

I had to face the facts. As long as I stood still, I was in a state of moving backwards. Because things had progressed in my industry, audio from my collegues was getting better and mine was sounding dated. While loyal clients might not care whats in my home studio, new clients might. My Dell was in it’s last days and I had to make time and not be afraid to mess up with the new gear. When I finally did produce my first commercials with it, the audio sounded like crap. I went back to my old set up but decided not to give up on my more recent investment. So I tried again, and again and again. Finally I got it right. In looking at it, I realized that my old audio gear represented more than just equipment that I was attached to. It represented life, progress and overcoming fear.

Dane Reid is a Voice Over Talent, Event Announcer, Author, Public Speaker, Vlogger, and World Traveler. For booking visit DaneReidMedia.com

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Jeffrey Umberger

Voice Over Talent Agent

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Recording VoiceOver In The Big Voice Over Studio

About Voice Over, Blog, Technology & Voiceover, The Studio

Your agent gives you a call and says that you booked a job that you auditioned for weeks ago. If you are anything like me, you auditioned for it and totally forgot about it, so the call is a welcome surprise. But then you are told that the recording is scheduled to take place at an outside studio. “Ok” This is different but as a pro, I’m ready to record wherever I need to.

But this still takes me for somewhat of a loop. Back in the day recording voiceover almost always took place in big time studios. Some talents were even flown in from whatever city they lived in to record in NY or LA. Some of that still exist but far less than ever before. Technology has eliminated the need for talent to come into “THE BIG STUDIO” as often. Things like ISDN, Source Connect and now new technologies like IpDTL have made giving talent direction in the comforts of their homes a lot more convenient.

And convenience is the name of the game in my voiceover business. I’ve spent a lot of money and time building a home voice over studio with great sound so that I can turn work around quickly to clients. But sometimes clients want VO talent to focus on voicing work and not engineering. That’s when the “In Person Studio Sessions” comes into play.

What To Expect?

When you get into the studio there are several people who may be there. There is the sound engineer, producer, client, copywriter and sometimes other talent. This may vary but you should understand the role of each one of these people in the process. There me be a lot of chatter around you as each person discusses the script, the sound and the voiceover read. Try to pay attention so you can get it just right for everyone in the room, although only one person will give you actual directions. It’s also good to know who everyone is because there may be an opportunity to network here.

Also there will be a script laid out for you, most likely in the booth. You should have received this script before the session but be aware that sometimes there are last minute changes that happened before you got there. Sometimes these changes occur while the client, producer and engineer confer about your read. You won’t always hear what they are saying and this can be nerve wrecking, but be careful not to let this unnerve you. A tense body is never good for your reads.

You Should Be Prepared

Preparation starts before you get to the session. You may get instructions from your agent. Be sure to follow them carefully. Know your lines if they have been given to you. Go back and listen to what you submitted for the audition. You may have recorded several takes and don’t know which one booked so get familiar with all of them and consider new reads just in case. Google the directions to the studio. Know where it is and how long it will take to get there in heavy traffic. Just like with a job interview, you want to get there 15 to 30 minutes early. And just like with a job, be familiar with the product before the interview. You won’t be asked questions about it but it will help you with the read. In the video I recorded related to this blog, I recorded for bump patrol, a product that I actually use.

Lastly remember that you are not recording voiceovers in your own studio. You are in someone else’s territory. Don’t touch anything!! Even if you are familiar with the kind of equipment in the studio, it is not yours. And also remember to dress appropriately. You want to be comfortable but not bummy. I wrote an entire blog on image that you may want to check out. This may be your chance to network for future work. When doing so, be cool about it. People do business with people they like. If they ask you for a card, have one ready, but also remind them that you work through your agent.

Have Fun

With everything to remember you keep in mind that this process should be fun and relaxed. If you spend most of your time in your own studio recording yourself, here is an opportunity for you to record and not have to do any editing. Use your body when needed to get the job out. Ask for feedback. You never get that at home alone. And remember that you booked the job above all other talent who auditioned so there was something they saw in you that got you in the door. Don’t Worry. Be Happy!!

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My Voiceover Studio- A GoPro Experience

About Voice Over, Blog, Studio, Technology & Voiceover, The Studio

One of the most popular video subjects on YouTube amongst Voiceover Talents and recording enthusiast is the subject of what’s in your studio. This topic, no matter how many times its posted and how many ways it’s recorded, always seems to get thousands of views per video.

But this video is done with a twist. I show off and explain my studio using my Gopro Hero Black 3 Edition with a first person view. With my camera strapped to my head, I show you the main elements that keep my studio operating.
Why do people show off their home studios? Some of it is bragging of course. But some of it adds real value to people who are looking to build their own home studio. Many talents are also audio engineers and have expertise in acoustics and pro audio gear and can help other voice talents create the best and most professional sound. Sometimes Voice Talents create these Youtube videos to showcase to clients that they are working with the best gear themselves.
But for me, I just wanted to share. In the spirit of creating great online video content, I wanted to take you on a journey into my world and where I work. Just as a Dr. has a stethoscope, these are the tools that make a great voice actor sound amazing. A pro studio helps you land the job by telling the client that you are serious about your craft. And over the years, I have shown clients how serious I am.
Home recording studios are the center of much controversy too. It gets Voice Talent and audio engineers debating about how much do you really need in a studio to get the best sound. It pits Mac users against P.C. users and friends against one another. (OK, I’m not sure about that last part). But with technology constantly changing, making the home voice over studio smaller and less expensive, it makes you wonder why we even need ALL this stuff… or if we will need it in the next few years.
For now I enjoy my home voiceover studio and all its bulkiness because size does matter in this case. It creates great sound that clients appreciate. For a while, bigger is better for me.
GoPro.com
LookChina.com
Sennheiser.com
Neuman.com
UAudio.com
Owenscorning.com
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Doing Voice Overs and The Blue Screen Of Death

About Voice Over, Blog, Technology & Voiceover, The Studio

What does a Voiceover Talent do when he has no computer? In this day and age most of us are very reliant on our computers: for keeping in touch with family and friends, for entertainment, and if you are anything like me, doing voice overs.

When my PC displayed the most terrifying message that any PC owner can ever see… the dreaded BSOD (otherwise known as the “Blue Screen of Death”), I was left with downtime to fill until it was repaired.

Whether PC or Mac, occasional computer problems occur in all businesses. But in a small business that relies on its computer to produce its sole product, time is critical. While my good friends at Next Level Computers Ricky and Dave came to my rescue, needless to say, I had some free time on my hands.
I have produced hundreds of commercials and done countless voiceovers with this computer. It stays running most of the day and night and gets little rest and takes a lot of abuse. So regular maintenance is essential; Regular maintenance that I don’t perform. So what does a PC-dependent Production Pro do when his computer goes down?
For a full time voice talent, social networking is important and a good way to fill time, but without a computer, social networking is difficult to do. Instead, I found myself wasting time watching TV, searching for lunch and even grooming. But none of that earns you money.

Luckily Ricky and Dave fixed my computer up nicely! They installed a new hard drive and did some necessary Windows Updates (who does that anyways?)
Some people will find this fodder for the PC/Mac debate but the truth is that I am also a Mac user who has sometimes serious issues with my MacBook Pro. So no, this is not the forum for that debate.

Now you tell me, what goes down when your PC goes down?
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30052
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