In the new software, each step was just a little different – keyboard commands, menu placement, and dialogs had to be relearned. The Switch to Twisted Wave for Voice RecordingĪs I’ve mentioned before, the switch over to Twisted Wave began a very painful couple of weeks. When Twisted Wave appeared on the scene, it looked an awful lot like what I was already using, but without the overhead of multiple tracks and other tools I simply didn’t need. That actually worked well – Amadeus had plenty of detail in the wave for quick editing, and I simply stopped using all of the multitrack aspects – stripping things down for a very VO-centric working environment. Mimicking the approach of Audition, I started playing with the Amadeus Pro screen layouts and reduced additional tracks to make it behave in a similar fashion.
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The problem at that time, was that it ran only on Windows machines, and I didn’t want to replace my home computer setup. With everything in the same linear window, it was easy to space out multiple takes without stacking up additional tracks. Though it did have a multitrack mode, Audition’s direct waveform editor saw all the action. That approach is great for separating different instrument types and composing songs.Īt the same time, I was also starting to engineer some VO classes on a Windows-based system running Adobe Audition. Those types of recording applications are digital versions of what we used to achieve with a multitrack tape recorder when working in music studios. Both of those are hallmarks of a multitrack recording workflow. I got very used to spreading things across multiple tracks and sliding chunks around within a timeline.
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Using Multitrack Recording Software for Voiceover That let me focus on auditions and getting work out the door. Over several months of regular use, I dialed in my workflow. I got in the habit of putting different audition takes onto different tracks so I could quickly toggle through them using a keyboard command.
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The mouse-controlled zooming and scrubbing let me zip in quickly with great detail to efficiently find edits, and it had an interesting two cursor workflow that adapted well to long-form editing. I tended to end up with chunks of sentences separated by vehicle noise and other sonic interruptions.Īnother voice actor put me on to Amadeus Pro, which was a revelation. My first setup had good acoustic treatment but less than stellar isolation from environmental sounds. On my auditions and projects, most of what I was doing was cleaning up background noises and editing together separated phrases. I always knew when it was about to crash (typically between the third or fourth take), but even when it behaved, I never liked the quality of the audio detail shown onscreen. After first jettisoning Garageband for its very clunky waveform editing, an instructor suggested using Audacity “because it was free…” That lasted only a few short weeks, as back in version 1.3.3, the stability on my machine was not terribly impressive.
It was about the third software I’d tried. When first beginning to deliver voiceover auditions and projects, I found my way to a stable and robust MacOS multitrack recording app called Amadeus Pro. Searching For My First Recording Software We often end up simplifying them to be more efficient. These Digital Audio Workstations (DAWs) can sometimes seem overwhelming in their complexity, especially since they are geared toward multitrack setups and workflows. Some recommend multitrack recording systems. It’s important to use what works for you. If your software helps to get work out the door efficiently and makes sense when you use it, that’s really the only test that matters. I had simplified the workflow away from multitrack.Įveryone has a favorite recording application for voiceover. Audio playing through Amadeus Pro software.
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