Though I’ve recorded voiceovers for the networks inside closets in war zones and motel rooms in the middle of hurricanes, those kind of crisis scenarios are the exception to the rule. In most cases, the engineer wants to create a space that is comfortable for the voiceover talent. Be sure to have water or hot tea available for scratchy voices and make the process as relaxed as possible.

A common misconception about recording professional sounding voiceovers is that an isolated sound booth is necessary. It’s not. In fact, an open room is often just fine if treated correctly. Even Frank Sinatra preferred to sing in an open room.

Many try to isolate the microphone by putting acoustic foam behind the microphone. This makes little sense because when using a directional mic the polar pattern is aimed the opposite way. It is better to put acoustic foam behind the voice talent so that it blocks sounds going into the mic. In an open room, this technique provides the greater isolation from extraneous sounds. Also, be sure to offer the talent a headphone mix. Some don’t want it, but many feel more secure hearing themselves. Always have it available.

One of the most important choices is the type of microphone used. There are three main types used for voiceovers: condenser, dynamic and ribbon. If you are working with a range of male and female talent on different days, it is best to have at least one of each type of mic. Matching the right microphone to the voice can make a good narration sound great.

The most popular choice is a large diaphragm, cardioid condenser microphone. For most voices, it is considered a go-to microphone. However, dynamic microphones often work better for narrators with loud, shrill or sibilant voices that can trip up condenser mics. Dynamic microphones are also better at handling higher signal levels.

The third choice is the ribbon microphone, which is where broadcast voiceovers began in the 1930s. Today’s ribbons are better, more durable, lower in cost and have active circuitry. Ribbon mics often sound warmer and darker than condenser or dynamic mics. They roll off higher frequencies and boost the bottom end. With any mic — especially ribbon models — use a pop shield at all times.

Also, pay attention to polar patterns, which are crucial to the sound of each mic. Each pattern has its strengths and weaknesses and knowing these will lead to a better sounding voiceover. Cardioid and figure-of-eight polar patterns offer a bass boost the closer you get to them. This is called proximity effect. This effect can be useful if you want to make the sound of weaker voices richer and fuller. But it can also be overpowering if used with the wrong voice. Omni-directional polar patterns don’t exhibit the proximity effect.

One of the great skills needed by the voiceover engineer is microphone placement. Begin by putting the mic about six inches from the talent. Move the pop shield onto another mic stand and put it where it is needed to prevent plosives. When positioning the mic, make sure the diaphragm of the mic is in line with the talent’s mouth to achieve the most natural sound.

Experimentation with polar patterns and microphone types and placement are the most important skills the engineer brings to this task. Like any sound job, what seems easy can quickly become difficult when the engineer is thrown a curve. Outside of the traditional studio setting, it is important to be ready for anything.