When I check out voice over demos from my colleagues, the first thing I listen to is their E Learning or IVR demos. Why? Because there isn’t all kinds of music and sound effects as one hears in commercial or promo demos. You hear the full quality of their voice, and the true quality of their studio. You can hear if their room is tubby/heavy on bass or has too many early reflections. If their preamps and mic sparkle and have that extra special sauce, you can hear it. In short, you hear their raw voice over samples without much post-production, and what quality of files they send to their clients. I regularly check the quality of my colleagues’ work to make sure my clients are getting unprocessed audio files of the highest standard.
An increasing number of production houses and talent rosters, especially in Europe, are asking for raw voice over samples as well as finished demos. This is what my most recent raw voice over sample sounds like. I deliberately chose some slower paced copy so you can accurately here the noise floor level and the reflections.
Starting with Quality Studio Acoustics
My studio has acoustic panels and bass traps from GIK Acoustic. Instead of recording in a tubby booth, I record in my 20′ x 15′ studio. To tame some of the larger wall areas I have several hanging double-thick acoustic blankets from Vocal Booth to Go. And I have covered my desk’s top with deep shag carpet, avoiding the bad effects of large reflective desks. Professionally produced demos are great for showing off a voice over talent’s chops. But there is a question of Truth in Advertising. Can you really deliver high quality sounding audio files, or does all the sizzle in your reel come from the demo producer’s post-production skills? Sometimes a well produced demo can mask the ugly truth about a voice over studio.
The Voice Over Signal Chain
For clean, clear voice over audio, I keep a clean, clear voice over signal chain. Let’s trace that chain from my voice to the digitized audio. First, there is my voice. Next, the sound waves from my voice pass through an Octo – 824S pop filter from The Hook Studios. From there, the sound enters the front end of my Rode NTG3 shotgun microphone. The Rode is just like a Sennheiser MKH 416 but with better bass response and the same self noise level but hotter output.
From the microphone, the analogue signal flows down my Mogami Gold XLR cables into my GAP Pre -73 Mk III microphone preamplifier. The preamp is set to 30 dB gain and 70% Output, HPF at 40 Hz -6 dB per octave, and Air Channel + 3 dB at 30 kHz. The analog signal then goes line out to my Focusrite Scarlett 2i2 Second Generation Audio Interface for digital conversion. The Scarlett is line input with the gain turned down to zero so as to minimize the effect of the Scarlett preamps to negligible since they cannot be bypassed. Finally, the digital signal goes to my REAPER DAW, which captures the Raw Voice Over Sample you heard above.
I’m pleased to now offer to live directed sessions with Source-Connect for voice over. Robert Marshall, Co-Founder of the Source-Connect company, Source Elements, went above and beyond with a call to go through the set up, use, and features of this powerful ISDN replacement tool. While I use REAPER as my DAW, it is fully supported by Source Connect. We successfully tested the remote control video sync playback for dubbing.
Speaking of dubbing, that’s part of the reason why I’m going with Source-Connect for voice over and no longer subscribe to ipDTL. I love ipDTL, and it’s a fantastic tool for podcasting and broadcasting. But, it doesn’t have video playback for dubbing/ADR. I paid for the full package for ipDTL, including the dedicated Los Angeles ISDN number, and none of my clients wanted to use it.
In fact, my European clients who had both ipDTL and the similar SessionLink Pro were using the latter exclusively over ipDTL. They found their SessionLink Pro connections to be better and of higher quality with fewer artifacts, and we could do video playback with it.
Ease of Use for Remote Voice Over Sessions
This brought me back to a core value: providing the right tools for my clients. If a client wants to do an ipDTL session and they own a subscription, I can still log into their session. But choice isn’t mine as the voice over talent. Over the years, I managed to encourage a few corporate clients to try ipDTL; but in general they are not interested. Lately, they prefer to use Go To Meeting or Skype for Business because most of these projects require conference calls hosted in an office, not in a production studio.
ipDTL confused too many of my corporate clients. Podcasters and broadcasters understand it, but not business people. It took me an hour once to show a video game producer in the UK how to set up her laptop for ipDTL. And on top of that, the Opus Codec on which ipDTL runs is highly unreliable on Windows 10 for a substantial number of users. Note that on September 18, 2018 they launched a big update of Opus Codec which hopefully fixes many issues. Check my previous post on alternatives to Chrome for Opus Codec streaming.
Source-Connect is the Right Tool for My Clients
I realized that my Corporate, E-Learning, and Explainer Video clients don’t need ipDTL at all. My studio is covered for them with phone patch or Skype, Go To Meeting, and so on. But for commercial, animation, and dubbing, I need the right tools. Those tools are ISDN and Source-Connect. Major American production studios have adopted Source-Connect; and accept them going through their firewalls, which is not the case with Opus Codec solutions. As for ISDN, I have access to many nearby Atlanta recording studios for ISDN sessions. From my own studio, I’m happy to offer Source-Connect for voice over. An added bonus I can offer for live sessions is with my Yamaha MG10XU USB mixer, I can playback takes on demand whether using Source-Connect, ipDTL, or SessionLink Pro. It’s all about having the best tools for my clients.
Want to have an engaging social media presence? Use Twitter for Voice Over instead of having water cooler talk with voice over colleagues on Facebook. Personally, it’s my favorite platform because of the diversity of instantly available profiles. You don’t just see your friends, family, and work colleagues as on Facebook. It isn’t just experts and work-related articles as found on LinkedIn. The people who create content are very active on Twitter and they want to engage.
Recently at VO Atlanta I had the pleasure to attend Heather Costa’s terrific presentation on making the most of Twitter. Follow her and these top Twitter voice over people. What I’m about to share here are the few tips that weren’t brought up in her presentation that I find helpful. If you’re just getting started on Twitter, I recommend the guide for doing so at Gravy for the Brain.
Five Tips for Making the Most of Twitter for Voice Over
1.) Keep an even ratio of followers to those you are following.
Rule number one for Twitter for Voice Over shows that you aren’t just following everyone and that your profile has a quality feed worth following. Whenever my number of those I’m following gets too high, I go through and unfollow those profiles which are the least active or who have become inactive. When I do that, I find that I get a few more followers as a result. Related to this, try to follow people who are active on Twitter and have high quality content worth re-tweeting or commenting upon. Also, be sure to follow people who are selective in who they follow. I followed a well known voice over coach who followed over 105,000 people, but didn’t vet them very well. As a result, my Twitter feed filled up with some toxic profiles. I unfollowed that coach!
2.) Improve the signal-to-noise ratio with Advanced Muting.
Eliminating noise is done with Advanced Muting. If you don’t want to have your feed cluttered with political posts about the current president, just mute his or her name and terms related to their policies (note how I made this future-proof and non-partisan)! Make your feed your Twitter for Voiceover. Keep it from being hijacked by the agendas of others.
3.) Do advanced searches for what you’re looking for.
One of the most powerful Twitter for Voice Over tools isn’t “under the hood” in the Twitter settings. It’s Twitter Advanced Search which lives at its own clunky URL here: https://twitter.com/search-advanced. It’s so powerful that listing all the capabilities would require its own blog post, so instead have a look at it below:
4.) Keep your Twitter unique from your other social media accounts.
This should be an obvious point, but it is not adhered to enough. If I notice that most of someone’s tweets are just Facebook or Instagram posts bumped over automatically, I unfollow that Twitter Profile. It shows a lack of invested interest in engaging with others on Twitter, which is what Twitter for Voice Over should be all about. Similarly, I lose interest in profiles that have scheduled tweets for the very same reason. It shows a willingness to be heard, but not to listen. Scheduled tweets stand out to me like sponsored posts. The are obvious and lack spontaneity.
5.) Be yourself.
Share your personality, beliefs, and interests. Nobody wants you to just talk about your business 24/7. I’m not particularly into finance, but I follow financial experts who share a healthy mix of their personal interests and thoughts along with their expertise. Ask questions. Be curious. Learn. If all you tweet about is your voice over talent, you’ll only be followed by other voice over talents. You already have Facebook for that!
Now, if you are a little too personal or outspoken on Twitter in the past, there are two ways to clean that up. First, use the Advanced Search feature mentioned above. Second, if you want to blast out multiple old tweets from 2013 when you thought the world was flat, use the free multiple deleting tool Twitlan.
Enjoy Twitter for Voice Over and I’ll see you in the Twitterverse: @V01C30V3R !
Welcome the the Voice Over Blog and Links Hall of Fame. Tired of social media platforms? Miss news readers and active forums? Want to get right to the source with some of the best quality content out there related to voice over recording and production? Tired of foodie and cat lover pics on Instagram? Then you have come to the right place! You are welcome to suggest blogs and links in the comments section. Thank you.
Nobody is Getting Rich Producing E Learning Voice Over Demos
If you run a search for E Learning Voice Over Demo Production/Producer you probably won’t find what you’re looking for. Oh, there are all kinds of terrific producers for hire that help voice over talents develop sensational demo reels. However, they are for Commercial and Promo Demos that have many fast moving clips of 3 to 10 seconds. They’re dramatic, and have lots of music, sound effects, and audio processing.
None of that applies when it comes to an E Learning Voice Over Demo. The clips should each be at least 10 seconds long to show the ability to carry a narrative. There should be no music or sound effects, unless they’re from actual client finished-program audio: and even then, it can distract from the voice over. As for audio processing, a voice over talent ideally should have excellent audio as-is with minimal processing. The studio should have an extremely low noise floor, with great acoustic treatment minimizing any early or late reflections. So how does one make an E Learning Demo that is exciting for the prospective client? That is what really matters.
An E Learning Voice Over Demo is Like All Demos, Without the Bells and Whistles
The truth is, the same rules apply for curating an E Learning Voice Over Demo as for a Commercial or Promo demo. That is, all voice over demos need to show talent performing all the different major styles and categories of the genre. My Commercial Demo for example has bank, toy, car, food, sport, and retail spots. In addition, these categories of spots are performed in different styles. They are “guy next door”, “wholesome dad”, “comic character”, “upbeat announcer”, “dramatic gravitas”, and “confident announcer” in tone. I produced my E Learning Demo editing together clips from actual E Learning projects I’ve worked on in the past year. The clips are:
Friendly Peer for a Financial Institution
Conversational Expert for Safety Training
Instructional Voice for explaining Training Navigation
Engaging Coach Character for Gamification
Knowledgeable Peer for Technical Training
Reassuring Peer for Introductions and Closing Reviews
It’s no sexy sizzle reel, but making effective E Learning programs are an art, and an effective E Learning Voice Over Demo shows that your voice over production services contribute and add to that art. And that’s sexy.
English is a global language, with over 430 million people speaking it as their first language. But it is also the global business language, with estimates that 1 to 1.5 billion people speak English as their second language. To reach this audience, many of my corporate and commercial voice over clients produce media in English even if it isn’t specifically targeted to countries where English is the primary language. The way most people speak English around the world isn’t American. It isn’t British English either. So what is the alternative for a global business voice over? There is the Neutral Accent English Voiceover. But what is that? Let’s first examine what it is not, and then discuss what it is and when it is the right choice for your media.
The Neutral Accent: What it is Not
Many of my voice over colleagues in the US and UK dismiss the Neutral Accent as a non-existent myth: an affectation. They cite cheesy Americanized radio DJs in the UK, or the way movie stars and the elite spoke in the US in the first half of the 20th century. However, that is the Trans-Atlantic or Mid-Atlantic Accent. And my colleagues are right that it is an affectation. It relies on several characteristics that the Neutral Accent English voice do not have:
A high register/pitched voice
Dropped “R” sound (non-rhotic)
Over-pronounced hard “T” sound
Deliberate or conscious attempt to shift vowel placing from American to English RP (Received Pronunciation), even if not fully so.
Neutral Accent English in the Real World
Every day, Neutral Accent English is spoken by millions of people outside of the US, UK, Canada, and Australia. It is the accent of Global Business Voice Over. My German and French clients who are fluent in English speak it. Anyone from a country where English is not the native language, but learned it well, speaks it. They don’t try to sound American or British. It’s not possible, because Neutral Accent English has:
A lower register/pitched voice
Pronounced “R” sounds
Neutral “T” sounds
No deliberate attempt to adapt vowels or phrasing/song to American or British
So when is Neutral Accent English the right choice for your voice over? I’ll cite the reasons my clients give. First, when you want a global business voice over that isn’t distinctively English or American. My German, French, and Scandinavian clients often request this voice. Second, when it is for an English Language channel in, for example, Amsterdam or Dubai. I have recorded commercials and corporate videos in both of those markets with Neutral Accent English. Finally, another good reason to chose such a voice would be for an international trade fair, international e-learning, or a commercial to air in multiple countries. A great resource for international English voice overs are bi-lingual voice talent. You can find some of them on my list of international voice over talent.
To hear my 60 second demo of voice over clips using Neutral Accent English Voiceover press play below. Thank you for reading!
Voice Over Recording and Editing with REAPER: Just like Audition
Voice Over recording and editing with REAPER just like one would do in Edit Mode of Adobe Audition is not only possible, it’s easy and more powerful. Admittedly, I looked at Reaper several times in the past and it seemed too complicated, and I couldn’t figure out how to make quick time selection edits which are crucial for VO editing. But then I found a hack by that makes it just like editing in Edit mode in Adobe Audition. The video on how to do it is here at The Booth Junkies YouTube Channel. You just set up a Action command key to do four steps at once. It takes one minute to set it up. Okay, maybe two or three with a good cup of tea or coffee.
1.) Go to the Actions menu
2.) Choose “Show Actions List”
3.) Then drag and drop the following actions into the custom actions section:
1.) “Set Ripple Editing Per Track” 2.) “Item: Split Items at Time Selection” 3.) “Time Selection: Remove contents of time selection (moving later items)” 4.) “Go to end of time selection”
4.) Set a key shortcut and name for these Custom Actions (I chose “Delete”). I also then set “0” for deleting sections of track Items so I could do that as well.
Yes, there is a learning curve with REAPER, but I got it up to speed in three days and I’m doing e-learning editing, etc. with it. In principle, I’m not paying Adobe a likely $3k over the next decade in their quest to replace human voices with digital ones. You know that Audition is not going to be $19.99 a month ten years from now, right? But you get so much more with using REAPER over Adobe Audition, and for only a $225 one-time payment, which also covers upgrades through version 6.99. That should leave you set for about a decade. There is a 60-day free trial period, and if you are making less than $20,000 with REAPER, the non-commercial license is $60. Another nice bonus over Audition is according to the terms, “If you own multiple computers, you may install the same license key on all of them, as long as you only use REAPER on one computer at a time.”
Doing More with REAPER than with Audition
Once you’ve worked out how to do voice over recording and editing with REAPER, you will soon see that it’s incredibly powerful, similar to DAWs like Cubase. There is fully customizable punch and roll capabilities. In Audition, there is only a nice but limited free Add-On to do so. REAPER also has spectral editing, but what I love is the Spectral Peaks capability, so you can really see what the words are in the wavelengths. Here’s an example below. Different peak frequencies appear in different colors. Perfect for unicorn-lovers and chasing away the drab interface of Audition.
Note two other things in the screenshot above. You can drop in markers as you record (the red lines), and the grey/gray separation lines are for the ‘items’ that are automatically created when you make an edit. No more confusion as in Audition as to what you actually just cut, especially since REAPER is ‘non-destructive’ editing. I added in the little track icon for the shotgun mic, one of the nice features for labeling tracks.
You can apply effects, such as noise reduction, to the whole track or selections. Honestly find the built in dynamic processing in REAPER to be superior in quality and speed to that of Audition. As for VST plug-in use, I noticed that running Izotope RX6 Elements Noise Reduction had better latency and quicker rendering with REAPER.
Another nice feature is that you don’t “Save” keeper takes/files. You “Render” them. So, when I’m done with a voice over I select the time parameters with the cursor and Render the time selection to a computer Directory. On Adobe, it just shows you the time it will take to Save. In REAPER DAW it pops up a window with a live-generated waveform and metering levels of the audio. So you can see ahead of time if the exported levels are correct, and if there’s any clipping. Sweet!
Time-Stretching Audio and Video Editing with REAPER DAW
One of my biggest beefs with Adobe Audition is their gimmicky pre-sets without the power to do substantial things. For example, you can play-back at 2x speed with Audition. That’s helpful for editing long narration, but with even the latest Audition CC 2018 any hard consonants come across as popped plosives. And 2x is a bit too fast for intelligible playback. Even basic Sound Forge lets one play back at custom speeds and the playback is flawless. With REAPER, the playback at higher slider-selected speed it excellent. Just remember to set it back to 1.0 when you Render your files, otherwise it will save it at the fast speed! When I first made this mistake I realized something: REAPER’s time-stretching/compressing power. You can shorten or lengthen audio and it sounds perfect. Just press ALT and move the cursor to the edge of an Item. You can pull it out or in. It will re-set to the new speed to fill in the space. You can make a :30 a :20 and it doesn’t sound artificial like it does in Audition. Whenever I tried to make time changes of more than 8% there would be all kinds of staggered sounds. Not so with REAPER! Here’s a :12 clip followed by it again sped waaaay up to :09. And this edit was done using an mp3, not even a loss-less file!
And yes, when you make these changes when working with a video file, it will change the video timing too! You can make simple video edits within REAPER. If you copy, delete, or paste a section of the audio, it will do the same to the video. Pretty cool stuff. If you are working on Windows, in order to work with video in REAPER you will need to download the free VLC Media Player available here.
So far so good – after using Audition for much of my voice over career I’ve switched to REAPER and I’m doing more with it than I ever did with Audition. I’ll post more as I learn new tricks and tips. For now, there’s a great amount of YouTube videos on voice over recording and editing with REAPER that are extremely helpful. I encourage you to go check them out as I will be doing when I have the time!
Why You Need Alternatives to Chrome for Audio Streaming
There are many resources now for streaming audio over an internet browser, such as ipDTL, SessionLinkPro, and Bodalgocall. While conventional wisdom says to use such streaming services on a Chrome browser, that’s not necessarily your only, or best, choice. There are now also many alternatives to Chrome for audio streaming voice over studio connections. Chrome uses the Opus Codec for streaming audio, but what is Chrome? It’s an Open Source Chromium browser. The difference between a Chrome and Chromium browser is well explained in this How-To Geek article. There are many of those other than Chrome, and they’re not made by Alphabet / Google. So, in fact, you can use these services in most cases with any Open Source Chromium browser such as Opera or Yandex. I was the first voice over talent to test ipDTL on either of those browsers and I regularly run my sessions with the Opera browser. But why would you need alternatives to Chrome for Audio Streaming? Consider the following four points:
Chrome is a big resource drain on computers. Enough said.
Google is always stripping out or killing off programs and capabilities, as well as releasing incompatible upgrades. Can you trust Chrome will always work?
Privacy concerns. If you don’t already know how invasive Google is, Bing or Duck Duck Go it.
Redundancy and backup services. Always good policy to have backups in the toolbox for audio streaming voice over in case Chrome lets you down.
Your Options with Google and Microsoft.
Outside of Opera and Yandex, there is another Chrome solution other than the latest Chrome browser. The support staff at ipDTL recommends using the M57 and not the latest version of Chrome. ipDTL has also released stable Chromium versions which are free to download at the Facebook ipDTL Users Group. Join up, and then search for Chromium Browsers. I highly recommend the group for all your technical questions related to ipDTL, and they’re very quick and helpful with their responses.
As for the Edge browser, they’re getting closer to supporting Opus Codec for streaming but dragging their heels. Recall that a few years back Microsoft promised a Skype TX high-quality audio streaming voice over service but that was all hype and no action. Not even an alpha version was developed. So, don’t hold your breath for that.
Streaming Audio with Firefox Quantum.
However, Firefox has upped their game in so many ways with the new Firefox Quantum browser. It’s fast, stable, and works with almost any application or site. Most of all, while Firefox has supported Opus Codec since 2012, it now supports audio streaming solutions. I’ve successfully used it on many sessions on Windows 10 with ipDTL and SessionLink Pro. Still, there is not complete support/compatibility with Firefox Quantum, but it’s very close. I asked Kevin Leach of In:Quality, the company behind ipDTL and he replied:
“Frustratingly, Firefox has always been slightly behind the Blink based browsers such as Chrome in terms of what we need to get the best out of ipDTL. That said, it’s come on some way recently and you can now run ipDTL in Firefox with just a couple of limitations, and this is a neat solution for those who have had audio problems between Chrome and Windows 10.
We’ve actually been throwing some of our own development effort into Firefox recently – as its open source structure allows us to do so – which should hopefully see things like output device selection being possible in the near future. This means that we’ll soon be able to announce full support for Firefox in ipDTL, allowing for greater flexibility in browser choice. Our contribution here will also benefit users of ipDTL ‘lookalike’ apps.”
So there you have it. If you need alternatives to Chrome for audio streaming voice over studio connections you have several choices: M57 Chrome, Custom Chromium, Opera, Yandex, and Firefox Quantum.
Good luck, and here’s wishing you a great session!
When hiring a voice over talent and fixing your budget for your project, there are many variables to consider. Yet all of which can be addressed with current and accurate Voice Over Rate Guides. Especially relevant are these questions:
Union or Non-Union talent?
What size of market? Which domestic or international markets?
Duration of use?
Which media? Web Usage is not inexpensive anymore, and is now more in line with conventional broadcast.
Union and Non-Union Rates
First, let’s look at the current rates for Union Voice Over Talent with the SAG/AFTRA rate calculator. This is an excellent interactive guide to show producers exactly how much a union voice over costs and what the money goes to. Even as a non-union voice talent in a ‘Right to Work’ state, I use these standards as an important reference. An eight-week option for an internet-only commercial is $1833.30. The days of a couple hundred bucks for internet use as a side item is long past.
If you have selected a non-union voice over talent, The Global Voice Over Academy (GVAA) has an excellent rate guide for Non-Union voice over work. As well as detailing non-union and union rates for radio, television, corporate, and E-Learning voice overs, it features a breakdown for rates by US markets. Most noteworthy is the newest addition to the rates: the overview of Web Usage. This is imperative as ‘internet only’ isn’t an excuse anymore for low budgets. Furthermore, the internet is now just as important as television or radio and in many cases has greater reach and impact. The GVAA guide Web Usage covers:
Commercial Web-Only: Paid Placement, Pre-Roll
Social Media Usage
Non-Commercial Informational Web Videos
Internet Streaming Radio
Internet Closed Platform Radio
Digital Greeting Cards
International Voice Over Rate Guides
Gravy for the Brain put out another comprehensive rate guide for all types of media for the UK market. While I’ve seen rates slip a bit for the UK lately, especially for explainer videos, I hope this and other voice over rate guides will help reverse that trend.
In addition, French voix-off talent Thomas Dormoy discusses various rates in France in his blog here. I find that his rates are the same as my experiences with working for French clients. For a list of other recommended international voice talents, please see my post here.
One of the better European markets for requiring American English voice overs is Poland. As a result I’ve had the pleasure of working for many producers and talent rosters there, and the rate guide at Mikrofonika is thorough and well-presented. Hence, it gives a good benchmark also for comparing to other European markets outside of the UK, France, and Germany. And they have great creative projects too, like the one here where I play Leon the Cat!
Remember, just as no voice over talent is one-size-fits-all, rates will vary depending on the market, usage, and experience level of the talent. However, it is great that for both producers and talents alike that SAG/AFTRA and the GVAA have put together such comprehensive and easy-to-follow voice over rate guides. Most importantly, they both have addressed the prevalence of Web Usage and that it should be paid for accordingly.
Finally, if any of you have access to rate guides in various international markets, please write to me. I’ll add them to this post and be sure to credit you. Thank you!
Adobe has greatly improved Audition CC 2018 with its new release making it a more flexible and powerful DAW for voice over post-production.
What does that mean for you as an audio engineer, a voice over client, or a voice over talent?
Some of the more notable features are:
Auto-ducking of music beds via the Essential Sound panel.
Support for the Mackie HUI control surface protocol.
New updated version of the discontinued Premiere Pro Dynamics
Impressive Generate Speech function. I was able to turn a 30 minute script into a high-quality male or female computer voice in 90 seconds. The functionality of this is basic for Windows but comprehensive and very powerful on Mac versions.
Learning How to Make the Most of Audition
To make the most out of Adobe Audition CC 2018, you must change a setting they reversed for monitoring inputs. All one needs to do is uncheck the “Enable Smart Monitoring” preference. Otherwise, your monitoring will loopback while recording. Choose “Preferences>Multitrack>When Arming Tracks For Record>Enable Smart Monitoring”. Then to monitor while recording, click the “I” button on the channel strip. Nice of Adobe not to warn anybody about this ahead of time, but now you know!
Audio Engineer Mike Russell has a helpful YouTube playlist of all his video tutorials about using the new features in practice.
I’ve really enjoyed using AA CC 2017 this year as an upgrade to my previous Adobe Audition 3 recording software. My only two complaints have been the obvious ones shared by other users. First, the subscription price is steep compared to other DAWs. Second, automatic upgrades have been deleting user Keyboard Shortcuts.
Note that when you upgrade from Audition CC 2017 to the 2018 version check to see if you will have to re-enter those Keyboard Shortcuts. Mine saved perfectly, thankfully. Also, you will need to re-load your VST and VST3 plugins, and then assign shortcuts for those. Perhaps most importantly, make sure that you go to Edit > Preferences > Audio Hardware to make sure it is seeing your settings for your audio interface properly. It will default to MME in most Windows computers, so be sure to select ASIO under “Device Class” drop-down menu in the Audio Hardware page.
The Essential Sound Panel will be very helpful for audio editors when mixing sound and narration. My favorite preset in name at least is “That Public Radio Sound” which indeed does not disappoint, just like the rest of this new Audition upgrade. My hope is that most of these presets are not-very subtle, especially the impact of compression, and that most people will adhere to the rule “if you notice the effect of an Effect, dial it back.” But it’s nice to have these tools in the kit with Adobe Audition CC 2018 for Voice Over Production. I’m finding that the Vocal Enhancer setting which has male and female settings are pretty much a set it and forget it solution for full sounding voice over auditions, and could be a great tool for editors on a tight schedule.