about “raw audio”

This is a very important term that will be used throughout the article and throughout your work as a voice actor, so it’s important to understand what it actually means.

What does “raw audio” mean?

RAW AUDIO means source audio (in this case, your voice recording) that is free from any processing, plugins, or post-production.

If you are instructed to deliver your audio raw, this means do not – for example – use normalization, noise reduction, compression, equalization, de-clicker, de-esser, high/low pass filters, etc (these are all common examples of processing that voice actors tend to use on their audio files).

Raw audio means no processing, but it doesn’t mean you must record everything in a single take. It is perfectly acceptable – and expected – to remove mistakes, long silences, or anything else undesirable between lines/takes.

Why might raw audio be requested for an audition?

If the final job is to be recorded remotely, the people in charge of handling the audio (such as an audio engineer, recording studio, or sound design team) need to know what the actor’s home studio actually sounds like. They’d often prefer to have no surprises and know exactly what they’d be working with audio-wise if that particular actor were to be hired.

Additionally, raw audio can help provide a more even baseline to evaluate a bunch of actors’ auditions. If some people submit auditions with zero processing and others apply loads of compression and EQ, the sheer difference in the sound can make it harder to compare the auditions in terms of acting alone.

Why is raw audio typically requested for jobs?

If you are cast for a job, and you do a bunch of your own processing on your file before sending it over to the team, it can actually make the audio engineer’s job much more difficult and time-consuming!

It’s easy to add processing, but once it’s baked into a file you send, it can’t really be taken away. For example, if the client needs specific loudness settings on their final deliverables, but you send audio you’ve already compressed, trying to run it through again to meet specifications can result in an undesirable sound. An engineer might have to spend a lot more time and effort trying to fix someone’s overprocessed audio as opposed to had they just left it alone!

One thing to consider is that if you are in a project with a cast of other actors – such as an animation, video game, or audio drama – the mix team usually has to do a fair amount of work to make all the characters sound as if they are talking to each other in the same location in a scene. One of the challenges with a cast of remote actors is that everyone is recording on different equipment in different spaces, so even if everyone’s setups all individually sound good, it can be difficult to match them together to sound seamless. If each actor tries to process their own audio, it becomes exponentially more difficult for the person mixing to equalize as needed.

Furthermore, while some actors are indeed trained in audio editing, they will rarely know more than a professional audio engineer whose job literally involves working with audio on the technical side. It can be easy as an actor to throw on presets or use settings you found in a YouTube tutorial, but do you know exactly how that effects plugin works or what the numbers mean, as well as how to best apply it to your voice?

For another analogy, imagine you are a photo editor hired to retouch a client’s photo. Instead of sending the regular photo for you to edit, they send you a version with heavy Instagram filters already applied. You want to gradually layer in different artistic choices for the image, but because they’ve already altered it so much themselves without really understanding what the function of each filter is, you’re limited as to what you can do!

If my raw audio needs improvement but can easily be cleaned up with plugins, will I be rejected for a job?

That really depends. Most people do not have perfect, completely silent raw audio—even professional recording studios don’t always sound this way!

The standards your audio is required to meet generally depends on the nature and caliber of the project. If your audio is being evaluated for remote recording with a studio that normally records actors in-person, it may be judged more stringently as it’s got to hold up to what they’re recording at their own facility. But something like an indie game or YouTube video narration or even a commercial may have a bit more leeway, especially if your audio will be mixed down heavily in the final product.

For the most part, the goal is to have reasonably clean source audio. If you have some type of low hum/ambient noise / room tone as many people do to an extent in home studios, they’ll be listening for whether or not this can easily be removed without degrading the sound too much. Other issues like room echo/reflections, however, are much more difficult to cover up in post and may be a deal-breaker depending on how noticeable they are.

Can I still level out my volume if I am requested to submit raw?

Usually, if an audio team requests completely raw audio, this means amplifying and normalizing should also be avoided.

The best way to compensate for this is to watch your gain while recording, set your levels appropriately, and adjust as needed between lines/takes. So if your character has a regular speaking line, a shouting line, and then a quiet more intimate line, you’ll want to be changing your gain in between each of those so that the levels are healthy. Ideally, your audition should not be too loud or too quiet. Get accustomed to looking at your waveform and assessing where your levels are at.

(If you’re not asked to submit raw, then normalization/amplification is generally acceptable to ensure the volume is at a good baseline for the person listening.)

If you record with your gain too high and it “clips”, the line will need to be rerecorded—simply bringing down the volume will not get rid of distortion from audio that peaked too high. Clipping audio may be considered a dealbreaker for an audition, unless the final job would record in-studio.

editing audio for auditions

There is no one-size-fits-all answer as to how much editing is acceptable to do for an audition, as everyone has different preferences. The aim here is to provide some general baseline for what might be desired or expected.

THE BOTTOM LINE: ALWAYS FOLLOW INSTRUCTIONS IF ANY ARE GIVEN.

If an audition does specify to submit raw audio, don’t try to cheat your way out of it by thinking “I’ll just apply a little tiny bit of noise reduction and hope they won’t notice”—if an experienced audio engineer happens to be reviewing your file (as sometimes happens if you must be cleared for technical quality before casting), chances are they WILL notice. In a worst-case scenario, it will brand you as being dishonest about your setup and technical capabilities, which can reflect negatively on you as an actor. Plus, what would happen if you were to do a live session over something like Source Connect where the studio would be receiving your audio in real time and you wouldn’t be able to cover it up with plugins?

Rest assured that if you are the perfect fit for the job acting-wise, but there is some small issue technically, chances are they will be willing to work with you to help get it up to spec.

Does cutting selected takes together count as “editing”?

While you are technically “editing” your file, you’re not doing any PROCESSING, so this does still count as raw audio for the purposes of an audition! It is completely normal to try multiple reads of each line, select your best one and cut them together for the sake of an audition.

As you become more comfortable with editing your auditions, you’ll find it’s somewhat common to “Frankenstein” takes together if you like the first half of one take and the second half of another take. The key to this is that it has to sound natural. Listen back critically. Does your Frankensteined take sound fluid, like it was recorded in one go? If not, use it as a “listen and repeat” reference to rerecord a full take. Careful editing is needed when splicing takes together so that you don’t have audible editing pops/cuts, or spacing that sounds jarring.

Of course, you should also be removing any mistakes, long pauses, or noises in between lines. As long as you are not using plugins or processing over the file, it’s okay to manually remove undesirable noises and cut lines together.

How much space should I leave between lines in an audition?

Some people prefer to edit their auditions “tighter” than others, but you should typically leave one quick beat between each line of an audition. You certainly don’t want a long period of silence between one audition line and the next (casting directors often have a hundred or more auditions to go through), but you also don’t want to edit so tightly that one line immediately jumps to the next with no room for transition in the listener’s head.

Should I remove breaths?

Opinions vary on whether to leave breaths in, or to remove them. If you’re auditioning for character work, many times the breath work can add emotional presence to the scene, and should be left in (removing ALL breaths for this type of work can sound strange/unnatural.) But for narration or commercial auditions (especially commercials which require everything to be fit in a short amount of time), you may need to cut a lot of the breaths out. Just make sure that there aren’t any jarring cuts from silencing or removing breaths – use fading as needed, and/or simply reduce the volume of some of the breaths so they’re not as noticeable.

A general rule is that if a breath is distracting (such as a big gasp of air between long phrases), cut it out. If not, it’s OK to leave them in.

The benefits of turning in a clean file

If raw audio is not requested or expected, doing a bit of cleanup on your audition can be beneficial.

The primary reason is that your audition is your first impression with that casting director or client. If your audio sounds sloppy or less than polished, it may be distracting, or potentially even seem like you can’t record with professional quality. While a listener who knows the ins and outs of audio will know that certain things can easily be cleaned up in post, a less experience client may just think they’re stuck with what they get.

Voice actor Natalie Van Sistine, who has also worked as an audio engineer, notes that “Both my booking rate and the scope of the jobs I’ve booked have increased since I started editing. I think it’s because your audio is more likely to sound like the finished product and it’s much easier for the client to picture what you would sound like if they were to cast you.”

Instead of the listener having to imagine what you would sound like with clean audio, show them! The key is to keep it subtle, so that your read still sounds natural overall.

What are some examples of situations where doing a bit of processing might be acceptable?

• The final job would record in-studio, so your home setup is not a factor in casting.
• The audition is to be reviewed by an end client who likely does not have their own audio team and isn’t working with a sound engineer, to where they would expect “polished” audio for an audition.
• The final job would likely require the actor to turn in “finished” audio.
• The job is listed on an online casting site where those reviewing auditions are likely not audio experts and may view a submission negatively if they don’t realize something could be fixed in post.
• It’s a smaller hobby/indie type job where not as much emphasis is placed on the technical side of things.

THE GOLDEN RULE: LESS IS MORE.

If you don’t know what you’re doing with effects, leave your file alone! Chances are you will make your audio sound worse by slapping on plugins if you don’t understand what the settings actually do. Before introducing anything new to your effects chain, it’s recommended to watch or read a tutorial on how it works and take a bit of time to dial in the settings that work for YOUR voice and setup specifically. Tutorials and built-in presets may be able to give you suggestions for settings, but they’re not one-size-fits-all. For example, de-esser settings that work great for one actor might result in a lisping effect for another.

Additionally, overprocessing your audio can leave your read sounding less natural, which is undesirable in a day and age where many casting breakdowns specify things like “real, conversational, not overacted, not a sales pitch,” etc. Using too much compression, for example, can take the natural dynamic highs and lows out of your read and give it almost a “radio announcer” sound if you’re not careful.

examples of potentially acceptable processing

The following are examples of some of the processing actors may prefer to do on their auditions, and the reasoning behind it. This does NOT mean you need to or necessarily should use all of these tools (remember: less is more, only use what you need to, and don’t process if they ask for raw audio), but they are listed here for informational purposes.

Noise reduction

Noise reduction (also called “de-noise”) is perhaps the most common plugin voice actors tend to use on their auditions. Ideally, you want to tackle issues at the source so that your noise floor is as low as possible (for example: turning off fans or noisy AC units), but sometimes there’s just a low-frequency hum or hiss as part of your general room sound that can be hard to get rid of. Mary Morgan uses a plugin to remove low-frequency sounds that “are not audible unless you turn the volume all the way up, [but] because some clients will do that to check how good the audio is, I make sure it cleans up any unwanted hums or buzzes, no matter how faint.”

While some DAWs have a built-in noise reduction plugin that you can choose to activate, many actors prefer to purchase third-party plugins such as Izotope RX Voice De-noise or Waves NS1 Noise Suppressor, which automatically analyze the audio to separate voice from ambient room noise.

However, it’s very easy to go overkill on noise reduction if you’re not careful! Overdoing the noise reduction can strip some of the frequencies from the vocal track as well, and result in an almost tinny or robotic sound.

Normalization

Normalizing your audio can help bring the overall levels up or down so that your file is not either too loud or too quiet. A general rule of thumb is to normalize to -6 for files where the levels are fairly even throughout (such as a commercial or narration audition), and -3 for files where the levels are more dynamic (such as an animation or video game audition). These are not hard and fast rules by any means, and setting your gain appropriately in the first place means you don’t have to worry about normalizing at all, but it can help in cases where you missed the mark a little on an otherwise good take.

There are also cases where you may need to even out your volume manually for the sake of consistency. Remember that many people will be listening with headphones when reviewing auditions, and a quiet line immediately followed by a loud line can be jarring.

De-esser

A de-esser aims to reduce the high frequencies caused by sibilance (harsh “s”-type sounds). Some people are naturally more sibilant than others, and if you feel you have a problem with this (or are using a microphone that tends to emphasize sibilance), a de-esser can help reduce those sounds so they are not grating to the listener.

It’s important not to go overboard with de-essing, as cutting these frequencies too much can result in the opposite effect and make it sound like you are lisping. If you don’t have an issue with sibilance, then you can probably skip the de-esser.

De-click

De-click is another common type of plugin favored by voice actors to help reduce mouth noises and other undesirable sounds. While mouth clicks happen to virtually everyone – and should ideally be mitigated at the source by staying hydrated and using proper microphone placement – you may wish to remove them if they distract from an otherwise good audition take.

A de-click plugin can sometimes be too heavy over an entire track, so some actors prefer to edit out any overly distracting mouth noises manually using the spectrogram view in their recording software of choice. Generally however, you do not need to worry about removing these noises from an audition unless they are overly noticeable, and sometimes it’s simply more practical to just redo the take than to spend a bunch of time fussing with it in post.

Compression and/or equalization

Provided you know how to use these tools properly, they can make your audio sound more professional and broadcast-ready. Using some compression and/or EQ with a light hand can be beneficial in a case where you’re not expected to submit raw. However, it is very easy to overcompress if you are not careful. Remember, having some dynamics in your audio is normal! If everything is virtually the same volume and sounds “in-your-face” (and if the waveform comes out looking like a giant brick), it will come across as unnatural, and more like an oldschool “Sunday, Sunday, SUNDAY” car commercial.

If you’re not experienced in how to EQ properly, it’s best to avoid it. “It’s really easy for us on the production and audio side to tell when someone does this and we would rather hear what you really sound like—-[and] what your setup actually sounds like,” says Christian Banas.

!! AVOID: Pitch shifting, special effects

You should not digitally alter the pitch of your voice when sending auditions. Not only can it be seen as misleading, it often sounds unnatural and is normally used only for special effects or stylistic purposes. Stick to your authentic vocal range, and they will pitch it on their end if it’s needed.

Even if you happen to be auditioning for some type of monster/creature/zombie, audition how you would normally do the voice if you were actually in the booth—they will apply any edits needed. (If you really can’t help yourself and feel the client would be impressed with how your creature sounds with processing, include your natural take first and the processed version as a take two.)

Generally speaking, you should never apply vocal effects such as reverb, telephone/walkie-talkie filters, or robot effects—unless it is specifically asked for by the client or casting director as part of the audition process, which is rare. The point of an audition is to evaluate your acting and how well you fit the character, and adding effects that wouldn’t be added until post-production anyway will just detract from that purpose.

!! AVOID: Sound effects and music

This shouldn’t need to be said, but just in case: don’t add sound effects or music to your voice acting auditions. While these are used in demo reels as part of the point of a demo reel is for the listener to imagine how your performance might sound in a final production, there is no reason to add them to an audition and it will probably just result in your audition being thrown out entirely. Remember, the purpose of an audition is to evaluate your voice and ACTING, so resist the urge to rely on gimmicks.

submitting final audio for jobs

What happens if you make it past the audition process, are cast for a voiceover job, and have to deliver your audio for a client? What type of processing should you do, if any?

General rule of thumb: KEEP IT RAW!

Unless you are requested to submit “finished” audio, assume that the team you are working with will be handling the editing and mastering. If it’s with a recording studio, they’ll have in-house engineers, or for something like a game dev team they may be contracting their own sound designer. Having each actor do their own processing makes it much more difficult to master everyone’s audio for final mix.

Remote recording for live sessions

If you are doing a remote, directed session and asked to record audio on your end – either as the final track or as a backup for something like Source Nexus, this audio should be delivered raw. You may feel free to deliver it as one long file with all takes included, though more experienced actors may prefer to start and stop the recording in between lines to make it easier for the client to pick selected takes without wading through long pauses and in-between chatter. It is almost never expected for the actor to perform editing or processing on live session audio, and if they are asking you do to things outside the scope of your job as an actor – like pulling selects or marking takes – then you should be paid extra for it.

General preferred export settings

Always follow instructions first and foremost, but if none are specified, then a 48k, 24-bit WAV file is generally considered an industry standard for deliverables.

In contrast to auditions, which are usually done in MP3 format as they are just for demonstration purposes and the smaller file size is preferable, chances are if you are hired for a job, you will be expected to provide the actual recording in WAV format. This is so that the team can work with uncompressed, lossless audio for futher editing/processing/export. You can read a little more about the differences between MP3 and WAV here and here, but the general rule is “MP3 for auditions, WAV for final recordings, unless requested otherwise.”

Is there any situation in which one might not submit raw audio for a final job?

If you’re working with a client who isn’t experienced in audio and isn’t hiring someone to do this for them, there’s a chance they may expect the file to be “ready to go” – for instance, to drop in over a video to be displayed on their YouTube channel, or to render as an e-Learning module for employee training. These clients may sometimes favor “plug and play” audio that does not require any additional work on their end to be ready for the purposes they need.

However, it’s better to ask than to assume, as you don’t want to do a bunch of extra work for nothing (and if you add processing without saving the original version of file, you’ll suddenly be in a bad situation if they ask for the raw). It’s a good idea to check in with your client regarding audio expectations prior to beginning work—ex: “Just so we’re on the same page, would you like me to do any cleanup or processing of the audio before sending it over, or would you prefer to have the raws so you can handle this on your end?”

Another possible major exception to the “submit raw” rule is for audiobook narrators. While occasionally these may be outsourced to a separate audio editor, narrators are often responsible for doing their own editing, adhering to specific guidelines in the process. For example, ACX has a list of detailed requirements for audiobook narrators submitting through their platform, and achieving certain requirements would be virtually impossible without some level of mastering.

Even if you’re in a situation where you do master your own audio, it’s smart to keep a backup of the raw file just in case there are any issues or adjustments requested by the client.

closing comments

While a little processing here and there can enhance an otherwise stellar audition, the harsh saying “you can’t polish a turd” is true for a reason. If your home setup is so noisy that you have to run your audio through a million different plugins to make it sound halfway decent, you’re working longer and harder to put a bandaid on a problem that is, more likely than not, still noticeable in some way. “I want to hire someone who has a good audio set up and who has to apply minimal editing,” says voice actor and casting director Sarah Ruth Thomas. “If the talent wants to apply a bit of noise reduction and edit out some mouth noises, no problem. What I don’t want is audio that is so heavily edited it can no longer be worked with.”

general takeaways regarding editing + processing auditions

• Get your audio as clean as possible at the source level (low noise floor, acoustically treated space, good mic technique, proper gain settings, etc)
• If asked to send auditions RAW, that means no noise removal, no plugins, no processing—no matter how minimal. The only thing you should be doing is cutting your final take of each audition line together.
• If you’re auditioning to record remotely with a professional studio, raw audio is preferred so they may make an honest evaluation of your home recording quality and get ahead of any potential issues.
• Some processing may be acceptable in situations where a professional studio is not involved and a casting director or end client is reviewing the audio directly, but remember that less is more. Any processing should enhance, not detract from, the quality of your voice and acting.
• If splicing takes together, make sure it sounds seamless and natural. Utilize fades if necessary.
• Cut excessive silence between lines; use just enough of a beat to allow the listener to transition from one audition line to the next.
• Silence or lower the volume of loud breaths if they are distracting and if they don’t add emotional context to the line. Be sure to edit as seamlessly as possible so it doesn’t create a jarring cut.
• Ride your gain properly. If it clips, redo the line. Don’t turn in auditions that are either way too loud or way too quiet—-normalize to somewhere in the middle if you’re not sure.
• If you have some sort of hum or hiss that is impossible to remove from the source, you may use a light form of noise reduction (just enough to get the unwanted noise out). 
• Noticeable mouth clicks or other unwanted noises can be removed if distracting.
• Compression and EQ should typically be avoided in auditions unless you are experienced with audio and know how to use these plugins properly and with a light hand so they do not detract from your performance.
• If your audition is going to be reviewed by an audio engineer before being passed along, let them handle any needed processing rather than attempting to do it yourself.
• When in doubt, the rule of thumb is, for auditions, to simply turn in audio that sounds clean and professional without any distracting noise.

Need additional help?

There are plenty of free tutorials on places like YouTube or Reddit, and you can look up techniques for your software of choice. You can also search or ask questions in the #audio-and-tech channel on our Discord server!