The timbre of the human voice in the context of location sound for film is unfixed/undefined. This being the result of changing microphone positions in relation to the sound source; the dynamic range of the voice itself, the location and variations in equipment over the course of filming.

Therefore a solution needed to be investigated in terms of prescribing EQ and compression to the dialogue in post. Due to the dynamic nature of location sound, it is not simply a case of applying the same EQ and compression settings to each actor or actress but to somehow mimic or counteract in post what the recording engineer is doing on set. One such method is splitting up all the dialogue onto separate tracks that hold certain sonic similarities and setting up an EQ on that track. Through experimentation with this however, I found the plugin settings were still too generalised for the on location variances coupled with the mass requirement of processing power for the multitude of tracks and plugins set up.

Another method is using the Audiosuite function on Pro Tools and applying a permanent EQ to each clip. This however, requires a great confidence in ones abilities and should any mistakes be made they are rendered unretrievable if playlists have not been set up containing the original recordings.

After parading the forums I discovered a reoccurring procedure practiced by post-production engineers of which utlise a method known as ‘Snapshot Automation’. Snapshot Automation allows you to EQ each clip in linear-like fashion by taking a snapshot of the plugins’ parameters, write the settings into automation and repeat until all required clip treatment has taken place. Simon Price of Sound On Sound provides the following instructions:

• Ensure the plug-in’s parameters are already enabled for automation (see last month).
• Drag out a selection in the timeline across the section that will receive the new settings. The selection should only be in the track with the vocals (in this example).
• Now open the Automation Enable window from the Windows menu, and disarm recording for all types of parameters except plug-ins (parameters are safe when not highlighted).
• This next step might not make sense, but I’ll come back to why it’s necessary a bit later on: before changing anything, go to the Edit menu, and select ‘Write Automation… / to all Enabled parameters’.
• From the Automation Enable Window, select Suspend, make sure you are in Loop Playback mode, and hit Play.
• Pro Tools will now loop around the selection you made in the timeline, and you can play with your EQ to find that radio effect. Automation playback is suspended, so you won’t be fighting with any controls.
• When you’re happy with your new setup for the plug-in, leave playback rolling and again select ‘Edit / Write Automation… / to all Enabled parameters’. This will now have written your complete EQ setup to the area under the selection.
• You can verify that it’s worked by rewinding a bit, taking the system out of Automation Suspend (again, from the Automation Enable window), and playing through. You should see the plug-in’s controls suddenly jump to their correct places when you cross the boundaries.

With this ability, one can apply the same thinking to the threshold parameter of compression plugins. More often than not, the performer will raise and quieten their voice and similarly to equalisation, compression needs to react to the changing elements of the recording in order to avoid unwanted artefacts to over compression or sharp, spiky transients not being controlled by correctly setting the parameters. By gently massaging the compressor settings, one can create a beautiful flowing and natural sounding dialogue that is clear, concise and retains clarity and diction.