by Garth Smith on December 6, 2012
Troubleshooting ISDN connection problems in a voice over session can be frustrating for voice talent and audio engineers alike. If you have ever connected to another studio via ISDN and failed to frame or ‘sync up’, it is likely that the two codecs were configured differently. Successful voiceover sessions via ISDN are only possible when both codecs are configured with the same parameters. While many ISDN codecs have auto-negotiation features that allow the unit to set bit rate and algorithm settings upon connection, relying on auto-negotiation still might not get you framed because there are some important parameters that an auto-negotiation will not change, such as the “Decoder Independent” setting on Musicam Primas and RoadRunners.
What is Decoder Independent?
The “Decoder Independent” setting is a crucial parameter for Musicam-to-Telos connections. Digital codecs made by Telos are inherently ‘Decoder Independent’, which means that the Encoder and Decoder can be set to different algorithms (MPEG Layer 2, Layer 3, G.722, etc). With Musicam codecs, this parameter can be changed. Therefore when an ISDN connection is initiated between a Musicam box and a Telos box, it is the responsibility of the owner of the Musicam codec to be sure they are configured to ‘talk’ with the Telos. Changing the Decoder Independent status from ‘No’ to ‘Yes’ allows Musicam and Telos codecs to sync up, providing all other parameters are the same.
Using Speed Dials to Configure
Using factory programmed speed dials is the best way to ensure proper configuration when setting up for an ISDN voice over session. Speed Dials on a Musicam codec can not only dial a set of saved ISDN numbers, they can also perform a Quick Configuration. The Quick Configuration speed dials are preprogrammed with dozens of the most commonly used configurations. The Prima and RoadRunner user-manuals contain detailed charts of the the Quick Configuration speed dials and their respective parameters. The Musicam website offers downloadable PDF versions if you no longer have your manual. Here is an example of the preprogrammed Telos Zephyr configuration for the Prima:
To use a Quick Configuration, determine the settings that you need, press the “SDIAL” button, enter the number from the left hand column on the chart, and then press “Enter”. This procedure will configure your codec with the parameters from that specific chart row.
Should a connection problem arise, it is very useful to have a print-out of your codec’s Quick Configuration speed dials handy. Most of the time, simply punching in the typical Telos or Musicam speed dial will enable you to frame with another ISDN codec. However, sometimes there may be other problems besides the configuration. By knowing that your codec is configured correctly, you can proceed with troubleshooting other areas of concern.
Using Musicam Test Lines
Musicam hosts several lines for testing connections. These test lines are available 24/7 and allow users to connect to one of Musicam’s in-house codecs. The Musicam test lines continuously send music back to your codec which is useful for determining whether you can make outgoing calls and if your ISDN lines are functioning as they should.
These are just a few examples of how the user-manual speed dial chart can help you. The preprogrammed speed dials are a great feature that all Musicam codec owners should be familiar with.
Here is a simple speed dial cheat-sheet for the most common Musicam codecs:
Musicam CDQ Prima & Prima LT – Musicam Codec Configuration: Speed Dial 35
Musicam CDQ Prima & Prima LT – Telos Codec Configuration: Speed Dial 37
Musicam RoadRunner – Musicam Codec Configuration: Speed Dial 18
Musicam RoadRunner – Telos Codec Configuration: Speed Dial 19
by Anitta Conlon on November 27, 2012
Creating great voice overs is a process. It’s not just up to the voice talent to deliver. It’s a team effort that starts with the writer, goes thru the Creative Director to the Producer, who collaborates with the talent to get the final product. What sometimes gets lost in the shuffle are the contributions of the audio engineer. He or she can be a valuable asset in getting the read just right. It’s up to you to take advantage of them in every way you can.
And trust me, taking advantage of an audio engineer is easy… 
Let’s count the ways.
Air Traffic Control
It’s a big session with lots of voice talent lined up. One talent is running late, another is early, you’re stuck in traffic, and your client is wondering what’s up. Isn’t it nice to know someone has your back? Helping ensure a smooth session from beginning to end is part of the job description of an audio engineer – take advantage of it.
Fresh Perspective
As a writer or creative director, you have probably been working on your script for awhile now. It can sometimes be hard to see the forest for the trees. The audio engineer is often seeing the script for the first time when the session begins. This gives them the chance to interpret the script with a perspective you no longer have and possibly bring new ideas to the table. Chances are your engineer has a good idea or two – take advantage of it.
Did You Hear That?
Your audio engineer’s ears are different than yours. Not in a weird misshapen kinda way. More like a ‘Did-you-hear-that-less-than-pristine-audio?’ kinda way. You are listening for the style, the inflection, and pace of the voice over. What you may miss are the popped P’s, the sibilant S’s, the breaks in the voice, and the drop outs in the audio. This is especially true if you are listening in via phone patch. You can‘t always count on the voice talent to pick up on these blemishes either. That’s why it’s always good to have the ears of your audio engineer around to make sure that the quality of the read is up to par. Your audio engineer is really good at hearing the stuff you don’t – take advantage of it.
Copy Cuts
Voice over sessions often involve some script editing. As such, audio engineers tend to become adept at editing copy, particularly when the goal is getting the script in time. Listen, Creatives ‘create’. It’s not in their nature to remove words. Your audio engineer gets that and can help you identify the fluff. Sometimes less is more. Your audio engineer can help you bring that 75 second script in for a safe landing at 59.5 – take advantage of it.
Audio Wrangling
Great voice talent + great copy = great voice over, right? Most of the time, yes. But every now and then the ‘perfect read’ still needs a little massaging. A pickup or two seamlessly edited into place; A distracting breath removed with the click of a mouse; Finding a way to make that :61 second read magically become :59, All done while you wait. Your audio engineer has an awesome set of tools – take advantage of it.
Time is Money
Nobody likes a clock watcher. Unless that clock watcher is making sure you don’t blow your production budget with a bloated voice over session. There are many ways to turn a 15 minute session into an hour and a half. It helps to have someone there to make sure you stay on track and keep your session running smoothly and efficiently. Your audio engineer will help you save time and money if you let them – take advantage of it.
Lost in translation
In every voice over session, it’s important that the director and the voice talent communicate effectively. For those times when the talent and director seem to be speaking different languages, it’s good to have a third voice to bridge the communication gap. Often times your engineer will have experience in working with the voice talent from other sessions. This helps them to understand better how to push their buttons and get the end result the director may be looking for. Your audio engineer speaks Voice Talent-ese – take advantage of it.
Looking out for number one (and numbers two and three)
A good engineer has three interests to protect in every session. The first is the interest of the director. They’re paying the freight. They have a vision. Listening to the direction and assisting in bringing that vision to life is job number one.
The second interest is that of the voice talent. You’ve hired them because they are pros. Their opinion matters too. A good engineer will translate, mediate, and find solutions to the problems that crop up in sessions.
The third interest to look out for is that of the script. In every piece of copy there is a message to deliver, whether it’s price and item copy for a grocery store or an animated character for a cartoon. Your engineer should help you tune into that message and make sure the subtleties don’t get overlooked. Your audio engineer has everyone’s best interest at heart – take advantage of it.
Everyone has their own area of specialty. Success is ensured if you hire good people and let them do what they do best. Your audio engineer is there to help you get a great voice over. Rely on them. You’ll be happy you did.
