<![CDATA[JEFFREYNBAKER.COM - Blog]]>Wed, 04 Dec 2019 07:35:04 -0500Weebly<![CDATA[DIY Sound Booth]]>Mon, 21 Oct 2019 04:00:00 GMThttp://jeffreynbaker.com/blog/diy-sound-booth​I think we've all done our fair share of looking at Whisper Rooms, or similar branded sound booths. For us starting out that price tag is... yeah. So we start looking at other options. I'd run across one site that just sells the plans for a Whisper Room like construction for around $60. Not too bad, if you also have the skills or access to equipment and labor for the construction. With some more digging I ran across VocalBooth To Go

I believe it was on YouTube that I found it, but there they have two videos showing how to build a PVC frame to hang their specialty blankets from. It's a super simple design and easy to construct with just the items you can find at a Lowe's or Home Depot. Seeing as how I needed to get away from the HVAC that I had setup near originally, I figured it was time to clear out the workroom in the basement to make room for the new booth.

Item List
  • 10 ft., 1" PVC poles (8)
  • 1" T Connector (14)
  • 1" 90 degree connector (10)
  • PVC Pipe Cutter (MUST HAVE! You'll save so much time and energy)
  • PVC Glue (Optional. Get this if you're ready to make it permanent.)
  • Moving Blankets (3) (I opted to use blankets from Harbor Freight. They're roughly $9 a piece and I doubt much different than what VBTG is going to offer.)
  • Grommet and Setter (6 along short side, product lists each part as a piece on the box. So a set of 12 is really 6. You'll need 36 total)
  • Zip Ties

First things first, off to Lowe's to get the materials!
I decided to buy 10 poles instead of 8, just in case I screwed up something. I did a lot of pre-planning and sketching but I always want to make sure I have what I need. It's always frustrating to be knee deep into a project and find out you don't have enough material.

Next I marked out the length of all the pieces I'd need to construct the top and bottom frames, then used the PVC Pipe cutter to get everything I needed. What's great is that you can get just about everything you need from the poles. I think I did have to dip into the ninth pole because I miscalculated one cut. Again, glad I bought more!

The first video provided by VocalBooth To Go makes a 3x3x6 booth. I wanted a bit more room than that to accommodate the arm of my mic, so I decided to make a 4x4x6 instead. I did some mathing and edited their original design (based off their video on how to expand the booth to anysize you need) to get to that size. Spoiler, I failed at the mathing and instead made a 4x3.5x6. Not sure how that happened. But, it worked out for me in the end so I can't complain.

Here is a list of all the lengths and cuts of material you'll need. (Note, this is to make my LxW booth. Some of your measurements may vary depending on what you need.)
  • Vertical Poles (8) 78"
  • Horizontal (7) 27"
  • Expanders (12) 7 11/16" (These are normally 1.5" connector pieces between the Elbows and T's. I needed them longer in order to expand the length and width of the booth.)
  • Mini Connectors (4) 1 1/2"
Once the cutting is done, the hard part is over really. From there you just start snapping the parts together to make the top and bottom frame. The top consists of:
  • Horizontal (4)
  • Expander (6)
  • T's (8)
  • Elbow (4)
  • Mini Connector (2)
The bottom:
  • Horizontal (3)
  • Expander (6)
  • T's (6)
  • Elbow (6)
  • Mini Connector (2)
The bottom construction is slightly different as there is a gap designed to act as a "doorway." For how to put all this together I recommend watching the VBTG videos I linked above. They're short and easy to follow.
And there it is. Everything is put together and in place. I put down some anti-fatigue mat foam to help my poor feet and to also combat reflections from coming off the concrete floor.

After this its as simple as putting in the grommets on the blankets and zip tying them to the frame. I put the back blanket on first and then for the front, slightly overlapped them, tying end grommets over one another in order to have a slit doorway. Once all that was done, I threw another, thinner blanket over the top!
I haven't been able to test it out just yet. But the location is what has been most important. It's in a finished basement with four concrete walls and underground. There is another door between the booth and the living area. I'm now several walls and dozen of feet away from the HVAC system and water pipes (which I used to be RIGHT NEXT to).

I'm pumped to see how it goes. Maybe I'll get a sample recording and put it up here. I'll need to, because I know for certain my FX stack is about to have some major changes to accommodate the new space.
<![CDATA[Red Light Syndrome]]>Thu, 10 Oct 2019 13:32:23 GMThttp://jeffreynbaker.com/blog/red-light-syndromeIf you've never heard of Red Light Syndrome, then let's turn to our trusty (as trusty as anything on the internet can be at least) friend Urban Dictionary: where a person has musical talent, but once they are being recorded, they fall to pieces. While the definition is taking about musical talent, I think some of us voice actors still can suffer from a varying degree of Red Light Syndrome. Speaking for myself, I don't fall to pieces, but something a bit more sinister happens.

I forget how to play.

For some reason I just clam up ever so slightly. As if I'm being constrained by the mic. And in so doing my personality, the thing that will sell a client on ME, gets diminished. I can even feel it. Before I start recording I'll do some runthroughs and find how I want to tackle the copy. I find where I want to go with it and then hit the record button. WHOMP! Just like that I feel like I start holding back. Which causes me to have to do more takes then I would like to get myself up to where I need to be. 

Thankfully I haven't found my RLS to be debilitating. But instead just more frustrating. Because I can tell I haven't been able to be my authentic self. Which means holding back on my unique voice, thus holding me back on giving a potential client the voice they're looking for. 

It's something to work on. Being able to identify the problem is the first step to fixing it. Do you suffer from Red Light Syndrome? If you do, how do you combat it?
<![CDATA[WoVO]]>Tue, 08 Oct 2019 14:38:42 GMThttp://jeffreynbaker.com/blog/wovoLast month I took the opportunity to invest in myself, and invest in my career. I took the plunge and joined the World-Voices Organization as an Associate member. And man have I been blown away by this group. What an incredible resource they are and supportive group. I have already met some major talents in the industry and created -- what I hope to be -- lasting relationships. 

My first career and still current day job is as an animator. I consider it to have been a side step on my road to being a voice actor. They are twin loves for sure. As I pursued that career as a young person it was late in that education that I learned how important a mentorship can be. Especially for the arts. A formal art education is... problematic. I have a full rant on that which I can save for later. But suffice to say it has become my belief that finding a mentor should be one of the top five goals for an artist.

There is something magical that happens when working one-on-one with another artist. The passion between the two of you is symbiotic. Having mentored young animators I have been on the other side. As you teach, you begin to solidify all the information you've taken over the years. Your knowledge of what you just do naturally cements further. There are times you can even have ah-ha moments as the teacher! And watching your mentee flower and "get it" is an amazing reward. 

So no matter how far I go within WoVO -- and I do hope its far as they are an amazing group of voice over professionals -- I can say that even at this level I'm happy to have joined. I'm fired up having just hour long phone calls with incredible talents. Getting their insight, and already learning what I need to tweak in my work to take myself to the next level.