Voodoo Sound

16/06/2026

Coffee, people, sound, repeat. That pretty much sums up a fair chunk of my week. One minute I might be helping a voice actor work out why their home studio sounds boxy, next minute it is a podcaster trying to get their setup under control.

Then it is mic placement, recording levels, room noise, software weirdness, or someone saying, “I’m pretty sure I’ve made this harder than it needs to be.” Which, to be fair, audio is very good at doing.

That is a big part of why I started Just Ask Robbo. Not to make everyone an audio engineer, just to help people record with a bit more confidence, a bit less guesswork, and a lot less tech stress.

Because most of the time, you do not need more gear. You need to know what is happening, why it is happening, and what to fix first, preferably before the coffee goes cold.
Coffee, people, sound, repeat. That pretty much sums up a fair chunk of my week. One minute I might be helping a voice actor work out why their home studio sounds boxy, the next minute it is a podcaster trying to get their setup under control.

08/06/2026

Ever tried to connect on Source Connect and discovered one person is on version 3 and the other is on version 4?

Fun little moment, isn’t it?

In this episode of A Minute on Your Mic, I walk through the Source Connect Bridge, which is basically the translator that lets V3 and V4 talk to each other.

It’s not quite the perfect world setup, but it can save a session from turning into a panic-driven button clicking festival.

The main thing to remember is that the Bridge runs in 30 minute blocks, so if the session is going longer, someone needs to keep an eye on it and extend the time.

Boring prep first.

Less swearing later.

Watch the video here.

26/05/2026

Big welcome to Voodoo Sound’s newest stakeholder.

Anthony Albanese now owns 47% of the business, despite never editing a promo, mixing a session, chasing a client invoice, or surviving a single radio network “tiny tweak”.

Still, here he is at the console making sure he gets his share.

At least he hasn’t touched the compressors yet.

26/05/2026

Your microphone doesn’t hear you the same way from every position.

And that’s a good thing.

In this episode of A Minute on Your Mic, I’m talking about how moving closer to, or further away from, the mic can change the whole feel of a voiceover read.

A close, warm, personal script might need a different mic position to something bigger, brighter, or more projected.

It’s not just about avoiding pops.

It’s not just about getting the level right.

Mic technique can help shape the performance.

Same voice.
Same mic.
Different picture.

If your recordings never quite match the read you’re trying to give, your mic position might be part of the problem.

Another quick one from Just Ask Robbo.

21/05/2026

Flashback Friday: Codral, a train station, and a tiny dinosaur with parenting advice.

Here’s one from a couple of years back for Codral, produced remotely from my home studio for Grace Sheridan at Prodigious, via Saatchi & Saatchi.

This is the sort of job I love.

A great little idea, a slightly bonkers visual, a character that has no business giving cold and flu advice, and a production path where everyone still needs it to sound polished, connected, and ready to go, even though we’re not all sitting in the same room.

That’s where a few years behind the glass starts to come in handy.

Remote production only works when the tech disappears, the talent feels looked after, the producer gets what they need, and the session keeps moving without becoming a circus.

Well… unless the circus involves a dinosaur suit at a train station. In which case, carry on.

Always nice looking back on fun jobs like this.

And yes, if you need voice direction, remote recording, audio post, cleanup, polish, or someone who can keep the whole thing calm while a talking dinosaur keyring saves the day, I’m around.

18/05/2026

I was reminded today of retired Navy SEAL Admiral William McRaven’s “make your bed” speech. Years ago, I also spoke to ex-Navy SEAL team leader Leif Babin on The Mojo Radio Show, and we touched on a similar idea.

McRaven’s and Babbit's point was simple: start the day by completing one small task properly, and you set the tone for everything that follows.

The point was never really the bed. It was the intent behind it, and that got me thinking about voiceover.

For a voice actor, the equivalent probably isn’t making the bed. It might be warming up before the first audition, checking the booth before you hit record, it might simply be taking 30 seconds to arrive before the first take.

Sometimes the first three takes aren’t bad because the talent can’t do it. They’re bad because the talent hasn’t arrived yet. The body is in the booth.

The brain is still in the inbox. The voice is still waiting for the day to catch up.

A small routine before recording isn’t about being precious. It’s a signal:

I’m here.
I’m ready.
This matters.

And from what I’ve heard over the years, the mic usually knows the difference.

03/11/2025

Ever wondered what “cardioid” actually means?

It’s not a heart condition — it’s the shape your mic listens in. ❤️‍🔥

In the first episode of A Minute on Your Mic, I break down what cardioid pickup patterns really do, and how to find the sweet spot for a clean, pro sound.

🎧 Featuring the RØDE NT1 5th Gen, Neumann TLM 103, RØDE NTG4+, and the classic Sennheiser 416.

Got a mic myth you want busted next week? Drop it in the comments 👇

13/10/2025

I saw a post yesterday about common mistakes in voice-over auditions, and I reckon it’s worth adding a few thoughts from the audio engineer’s side of the glass.

After listening to thousands of auditions over 36 years, here’s a few tips to help you turn that Audition into a paying gig:

1. Loudness matters, but restraint wins.
Normalize to around -3 to -1 dB, sure, but go easy on compression and limiting. Over-processed reads scream “amateur,” not “broadcast ready.”

2. Fix your booth before you fix your mix.
No plugin on earth can cure a boomy, boxy room. Parallel walls, tiny booths, and thin foam are the usual suspects.

3. Cover your bases.
Do one read that hits the brief, then another that’s unmistakably you.

4. Follow the brief.
Down to the filename. Every detail is a reflection of how easy (or not) you’ll be to work with.

5. Flow beats punctuation.
A natural, connected read will always sound more believable than a chopped-up one.

6. Keep your signal chain consistent.
Switching mics, preamps, or plugins between auditions makes it impossible to track what’s helping or hurting you. Consistency builds confidence.

7. Name your files properly.
You wouldn’t believe how many times I see "Untitled 1" pop up in casting sessions with some major agencies. It’s a small thing that leaves a big impression.

Great performances deserve great sound. Don’t lose the gig before they even hit play.

27/08/2025

If your demo sounds safe, flat, and perfect… you’ve just made it easier for AI to take your gig.

That’s the kind of read a synthetic voice can churn out in seconds.

So what’s the alternative?
👉 Watch the video, I’ll show you why your demo needs to prove you’re human, not replaceable.

What do you think, what’s one thing AI still can’t do in a VO booth?

07/08/2025

Post-production nightmare: VO recorded with a gate.

I’ve had voiceover files come in where the audio is so mangled by gating that it’s basically unusable.

And you know what that means?
🚫 Missed deadlines
🚫 Lost gigs
🚫 Annoyed producers

In this new On The Grid, I break down:

Why gating your VO kills the quality

What happens when you add compression after gating

What to do instead if you need to clean up noise

🎧 Watch: https://youtu.be/eRZRFctcoZI
📞 Book help: JustAskRobbo.com

Stop using gates on your voiceovers! Seriously—if you’re gating your VO, you’re making life harder for yourself and anyone mixing your audio. In this episode...