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Favorite VO Mic
- Thread starter Utopia
- Start date
Depending upon the voice I use the Neumann TLM-103 or the AKG 414-BUL/S. Those are the nicest mics that I have. If I'm looking for a more "radio" sound I use the EV RE-200. For ADR work I usually use the Sennheiser MKH-40.
Working with the talent on mic technique and making them comfortable.
Not yet. I've heard mixed things about the SM7B. It's kind of weird; some people love it so much they want to marry it, others think it was created by the devil...
I can never understand that kind of vehemence. If it works for you, use it; if it doesn't, don't. It's like the Mac vs. PC debate. Your audience doesn't care what was used to create it, all they care about is being entertained.
Oh, BTW, my 414 BUL/S is a really old one, I would guess about 20+ years. I really hate the newer 414s.....
I can never understand that kind of vehemence. If it works for you, use it; if it doesn't, don't. It's like the Mac vs. PC debate. Your audience doesn't care what was used to create it, all they care about is being entertained.
Oh, BTW, my 414 BUL/S is a really old one, I would guess about 20+ years. I really hate the newer 414s.....
Yeah - my 414 EB is my favorite on a voice.
I have tested the SM7B and it doesn't live up to it's expectations. A close 87 on a trained voice talent in a dead room beats it anyday.
But, it all depends on the voice. My 414 beat my custom U47 once, so I put the 47 back in the mic cabinet and used the 414.
Can't argue that the bestselling album of all time was recorded with the SM7B, though.
Have you tried a Royer ribbon mic on a voice yet?
So how do you determine which mic to use on which voice? Do you have 3 of your favorites set up and then test them on the person and then choose? Or do you listen to the person on the phone to get what kind of register the guy has and then choose your mic before he even enters the studio?
Also, what kind of compression are you using as you record or do you use any?
(just let me know if these basic questions are already answered in a blog or something. I just thought I'd ask - good post material)
I have tested the SM7B and it doesn't live up to it's expectations. A close 87 on a trained voice talent in a dead room beats it anyday.
But, it all depends on the voice. My 414 beat my custom U47 once, so I put the 47 back in the mic cabinet and used the 414.
Can't argue that the bestselling album of all time was recorded with the SM7B, though.
Have you tried a Royer ribbon mic on a voice yet?
So how do you determine which mic to use on which voice? Do you have 3 of your favorites set up and then test them on the person and then choose? Or do you listen to the person on the phone to get what kind of register the guy has and then choose your mic before he even enters the studio?
Also, what kind of compression are you using as you record or do you use any?
(just let me know if these basic questions are already answered in a blog or something. I just thought I'd ask - good post material)
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Keep in mind that 95% of my work is audio post.
I start with the TLM-103. If that's not right I'll go to the 414 BUL/S. If that's not right (very unusual) I'll just keep trying until I'm happy. It's amazing but sometimes an inexpensive mic is the right thing. The ATM-41 (a real oldie) is amazing for a relatively inexpensive electro-condenser cardioid; it does a really nice job when I'm doing ADR for production sound matching (just picking up a line or two).
I don't get to play with mics other than what's in my personal collection very often; when I freelance I'm usually just editing. Here's what I've got:
Neumann TLM 103
AKG 414 BUL/S
AKG C-1000S
EV RE-200
EV N/D257A
Beyer TG-X50
Sennheiser MKH-40
Audio Technica ATM-41
Audio Technica AT822
Shure SM58
Most of my work is Foley and sound FX, so what I have gets the job done. I'll rent or borrow on the rare occassion I need something different.
I never do anything to the voice on the way into PT except on occasion a limiter. Music tracking is different, I'll compress a little when doing that. I use a Focusrite VoiceMaster Pro for tracking, it's pretty transparent. When I work with singer/songwriters I like to process MIDI stuff through the Focusrite and play with the "vintage harmonics" to warm things up. When I have the time I'll run MIDI stuff through amps and mic 'em up, or even stomp boxes (I love the Tube Works Real Tube, a buddy got me a different tube than the stock one that really made it sing) or the Tech 21 SansAmp DI to give them some life.
I start with the TLM-103. If that's not right I'll go to the 414 BUL/S. If that's not right (very unusual) I'll just keep trying until I'm happy. It's amazing but sometimes an inexpensive mic is the right thing. The ATM-41 (a real oldie) is amazing for a relatively inexpensive electro-condenser cardioid; it does a really nice job when I'm doing ADR for production sound matching (just picking up a line or two).
I don't get to play with mics other than what's in my personal collection very often; when I freelance I'm usually just editing. Here's what I've got:
Neumann TLM 103
AKG 414 BUL/S
AKG C-1000S
EV RE-200
EV N/D257A
Beyer TG-X50
Sennheiser MKH-40
Audio Technica ATM-41
Audio Technica AT822
Shure SM58
Most of my work is Foley and sound FX, so what I have gets the job done. I'll rent or borrow on the rare occassion I need something different.
I never do anything to the voice on the way into PT except on occasion a limiter. Music tracking is different, I'll compress a little when doing that. I use a Focusrite VoiceMaster Pro for tracking, it's pretty transparent. When I work with singer/songwriters I like to process MIDI stuff through the Focusrite and play with the "vintage harmonics" to warm things up. When I have the time I'll run MIDI stuff through amps and mic 'em up, or even stomp boxes (I love the Tube Works Real Tube, a buddy got me a different tube than the stock one that really made it sing) or the Tech 21 SansAmp DI to give them some life.
That's the way you do it if you have the mic available. However, we were talking about Voice Over, not ADR, although we did touch on it.
Cool -
Do you find the frequency dip in the TLM 103 is helpful to smooth out close-miked narration?
What do you do to handle sibilance?
Do you do anything to handle echo buildup off of the script and stand?
So what is your favorite mic for spot FX in Foley (footsteps? cloth?)
@ussinners: The last ADR job I had it was actually a closer match to a Sein MKH-50 with my Schoeps MK41 capsule with no windscreen on it than the actual MKH-50 they used on set. Interesting, but room acoustics change everything.
Do you find the frequency dip in the TLM 103 is helpful to smooth out close-miked narration?
What do you do to handle sibilance?
Do you do anything to handle echo buildup off of the script and stand?
So what is your favorite mic for spot FX in Foley (footsteps? cloth?)
@ussinners: The last ADR job I had it was actually a closer match to a Sein MKH-50 with my Schoeps MK41 capsule with no windscreen on it than the actual MKH-50 they used on set. Interesting, but room acoustics change everything.