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steins · 8th March 2009

I sometimes do VO for educational stuff. In my experience, the room (or rather, lack of room) is the most important part. Silent chairs, a clean, noise-free environment and a good VO talent comes second. Then, the gear. I usually set up a Se Reflection filter behind the mic and 3 MiniTraps behind the talent to minimize unwanted reflections. My room is good-sounding for music, but not dead enough for serious VO work. As some other did mention, your finished VO will be compressed and brutally limited, bringing out every dB of unwanted room noise.

As for the signal, my usual path is either U87 or TLM103 -> Great River - > 192 I/O ->PT HD at 24/44. Sometimes I provide a 416 if the client asks for it. I´m dying to test a SM7b, for some reason that one has never found it´s way into my mic locker.

Stein Tore

8th March 2009	#45
steins Lives for gear Joined: Sep 2003 Location: Lillehammer, Norway Posts: 673	I sometimes do VO for educational stuff. In my experience, the room (or rather, lack of room) is the most important part. Silent chairs, a clean, noise-free environment and a good VO talent comes second. Then, the gear. I usually set up a Se Reflection filter behind the mic and 3 MiniTraps behind the talent to minimize unwanted reflections. My room is good-sounding for music, but not dead enough for serious VO work. As some other did mention, your finished VO will be compressed and brutally limited, bringing out every dB of unwanted room noise. As for the signal, my usual path is either U87 or TLM103 -> Great River - > 192 I/O ->PT HD at 24/44. Sometimes I provide a 416 if the client asks for it. I´m dying to test a SM7b, for some reason that one has never found it´s way into my mic locker. Stein Tore __________________ vinterlandstudio.com