For voiceover only!

[reactr04]

So I'm finally taking the plunge and dropping enough money to hopefully go from "hack voiceguy with entry-level gear" to "industry pro sound". Before anyone gets philosophical I know it's the voice that determines the paycheck, but I'm determined to live or die by my pipes and NOT let my equipment/budget hold me back.

That said, I really AM only recording voice at this point...so I'm thinking this will be my simple but powerful home studio chain:

Neumann U87--> UA LA-610 --> Mackie Onyx 400F --> laptop

I know some people hate Neumann because it's what it is...but I see it as industry standard. The UA is something I'm flexible on but I really want a channel strip to keep my costs in range and I've heard this piece isn't something I'll regret buying.

Lastly, the Mackie is the thing I'm least sure of. I'm running windows plus I may want to do some music down the road so I'm thinking the Onyx pres might come in handy. I also see Mackie as a can't miss brand. I'm sure some of you more knowledgeable people might disagree.

But that's what I'm here for! If this chain sucks tell me what's comparable/better for voiceover.

Thanks for reading!

[u b k]

what kind of sound are you after? modern yelling-at-me-all-the-time radio spots? if so, the gear isn't so important, it all sounds like ass.

but maybe you want to sound huge, like god, with a supremely natural top? try an r84. makes the new 87's sound like toys.

you want to sound like THE classic radio/voiceover guy? sm7, original.

610? not a big fan, but i think the mic is where the money is so there ya go.

you have a tight, dry booth, no comb filtering, flutter echo, or low-mid tub?


gregoire
del
ubk
.

Originally Posted by reactr04

So I'm finally taking the plunge and dropping enough money to hopefully go from "hack voiceguy with entry-level gear" to "industry pro sound". Before anyone gets philosophical I know it's the voice that determines the paycheck, but I'm determined to live or die by my pipes and NOT let my equipment/budget hold me back.

That said, I really AM only recording voice at this point...so I'm thinking this will be my simple but powerful home studio chain:

Neumann U87--> UA LA-610 --> Mackie Onyx 400F --> laptop

I know some people hate Neumann because it's what it is...but I see it as industry standard. The UA is something I'm flexible on but I really want a channel strip to keep my costs in range and I've heard this piece isn't something I'll regret buying.

Lastly, the Mackie is the thing I'm least sure of. I'm running windows plus I may want to do some music down the road so I'm thinking the Onyx pres might come in handy. I also see Mackie as a can't miss brand. I'm sure some of you more knowledgeable people might disagree.

But that's what I'm here for! If this chain sucks tell me what's comparable/better for voiceover.

Thanks for reading!

[HIGHENDONLY]

What about a u87/m5/dbx160a/lavry blue With a light comp setting on the dbx. Would that be a good combo for voice over?

[MX582]

i think the U87 sounds weird unless surrounded by a wall of instruments but im you could still definatly get the job done with it

[emceecee ready]

I work in a studio that does mostly ad work. For mics our main go-tos are the U87 (ai), Shure KSM32 (pretty nice mic on alot of voices) and a Soundelux U195 (this thing is down right amazing on some voices). This being for your own voice I would highly recommend trying some different ones out. The 87 may be an "industry standard" but it may not be best for your voice. And people arn't gonna care that your stuff wasn't recorded with an 87 as long as it sounds good.

For channel strips we mostly use the Millennia STT. For voice over work this is a really solid channel. I highly recommend you check one out.

As always, YMMV

[Daniel Antix]

Originally Posted by reactr04

So I'm finally taking the plunge and dropping enough money to hopefully go from "hack voiceguy with entry-level gear" to "industry pro sound". Before anyone gets philosophical I know it's the voice that determines the paycheck, but I'm determined to live or die by my pipes and NOT let my equipment/budget hold me back.

That said, I really AM only recording voice at this point...so I'm thinking this will be my simple but powerful home studio chain:

Neumann U87--> UA LA-610 --> Mackie Onyx 400F --> laptop

I know some people hate Neumann because it's what it is...but I see it as industry standard. The UA is something I'm flexible on but I really want a channel strip to keep my costs in range and I've heard this piece isn't something I'll regret buying.

Lastly, the Mackie is the thing I'm least sure of. I'm running windows plus I may want to do some music down the road so I'm thinking the Onyx pres might come in handy. I also see Mackie as a can't miss brand. I'm sure some of you more knowledgeable people might disagree.

But that's what I'm here for! If this chain sucks tell me what's comparable/better for voiceover.

Thanks for reading!

i work at a radio station and i record voice overs day in day out. This is what i use, doesthe job... i do find the mic a little muddy but it does the job with a bit of eq.

Neumann TLM103 -> Alen&Heath Mix Wizard WZ20S -> Mixstream Soundcard -> Adobe Audition

[reactr04]

Thanks for all the good advice, posters! I haven't had a chance to try out many of the toys people have recommended but at least with your suggestions I have a few places to start!

@ emceecee ready: I use the KSM32 where I work now and it's decent. Sometimes I feel like it's a little boomy but I may be overcompressing it. Our engineer was an old school guy who had basically run it straight into the board. He's since retired to Florida.

@ u b k: Thanks for all the input. I definitely don't want to sound like ass, but I'll do whatever kind of read I need to do if it puts dinner on the table :-). You mentioned the R84. I've never considered a ribbon mic but the price from Mercenary is definitely right. What pre/comp matches up well with it? As for the SM7, is an original a MUST over a new model? I've used them but they've always seemed too upper-mid rangy for me. Maybe this was a newer one? And lastly (to demonstrate my ignorance) I have no idea how to answer the question "you have a tight, dry booth, no comb filtering, flutter echo, or low-mid tub?"...I'm sorry.

Thanks for the suggestions, all...PLEASE keep em coming.

[reactr04]

@ Daniel Antix: I have a TLM103 now. I bought it b/c I thought - "wow I can afford a Neumann!" but now it's just OK to me. I'll probably use it until I choose something else and then sell it. It just isn't what I'm looking for.

Thanks for responding though. I do tons of radio spots in here in DC...we should trade our best work! Send me a private message if you want and we can exchange info.

[u b k]

Originally Posted by reactr04

I've never considered a ribbon mic but the price from Mercenary is definitely right. What pre/comp matches up well with it? As for the SM7, is an original a MUST over a new model? I've used them but they've always seemed too upper-mid rangy for me.

well if you've actually tried the sm7 and it didn't jazz you, screw it, it's not the one.

the 84 is quiet, it needs generous gain. no pops allowed, so use a stedman pop filter. 54 db is what i would term 'adequate', not enough to really soak up the love on voice from 18" away. i've used and love the phoenix drs-1, on everything from 57's to 54's and it is, to me, the most musical and euphonic pre out there, perfectly balanced and beautifully detailed. it's like tape to me, it's hard to effectively describe what it does to tone but it's subtle and it's sweet.

if you do a search here, you'll get lots of other recommendations on a pre to pair with the r84, or whatever mic you end up choosing, all of which depend on the tonal goals you have.

there is also a lot to be said for drawing these gear-related processes to a swift and definitive conclusion by simply making a choice --- almost any choice you make in the high end world is a pretty damn good choice --- and just doing it, regardless of whether it's the best possible choice. in truth, there is no best possible choice, only myriad great ones, so it's easy to get on with the larger agenda... which the gear is merely there to serve.

enjoy!


gregoire
del
ubk
.

[mixerguy]

the right mic REALLY depends on your voice.

Only you can try mics, and tell us

[explorer]

When UBK said "you have a tight, dry booth, no comb filtering, flutter echo, or low-mid tub?" he meant that you should make sure that the acoustics of your vocal booth are good. The environment you record in is important too.. Just thought I'd answer that one for you :-)

[Don S]

Lots of good options out there.
Mics:
U87
M149
AT 4047

Preamps:
Focusrite ISA110
GT Viper

I would put most of your money on these 2 pieces.

[Fletcher]

FWIW, we just set up another "entry level" VO guy recently. He tried a bunch of stuff and ended up getting the Crowley and Tripp "Soundstage" [a ribbon mic] along with the AEA "The Ribbon Pre" [TRP] with an Amtec EQ and an Apogee "Ensemble" converter.

From all reports, he couldn't be happier... you voice and your mileage may vary.

Peace.

[cubivore]

i have tried plenty of crappy and awesome chains for VO the past few years. i wont list the crap to save you some time.

GOOD:
manley ref > avalon 737: pretty much awesome on everyone, but i think it's mainly due to the mic. a little too sensitive though, so prepare to spend time editing mouth noises

tlm 103 > yamaha 01r board pre (lol): mic was pretty good on everyone not overly detailed so made mixing and editing easy. great utility mic, especially if you don't want to spend tons of $$$. probably something you should consider. the board pres were simple and quiet and probably helped to roll off some of the "harsh honesty" of the mic (some ppl will know what i'm saying)

gefell umt70(s?) > yamaha 02r: i wanted to like it, but for some reason the combo wasn't making me a believer, but i knew something could work if maybe the pre was a little nicer. i think the mic may have been better than the tlm103, but it's hard to say. i thought the 02r pres would be better than the older board, but maybe it was just a crappy channel. it dulled the mic it seemed. however, i got good feedback from the mixer on how effortless it was to place VO in the mix so i really didn't want to explode my brain over it.

sm7 > avalon 737: good for some, but depends on the voice. mainly i'd use for heavy sounding guys, but to me, the diaphragm sounds really "flappy" especially when hit with hard sell type copy. of course the 737 compressor was useless in trying to help with this, but overall if you're doing "over-easy" type VO it might be good and cheep!

ksm44 > quartet I: my home chain. of course, i'm gonna say it's killer. the ksm really surprised me even before i had the quartet and was taking it around to studios. i think the quartet will make anything sound like a million bucks. i think as a VO channel strip it is amazing. eq, comp, and DE-ESSER!! i don't know of many other channel strips that feature DS, but this unit takes the cake. i even ran a sm87, 57 and some oktavas and everything sounded great.

there are, of course, infinite combos but it all depends on your budget and purpose. i think a channel strip is your best investment. things like the quartet and SST are awesome and you would not miss the money and you will keep them forever. (EDIT: you may wanna check out the buzz ARC too) you can save on the mic side for now and try out less expensive things till you find a path that sounds good for you. typically for all VO work i've never reached for a ribbon mic. i'm not sayin i've never used one, but i find the LDCs to be the "go to" mics for VO. optionally, maybe try a shotgun like a schoeps cmc6-44 or the senn416. those will reveal more roomy stuff though so get it totally dead in your recording space. (nothing beats a closet full of clothes!) also, all the stuff i've been doing has been recorded in to protools so i can't comment on the daw input. one thing that comes to mind is that the gefell combo i used might have been skewed cos i was recording on a 001. everything else has used more modern interfaces (but still all PT).



mintybreeze audio

[MIKEHARRIS]

U87...6176...ONYX...LAPTOP

[reactr04]

@ cubivore: thanks for the input. I'm not familiar with the Quartet I...could you specify? Also: sometimes I go for a natural sound for TV work, but then there's the occassional radio spot that needs a real ballsy read and I'm worried that the 737 won't give me enough compression. I've heard that's its weak point. Do you find this to be true? Some people think the Avalons are the best thing on the planet - tough not to believe the hype after all I've read!

Another general question: anyone have any experience with Lawson mics? I'm looking heavily at the AIR.

[warhead]

Originally Posted by reactr04

Neumann U87--> UA LA-610 --> Mackie Onyx 400F --> laptop

The UA is something I'm flexible on but I really want a channel strip to keep my costs in range and I've heard this piece isn't something I'll regret buying.

Swap the LA610 out for a Safe Sound Audio P1 and you'll experience a very clean preamp and an excellent dynamics section (expander / compressor / limiter) that you really can't screw up without trying hard. Many voice over guys have discovered this box as extremely voice friendly. It even has a built in no latency monitoring section, pretty much made for voice work (although I love on bass guitar also).

War

[Brent Hahn]

Back to your original post, without hearing your voice and your room I'd say the mic's fine but go with a good clean-not-colored pre. Avalon m5 or 2022 (not the 737/747), API, Grace, Buzz MA2.2, Millennia, that sort of thing. Don't cheap out.

[Fletcher]

Originally Posted by warhead

Swap the LA610 out for a Safe Sound Audio P1 and you'll experience a very clean preamp and an excellent dynamics section (expander / compressor / limiter) that you really can't screw up without trying hard.

Either I must have tried really hard or the unit we got was broken because I found the thing to be damn near useless... I reckon your mileage varies greatly but I found the thing to have absolutely zero redeeming qualities.

Peace.

[MrChang]

VO mic: U87, gefell UMT70, SM7.

Never heard the Lawson AIR, but the 251 and 47 mics they make are really nice. I think Gene is pretty cool about people trying his mics out to see if they're what you're looking for. Wouldn't hurt to contact him...

If you go with the 610 be sure to pad the input. That pre is huge for vocals/vo, just a little temperamental with how you hit it on the way in. The opto comp in that is bit on the slow side... you may prefer the unit with the 1176 channel.

Both of those units are pretty heavy with character which, in my unpopular GS opinion, is really cool. Maybe not what you want. I've never heard any complaints about any voice work I've done using a 610, though.

Best.

[AustinG]

I find the U87 works well for a wide range of VO talent. I will break out the Sen.416 or a scheops every so often. It's been a while since I've used a Lawson, and that was for a singer, not VO work. I remember liking it at the time... I see a mic shoot out in your future!

Currently my VO pre of choice is the Portico. For VO I tend not to use channel strips. Other than roll off, I like to Compress & EQ in ProTools...It makes revisions easier.

I dont think I would go for the UA 610 as my "main" pre, I dont really care for it on VO...YMMV

[warhead]

Originally Posted by Fletcher

Either I must have tried really hard or the unit we got was broken because I found the thing to be damn near useless... I reckon your mileage varies greatly but I found the thing to have absolutely zero redeeming qualities.

Peace.

Hmm, I was told you received a unit damaged by the postal service and never received a correctly working P1. By that time, Front End Audio was born and I don't think another unit was ever sent back out to you. If not, then my mileage and a whole lot of other people's mileage (including Harvey Gerst, Michael Wagener & Bill Drescher) has varied which is fine of course.

War

[cubivore]

Originally Posted by reactr04

@ cubivore: thanks for the input. I'm not familiar with the Quartet I...could you specify? Also: sometimes I go for a natural sound for TV work, but then there's the occassional radio spot that needs a real ballsy read and I'm worried that the 737 won't give me enough compression. I've heard that's its weak point. Do you find this to be true? Some people think the Avalons are the best thing on the planet - tough not to believe the hype after all I've read!

there are tons of comments here about the weakness of the 737 compressor, but even with the other channel strips you only really want some light compression on the way in. it's cool to set up the strip during mix as an aux processor if you can do it, but plugins are always the easiest. when it comes to managing dynamics i rely on gain riding first and compression second. that's why i like the pres that have variable instead of stepped gain switches. then again, since you're the talent i'm not sure if being next to a knob will be possible with your setup.

the quartet is made by pendulum. check it out!

[Yoda117]

I think the first thing that needs to be done is that you need to get your butt behind some mics and figure out what you want.

Right now, I'm bouncing between a U87 and Horch as my first choices.

LA-610... I won't touch it without getting rid of the crappy tubes they send you. I've never heard such a difference until some Mullards or Telefunkens were swapped in (for VO, I kinda liked the Telefunkens). It's the only reason I kept my 610 (and yeah, I'll be adding a Fearn or Requisite for my home area next year... watch out Fletcher).

For the most part, figure out what mic you want (for the love of God make sure you've spent some time behind it first)... then use a good clean preamp, (GML, Great River, Hardy, etc.; I'm loving an LMNOPre right now), do the same with a compressor, and voila' you've got a chain.

[danno812]

There are alot of great combinations listed in this thread, I happen to like a Brauner VMA into a DW Fearn.

But...none of this will matter unless your room is well treated and the better your mic/mic pre combo the more your room will matter.

[dubold]

90% of my day job is recording voiceovers. We use U87s through a tubetech pre, with an LA22 for peak limiting. I'm rarely unsatisfied with that combination.

for Voice-Of-God style movie trailer guy, i've found the proximity effect on a sennheiser shotgun to do nice stuff. have to know how to work it (stay on the mic!), and watch out for the pops... but it can be pretty good.

I'd suggest U87 as the primary mic, just because it's a known quantity for most people. As for the pre - well, obviously you want something clean and uncolored. there's lots to choose from - plenty of great suggestions in the thread thus far.


As has been said numerous times, having a great sounding booth is going to be just as important as the gear - I was in an ISDN session the other day where I could hear the air conditioner running in the talent's house...

[Yoda117]

Originally Posted by dubold

As has been said numerous times, having a great sounding booth is going to be just as important as the gear - I was in an ISDN session the other day where I could hear the air conditioner running in the talent's house...

Ugh! There's nothing worse than that. I had to take a spot from a group that literally used a coffin, an actual coffin to record their spots.

Sure it had that whole "edgy" vibe to it, but sounded like dung.

At the end of the day, it's not how cool your place might look, but how the work you're doing sounds that will get you a paycheck.

[dubold]

an actual coffin? kinda wish i had an impulse of that for my convolution reverb...

[StevenGurg]

Here is what I have been using lately:
Lawson L47MP-II --> Millennia STT-1 tube pre (transformer in or out depending) --> Lynx L2 or Apogee PSX-100
or
AEA R84DJV --> Millennia STT-1 Solid State pre (transformer in or out depending) --> Lynx L2 or Apogee PSX-100

I find that either of the above two mics usually do the best job for me, and the Millennia has the versatility of two paths (tube or ss) that are clear and clean for voice. I use some comp and EQ in the mastering after tracking to warm things up as needed.

[mbvoxx]

I do one thing for a living...Voice work...Commercials, narrations, live event announcing, etc. In my home studio I mainly use a 416 > 737 > Pro Tools. Sometimes I switch out the 416 with a Telefunken AK47 - depends on what I'm voicing...I keep them both on the booms at the copy stand at the ready...this week it's been a lot of warm and fuzzy so I've been on the AK47 all week. At our downtown studio I use a TLM49 > 737 > Pro tools. I like all 3 mics for VO and have zero complaints on the 737. I've also got a U87 on hand but don't use it much anymore for voice work. If I were to make a switch I'd probably go with a VoxBox and a Ref mic but my rigs work just fine and I've got more important stuff to spend a few grand on.

this is the sound of the 416 > 737. click on the Trailer Sample....

An investment that paid for itself the first time I used it in session.

I cannot stress enough the importance of investing some decent dollars into the mic and mic pre if you're going to jump into voice work and expect to be competative at it. The internet is filled with wannabe voice "talents" who built a makeshift studio in a spare bedroom, ran to Guitar Center and bought a $300 dollar mic and $499.95 mic pre, then built a web page and offered up their tracks for a hundred bucks a whack. If you consider that a nat'l TV VO will net you enough in 13 weeks to buy a hundred cheap mics it might give a better perception of what the potential is for a quality voice working on quality equipment. I can assure you, and fellow GSz contributors who record and mix in pro rooms will agree, if you get booked for a session at a pro level recording studio you'll be working on pro level equipment. So the question is: why would anyone wanting to do this voice thing consider compromising their talent by using cheap, low end tools? In the business of voice acting, the voice is also a tool. It's important to match the technical tools to the quality of the vocal tool. So ends Voiceover 101.
VO 102 will cover the challenges of marketing your voice.