Voiceover work: What to use?

[Brent Hahn]

Originally Posted by puuluu

Let´s hear some of your VO´s, folks!
It would be interesting to hear a VO ( ready commercial, or plain voice) and know what as used making it.

At my site (see link below), you'll find a whole bunch of radio spots done in lots of different places with a wide range of gear; the only thing they have in common is me.

[James Lehmann]

Originally Posted by puuluu

Let´s hear some of your VO´s, folks!
It would be interesting to hear a VO ( ready commercial, or plain voice) and know what as used making it.

Same as Brent - check my site link below!

Although I can't honestly remember what chains all of those clips used in all the dozens of studios I've been into over the years!

Often when hear my voice on the TV or the radio or in the cinema I'm, er, how shall I put this politely to avoid retribution, 'surprised' at how it sounds, and not always in a good way!

I like my own chain best - it sounds most like 'me' - that's why I've invested in it (with a little help from Gearslutz!)!

Gefell M930 >> Pauli SuperScreen >> VoVox Cable >> Metric Halo ULN-2
Surrounded by RealTraps PVB & MicroTraps treatment.
And in the interests of consistency I always work with Sony MDR-7506 cans - I take my own pair to other studios too.

If you want to hear my own chain in action I've made plenty of test posts in the Gear Tests Forum, and plan to deliver some more soon with my newly acquired SM7B!

[voiceactor]

You're welcome to listen to mine. My site is in my sig line.
Mine was done on Lauten Audio microphones. The Oceanus, Clarion, and Horizon. Through either a Summit 2ba or Summit Everest. I also have some voice over listening sessions on the Lauten Audio site. (yes I liked the mics so much I bought them all)
Some processing done on the demo although very light processing. No eq a little noise gate, a tiny bit of compression from a Sony plug in and then normalized. That is on my demo only. The ones on the lauten audio site are raw raw raw no processing at all
My room is a bedroom studio with acoustic panels I took from some old cubicles. That is all getting ready to change. I have just purchased a new desk and 21 bass traps for the room. The sound of a well treated room is what we are looking for these days in voice acting work. The booth idea is great too but can leave voice acting a little too dead. Happy to answer any questions.
PEACE

[ing23]

If you're looking for a nice and solid table....
AKA Design

[OSchmitz]

Originally Posted by puuluu

Let´s hear some of your VO´s, folks!
It would be interesting to hear a VO ( ready commercial, or plain voice) and know what as used making it.

Just go to my homepage and you will find a lot of samples (and my equipment list). At the end it is the voice of the vo talent and the skills of the engineer, what makes vo sounding great.

[voiceactor]

Originally Posted by ing23

If you're looking for a nice and solid table....
AKA Design

Thanks for that. Yes I have seen them, they are nice. I am actually going with an Argosy Raven H10 that I plan to modify some. I'm going to put a little higher base on the pods and add about 10" to the back of the desk.

[James Lehmann]

Originally Posted by ing23

If you're looking for a nice and solid table....
AKA Design

Hmm... I never get given a PHONE in the booth while I'm working! Will insist on having one for my next session!

[Dayo]

Which EQ for voice?

I'm a full time v/o and recently I've been upgrading my front end.

I'd like to add a single channel of EQ so I can shape my sound a little before it hits my DAW or ISDN line.

If you had around $1000 to $1500 to spend, what would you look at? New or second hand.

My current set up is a TLM 103 into a Fearn VT1 into a Distressor.

Out of the EQ's that are out there, are any considered best for voice?

I'm thinking of the API 550A (but don't really want to buy the lunchbox just for a single unit). The Neve Portico EQ also looks good.

Anything else or any solid gold recommendations?

Thanks

[3rd&4thT]

I'd find a mic that didn't require an EQ.

If you must, a Speck ASC-T will do fine, around $600. Then sell the TLM 103, and pool the remaining funds to find a better mic.

Cheers,
3rd&4thT

[Dayo]

Originally Posted by 3rd&4thT

I'd find a mic that didn't require an EQ.

If you must, a Speck ASC-T will do fine, around $600. Then sell the TLM 103, and pool the remaining funds to find a better mic.

Cheers,
3rd&4thT

Most v/o's need a little EQ - as mentioned earlier in the thread a dip at around 200 to 250 helps. I use other mics and have other voices in my booth, so a bit of great quality EQ is really needed - not just for corrective purposes but for add punch and sparkle.

[3rd&4thT]

Check out the Speck, then. It just seems a shame to have a 103 driving a Fearn - do you see that it might not be considered a great match?

Cheers,
3rd&4thT

[waxx]

the voice over stuff i did was mainly Shure SM7B or Neumann BCM705 as mic, and Dateq BC50 or Amek Big console pre's with eq to digital. All the rest is digital. And i eq while tracking way more than with musical production for voice over. It doesn't have to be top notch hi end i experienced, the sound get ****ed up anyway later in the process of the production (especially for tv or most commercial dvd's) due to broadcast limiting...

[James Lehmann]

Originally Posted by 3rd&4thT

Check out the Speck, then. It just seems a shame to have a 103 driving a Fearn - do you see that it might not be considered a great match?

+1 for the Speck ASC-T

Re the TLM103, it wouldn't be the first choice of many here, but I suspect if he's running it into an upmarket pre like Fearn it's because he's an experienced v/o who has tried loads of mics and found the TLM103 to work well on his voice. Nothing wrong with that.

Question for you guys - does a Distressor work well for v/o?

[Dayo]

I favour the TLM for narration, but the MKH 416 comes out for punchy stuff. Then there's the UM70 too.

Any mic sounds stellar through the VT1.

I think I could use an SM57 through the Fearn and it would get the job done.

I've only had the Distressor for a couple of weeks but I love it for v/o.

[OSchmitz]

Originally Posted by 3rd&4thT

I'd find a mic that didn't require an EQ.

If you must, a Speck ASC-T will do fine, around $600. Then sell the TLM 103, and pool the remaining funds to find a better mic.

Cheers,
3rd&4thT

Just trust you ears. For some voices the TLM103 is perfect (e.g for me) for some not. I tested a lot mics, and still have my TLM103 for over 10 years now. Most of the samples on my homepage are produced with a TLM103.

[andychamp]

Originally Posted by James Lehmann

(...)Question for you guys - does a Distressor work well for v/o?

I've used it, but very sparingly. Settings were 10:1, opto (att.10, rel.0), detector HP in, everything else as clean as possible, and max 3 dB GR on peaks. More for safety than for effect, really.
You don't want to overcompress on the way in; VO is one of the fields where you want to keep your options open as long as possible.
OTOH, on "mixdown" you can do a lot with compressors and EQs.

[3rd&4thT]

Originally Posted by andychamp

You don't want to overcompress on the way in; VO is one of the fields where you want to keep your options open as long as possible.

Very true, assuming your client is a professional who knows what to do with audio.

OTOH, if your client is a do-it-yourself'er who has trouble managing Final Cut Pro or Sound Forge, you probably should do your own processing.

And their money is just as green.

Cheers,
3rd&4thT

[Dayo]

Originally Posted by 3rd&4thT

Very true, assuming your client is a professional who knows what to do with audio.

OTOH, if your client is a do-it-yourself'er who has trouble managing Final Cut Pro or Sound Forge, you probably should do your own processing.

And their money is just as green.

Cheers,
3rd&4thT

EXACTLY!

So any votes for any other EQ modules for v/o?

[3rd&4thT]

Search this site for the Speck, and you'll find out why it's so liked. You can spend a lot more, and get absolutely nothing extra for your money. It is a standard recommendation for a reason.

I like the Chandler Germanium Tone Control, but it will take longer to get it where you want it than the Speck. Mojo abounds.

A further alternative is to go for the famous Pultec sound. Probably the most cost-effective way in is with the Manley Langevin Pultec EQP1-A.

You don't have four+ bands to play with like the Speck. OTOH, you might find it harder to screw up, since there's only one bass frequency and two treble. Once you learn it, it is formidable, and the sound is gorgeous, but you have to play it by ear. And there is no mid-range manipulation.

Cheers,
3rd&4thT

[Dayo]

Originally Posted by 3rd&4thT

Search this site for the Speck, and you'll find out why it's so liked. You can spend a lot more, and get absolutely nothing extra for your money. It is a standard recommendation for a reason.

I like the Chandler Germanium Tone Control, but it will take longer to get it where you want it than the Speck. Mojo abounds.

A further alternative is to go for the famous Pultec sound. Probably the most cost-effective way in is with the Manley Langevin Pultec EQP1-A.

You don't have four+ bands to play with like the Speck. OTOH, you might find it harder to screw up, since there's only one bass frequency and two treble. Once you learn it, it is formidable, and the sound is gorgeous, but you have to play it by ear. And there is no mid-range manipulation.

Cheers,
3rd&4thT

Thanks for the input. Can you describe how the Pultec sound differs in character?

And which has the most mojo - the Chandeler or the Speck - wan't quite sure from your post.

Thanks!

[gorillainthemix]

Originally Posted by 3rd&4thT

You don't have four+ bands to play with like the Speck. OTOH, you might find it harder to screw up, since there's only one bass frequency and two treble. Once you learn it, it is formidable, and the sound is gorgeous, but you have to play it by ear. And there is no mid-range manipulation.

Cheers,
3rd&4thT

one really doesn't need four bands for vo's. I mean, I don't even think I would know what to do with more than four on a good voice..some low cut and hi shelf will give it all it needs to cut through a mix, depending on a correct microphone choice (+good room of course).
i.e. The 416 is not per definition a vo mic, actually it would be a very unorthodoxe choice in a vocal booth. But as we all know it's killer for voiceovers, just don't move to much behind it please..


sounds like an interesting piece of gear...

[3rd&4thT]

Originally Posted by Dayo

Thanks for the input. Can you describe how the Pultec sound differs in character?

And which has the most mojo - the Chandeler or the Speck - wan't quite sure from your post.

Thanks!

The Pultec sound generally deals in broad slopes - it's not good for narrow, surgical removal. It has great vintage feel, and once set, there is no sound of artificial EQ'ing.

The Speck is neutral, though the ASC-T model has a transformer that puts in a little iron. The Chandler is a great hairy beast that makes marvelous sounds, but has a learning curve.

The Chandler and Manley websites have downloadable manuals. The Speck website has good information as well. Check 'em out and see what you like.

There are others. This is just to get you started.

Cheers,
3rd&4thT

[puuluu]

I use a TLM 103 to a Gordon Model 4 all the time. (We also use a Peluso 2247LE to a Pendulum Quartet II or to a Focusrite Red.)

A Pultec - type EQ is great when you boost and cut that 60hz to get rid of the mud and then boost 5k for TV.

[cubivore]

i've been using this wacky combo for a year now and still love it!

schoeps cmc641 -> purple biz -> pendulum quartet I EQ in and then run it thru it's comp and de-esss -> PT

i use this almost daily on male and female VAs and have great results. i traded up from a ksm44 and it's a huge difference, although i don't think many people would use a SDC in a booth. i also have a SM7b but it's way too noisy for my taste. it's great for screaming, but that's like .001% of my work.

[Brent Hahn]

Originally Posted by cubivore

schoeps cmc641 ... although i don't think many people would use a SDC in a booth.

The small Schoeps are killer for VO. Only downside is that VO talent tend to think they have to eat the mic 'cause it's so tiny. But as it happens, the Schoeps is more or less the same diameter as a Senn. 416, so you can stick a 416 windscreen on it and keep your talent at a reasonable distance.

[seanmccoy]

Originally Posted by cubivore

i've been using this wacky combo for a year now and still love it!

schoeps cmc641 -> purple biz -> pendulum quartet I EQ in and then run it thru it's comp and de-esss -> PT

i use this almost daily on male and female VAs and have great results. i traded up from a ksm44 and it's a huge difference, although i don't think many people would use a SDC in a booth. i also have a SM7b but it's way too noisy for my taste. it's great for screaming, but that's like .001% of my work.

Interesting! Out of curiosity, what didn't you like about the KSM44?

[gorillainthemix]

Originally Posted by Brent Hahn

The small Schoeps are killer for VO. Only downside is that VO talent tend to think they have to eat the mic 'cause it's so tiny. But as it happens, the Schoeps is more or less the same diameter as a Senn. 416, so you can stick a 416 windscreen on it and keep your talent at a reasonable distance.

lol, yea I had the Schoeps in here once to test it. It's almost humorously tiny.
But...Didn't like it better than my 416, so I didn't get it.

[Docmattic]

his mics would work.

[gorillainthemix]

Originally Posted by Docmattic

his mics would work.

ANY mic sounds good on The Don

[Docmattic]

haha