Voiceover work: What to use?

[old_skul]

Let's say you're recording commercial voiceover material, for radio commercials, long-form stuff, whatever. What sort of gear do gearslutz use for this task?

I have invested in an API lunchbox, with a couple of A Designs pres (blue/red), knowing that I'll record voiceover material with the rig, as well as drums/bass/guitar. But for voiceover -

What mic?

Print compressor to tape? What compressor?

EQ?

Guide me, you guys. This is my first foray into the high quality realm.

[Recording David]

Lots of good mics for VO work. Standard issue stuff would be an SM7 or U87. I also have a Beesneez Jade which is awesome for VO.

Plugin comps/EQs are just fine for VO. Sonalksis is great. Also, the VO presets in Ozone are a very good starting point.

[old_skul]

Awesome, this is exactly what I'm looking for. My wife is a voiceover talent and we're putting together a home studio that's a little more serious than what I've been running, which is my little basement room dedicated to recording my various band projects.

An SM7 is our next purchase, as it seems to suit her voice very nicely for VO work and for singing as well.

For other less bright talent, I was considering an AKG 414 of some flavor. Thoughts?

Keep in mind my devious motive to keep the studio room active for my pet recording projects, which is mostly rock music.

[reflixtinian]

I had great results by using different kinds of gear, sometimes the cheap works better than the expensive stuff in my experience .

I like the neumanns , and AT , senn shot gun 416 , try a shootgun on a female voice and a compressor and you"ll be amazed.
The c414TLII works great,(not the ULS) but i don't know the new ones, I liked the tlII better then the sony mics (including the c800 g) for voice over.

Get a pair of shure ksm 32, or ksm 27, wonderful mics for the money, as for preamps, i prefer a cheap focusrite, or the tc electronic gold channel (discontinued) than the apis or great rivers sometimes ( no I'm not deaf ) and I prefer a real compressor than the plugs, specially if I use a bright mic.

A nice A/D D/A would be a nice addition for you too.

[James Lehmann]

Originally Posted by old_skul

Let's say you're recording commercial voiceover material, for radio commercials, long-form stuff, whatever. What sort of gear do gearslutz use for this task?

Well, the list of 'gear' you need to recording pro-quality voice-overs at home is obviously a lot longer than just a microphone - you need a good pre-amp, room treatment, good cables, mic stand, pop shield, good cans, monitors, classy A-D-A conversion, appropriate plug-ins, quality furniture that doesn't sqeak when you draw breath, an expensive pencil (just kiddin'), time and experience to know how to get the most out of all this... etc etc - it's a very long list!

Decide where you want to end up at and start buying one quality piece at a time - it'll take longer but you won't regret a good purchase, ever!

I don't know the A-designs pre's and I don't run into C414's for V/O much anymore at other studios, but FWIW here's my vocal chain and periphery gear:

- Gefell M930 >> Pauli Superscreen >> Vovox Cable >> Metric Halo ULN-2 >> Mac (Logic8) >> La Cie Firewire Drives
- The mic sits on a K&M stand with a Realtraps Portable Vocal Booth rigged behind it and I have a set up of 4 x Realtraps MiniTraps behind my head
- Cans are Sony MDR-7506, monitoring by PMC and BlueSky, room treatment by RealTraps Minis and Mondos
- Other stuff = solid table & chair, music stand, script holder, carpet, triple glazed windows, sharp junk to throw at noisy neighbours, etc etc

See how the list can get very long, just for a basic one-mic V/O set-up!

The Gefell M930 is an insanely good mic for voice-over IMHO and extremely quiet. I've found nothing that sounds substantially 'better' until you hit stuff like the Brauner VM1 which is 5x the price. The only strike against it is the unusual and expensive bespoke 'rubber doughnut' of a shockmount which doesn't work well for 'overhanging' the mic upside down, if that's how you work. I reviewed this mic here, including, as it happens, some comment on the not-as-good though very good value Shure KSM32.

I believe in WAVs! You can hear all this in action in this thread, although note that for various reasons these tests were with a Brauner Phantom which despite its incredible bass response I find has too much HF lift and I prefer the more 'rounded' sound of the M930 on my voice at least.

In fact I just ordered an SM7B so I'm looking forward to hearing that mic on my voice too.

For voice-over I record clean into my DAW at 24-bit/44.1k and do all my processing ITB mainly for time and convenience - there's a wealth of good EQ/De-Ess plug-ins out there that will get the job done. Decent compressor plugs are a little harder to source - I'm sure folks will have some suggestions. The cleanest limiter plug-in I've found is Ozone, and I use Type 2 'clean' dither on that too if needed.

Switch off every appliance in your house and hope no planes fly overhead / dogs bark / kids shout / building site crashes / emergency sirens ring / farm machinery threshes while you record. Otherwise you might consider investing in or constructing a bespoke vocal booth.

Finally, radio interference can be a crippling problem for critical V/O work in some urban areas - check you're free of that!

[Recording David]

@old skul - if it's of interest when I got my Jade I did a voiceover shootout with the Jade/U87/Rode NT2. I can upload the tracks if you want?

[dbjp]

For me, just because of the sound clients are used to from lots of post production studios, I use a combination of U87 + SSL4000 pre.
It helps me instantly get 'that sound' for TV ads/radio.

[Recording David]

Some quick VO tests for you here:

David Shoukry - Voiceover Tests - SoundCloud

[Franz]

Voice over tests are allways welcome!
But why is the speaker sitting in a big metal bucket?
I believe that the room is the most critical part of the signal chain, and that the character of the room affects the sound
even more than the choise of mic and preamp.
I would prefer to use a cheap china mic with a 100€ preamp in a perfect room, over 5000€ equipment in a ringing closet...

[miqer]

I was visiting a voiceover studio that does voiceovers for commrcials (top of the line). I was amazed at how they processed the recorded voices. They slammed the waves L1 on it... And yes: that instant irriating voiceover sound is there. So if you want that (horrible) tv-sound, you don't need an expensive neumann or neve pre-amp.

For me, I use a Pealman Tm1 mic for voices. It's screaming with bass.

[Franz]

Yes, you need L1 or L2. Kind of standard in the world of commercials.
But the thing is, the better room, mic, preamp, the better it will sound when you do the with the limiter.
That's why high end equipment is needed to create lo-fi commercial tracks...

[Dog_Chao_Chao]

I do a lot of VO. More than Id like to.

I can tell you this. The mic is not the most important here. Even less, the preamps.
You can make a decent VO with any preamp. what is very important is the room. And you cant hide it, its just a single voice in the nude! And you will be compressing and limiting the shit out of it, bringing an insane amount of room sound into it. Make it as dry as you can, or, it can be a bit more livish, like mine is, but you really have to control it well. Even so, expect to use some eq plugs to remove a bit of mud.

Also, plugins are you friend when it cames to VOs. Dont have to spend a fortune on outboard here, not even for a compressor. Plugs do great on Vos.

Best luck

oh, I forgot, my usual chain for Vo is:

AT4047, api or neve1073 ( I prefer apis when I dont want that much bass but a more mid present sound) to lynx converters, Hd2. Then usually ren eq, ren comp or BF 1176, R desser, L2 ( squeeze until it distorts, then back a bit. Done. Sounds pretty horrible, just like my clients in TV want it!)

[Eganmedia]

We do tons of VO work and my go-to chain is a TLM 103 through an Avalon 737SP. I typically don't compress it while recording but I will use the EQ section to tailor the output depending on the talent. If I need some compression while tracking I use a Crane Song Trakker. I know the 103 and the 737 don't get much respect around here, but we do plenty of work for very high profile clients and none have asked to swap out anything but the talent so far. If I'm mixing the project I'll process the VO then, otherwise I find most mixers would rather have a track that isn't overly compressed or EQ'd.

[jindrich]

as dog chao says, gear for VO doesnt matter.

what does matter is having a pro, well designed, great sounding, nice looking, aconditioned vocal booth, a comfortable lounge and nice furniture. also, a good tea machine (I mean electric water boiler, teakane, nice cups, all sorts of tea, etc)

as for mics, senh 416 and neumann U87 are the gold standards. quality closed cans are insdispensable (akg, senh, beyer). As for the rest, as long as it's decent equipment, pretty anything will do. An apogee ensemble for instance, gives you everything you need in one cheap box.








edit: i find it funny to hear people asking about which mic for VO, when the booth's door alone is going to cost $4k.

[E Baxter Put]

Originally Posted by jindrich

as dog chao says, gear for VO doesnt matter.

what does matter is having a pro, well designed, great sounding, nice looking, aconditioned vocal booth, a comfortable lounge and nice furniture. also, a good tea machine (I mean electric water boiler, teakane, nice cups, all sorts of tea, etc)

as for mics, senh 416 and neumann U87 are the gold standards. quality closed cans are insdispensable (akg, senh, beyer). As for the rest, as long as it's decent equipment, pretty anything will do. An apogee ensemble for instance, gives you everything you need in one cheap box.

This is the best advice. Nice looking set up.

I do a lot of VO and I use a 4033, but I get requests for a U87.

I know a lot of people use a 416, but I never liked using one unless it's for a program that has already used a 416 or I'm recording ADR.

I also use a FMR RNP and RNC and they work OK, but I do need an EQ.

For my next investment upgrade, I can't decide if I should get a U87 or the SSL Mynx tracking package.

[gorillainthemix]

I record voice-overs for commercials etc every day. Just finishing up the new Philips Demo DVD for 2009 here in 15 languages...

I use a Sennheiser 416, cuts through everything. That's basically all the gear I use when treating VOs (the talent is half the work), the rest are plug-ins.
Some compression (fast attack, fast release), 80 Hz cut, 250Hz dip, 2k shelf boost (maybe a little peak at 11k-13k) and sometimes touch it up with an L1 to get it up in your face.

[Franz]

Nice looking studio Jindrich!

And I like the fact that even the voice over artist have style!
My speakers never come in jacket and tie...

[gorillainthemix]

Originally Posted by Franz

Nice looking studio Jindrich!

And I like the fact that even the voice over artist have style!
My speakers never come in jacket and tie...

That's Martin Sheen, homie

[Dog_Chao_Chao]

Originally Posted by jindrich

edit: i find it funny to hear people asking about which mic for VO, when the booth's door alone is going to cost $4k.

wow, really nice place. Mine is nothing like that....not so VO oriented. I bet it sounds great.

Oh, for all of you who dont own a proper booth like this one, if you end up with too much room sound on your VO, you can try a transient designer, cut sustain, there goes your room sound....Or just keep your recording spot as dry as possible.

[Franz]

Originally Posted by The Dutch Master

That's Martin Sheen, homie

Like I said, my speakers never come in jacket and tie.
Martin Sheen has never been here...

[sailor]

+1 for a properly treated room. Frequently the most-often-neglected part of the equation for VO work (probably 'cause it's the most expensive).

As for gear....look for a microphone with smooth off-axis response. Some talent are very good at maintaining a proper orientation to the mic, others not so much. If they deviate from the sweet spot, an unforgiving mic will show it. So think carefully before you put up a 416! (Good mic, no doubt....just a little dicey with a moving target.)

I'll probably get some finger-wagging for this, but I do like to use hardware to compress a bit on the way in. Not as much as the track will probably end up getting in the mix, but a little does help. If your talent isn't well-trained in microphone technique, this can save you....if nothing else, a limiter to prevent the occasional over. The choice is not super-critical, as people here have said. Put a quality module in your lunchbox and you should be set. And if you have to add more compression later with a plug in, at least it won't be working as hard.

EQ....it's nice to have a hi-pass available on the way in. The rest can be done later.

[Yoda117]

another +1 for the treated room. Aside from the talent itself, that factor can make or break you.

As far as mics go, find something which you can afford (you'd be amazed how many folks leave the business or fail to get started because they suck with money... it's a business!) that you're comfortable with. VO folks are really touch about stuff at times and if they're pining for a particular item which they think they truly need to be "good", then you'll notice it in their reads.

Usually with a well-treated room, most of those problems go away.

[voiceactor]

Originally Posted by jindrich

as dog chao says, gear for VO doesnt matter.

This is not really very true at all. While all the things mentioned are important in any recording atmosphere, treatment, talent etc...a voice is like any other instrument. It's like saying the amp for a paticular guitar doesn't matter or a mic for a singer. Voice over/voice acting will also benefit by treating the voice like you would any other instrument. There are a lot of people out there with the attitude that gear won't make a difference. Try it some time...view the voice as an instrument. You might be surprised at what that fabulous talent really is capable of.

PEACE!

[stagefright13]

I definitely record bands when I can but do mostly VO etc. U87 and sometimes SM7 to API style pre or G9. To 1176 works every time. What works on music works perfectly there too. Just the compressor settings are different and you don't need the atty after the pre.

And record in a dead space where you move all your mobile bass traps around the talent and the mic. Remember the mic is pointing at the talent in cardioid mode. Don't waste ALL of your traps behind the mic.

John

[The MPCist]

senh 416's work well in the radio work and in VO's as well. That being said, I see a lot Neumann 87's in VO studios as well. And smash the hell out of it for 'that' VO sound...

[Franz]

Originally Posted by voiceactor

This is not really very true at all. While all the things mentioned are important in any recording atmosphere, treatment, talent etc...a voice is like any other instrument. It's like saying the amp for a paticular guitar doesn't matter or a mic for a singer. Voice over/voice acting will also benefit by treating the voice like you would any other instrument. There are a lot of people out there with the attitude that gear won't make a difference. Try it some time...view the voice as an instrument. You might be surprised at what that fabulous talent really is capable of.

PEACE!

+1

I once read a book by a very experienced engineer (can't remember who ), who claimed that when ever
you record a voice 50% of the result depends on the room, 25% on on mic and 25% on the preamp.
I totally agree with that.

[seanmccoy]

I do a ton of VO work and have had success with my U87, Lawson L47MP, and MT UMT70S, through various pre's and compressors. A couple of ultra-quiet speakers lately have me in the market for an ultra-quiet VO mic, which none of my current collection are. I'm leaning toward an M930, but am also considering both the Shure KSM44 and Rode NT2000. Anybody have any experience with either of those as VO mics, particularly on females?

I would agree with the above assessments regarding the importance of the room, but I think the talent themselves and their ability to work a mic shouldn't be underestimated.

[asap audio]

I know were talking gear, but I would put the voice-over TALENT as 80% of a successful final product. Martin Sheen could probably "sell" the copy through a Shure SM57.

For radio and tv, the VO will be hard limited to within one db of it's life, anyway. (It USED to sound like an expensive mic )

There are so many different types of VO that one mic is not for every job.

Books on tape? U87 and a real good room.
Hard sell promos? Senn 416
Commercial work? Whatever works for YOUR style. RE20 and KSM27 are good, neutral, modestly priced mics.

Pre-amp? Grace 101. Fast transients and clean.

[voiceactor]

I agree talent can be a big part of the equation. That being said, we all know that the singer that can sing the phonebook into a garbage can and have a hit with it is not the norm today. Everybody and their neighbor has a home studio and they all want to be stars. (this is true in both industries, the music and voice acting) Somewhere in between those two are the ones making records today.
The same is true in the voice over industry, there are people out there that if you put them in a sewer pipe with a barbie mic in a high wind they still make it sound good. That's not the norm. So the voice talent out there needs the same consideration as any other instrument...not everyone in the industry is incredibly gifted, just like in the music biz. Squashed or not you have to start with something good. Crap in crap out.
Talent is important...without talent you got nothin. The talent issue should be somewhat of a given. We all know some talent are better than others in both industries. We do what we can to "fix" that lack of talent when we have to.
That's why I didn't bring up the talent issue before.

[3rd&4thT]

Hi,

For voiceovers, the gold standard is the U87. It cuts well on the air and makes almost everybody sound good. The 416 and the SM7B are more specialty mics, good for some, awful for others. Even fewer talent sound good on a 414 or a 103, and nobody sounds good on an RE20. The only advantage of the last is that it does really well at losing a bad room, so it can be useful.

Your preamp should complement the mic, but if you get a fast mic and a fast preamp, you may wind up with more mouth clicks, saliva bubbles, etc. You're not recording jangling keys here.

A lot of people are crazy about the Waves Ren series of plugins. But if you're putting a tube mic through a colored preamp, the last thing you need is added artificial distortion. You're not stuck with the Waves Ren DeEsser; the regular Waves DeEsser can be preferable, depending. Or if you have no money, fool around with the Tonmann DeEsser.

One really great plugin that a lot of people don't know about is the Waves DeBreath. This one works like a charm, properly set is totally inaudible, and will save you hours of inhale removals. If you're going to record longform with less than gold standard talent, it's worth every penny.

A limiter during tracking is a great idea. Even pro's used to ironing out their own dynamics can surprise themselves, and you wind up losing a good take.

For plugins, as bad as the L2 is, the L1 is worse - it's gritty, so avoid it. You'll do better with the Voxengo Elephant. If your room is bad, set the release as long as you can without artifacts.

Do not use multiband compression for broadcast material - the station probably uses their own in the transmission chain, and one MB on top of another can produce very strange VO effects.

Cheers,
3rd&4thT