voiceover mic to complement Gefell M930

[Rob Ellis]

...any suggestions? I am a lower baritone, a tad nasally too except when I really concentrate on voice placement.

Here are the other mics I have tried:

Sennheiser 416 and 415
U 87ai
Telefunken AK 47
Brauner Phantera

All good mics but the M930 has come out on top time and time again.

But for a mic to complement the 930 what would you suggest in the 1K range?

Most of my VO work is corporate and commercial.

I'm thinkin' the Soundelux(Bock) U195 maybe?

Thanks!

[Rob Ellis]

Oh yeah, had a TLM 103 also.

Pre is the Avalon 737.

[u b k]

re20.

you seem a bit preoccupied with ldc's; ldd's are lovely for voice work.



gregory scott - ubk
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[Rob Ellis]

Good suggestion.

Not the first mic that came to mind, but it could be a useful addition.

And in this case quite cost effective as well.

[alkooloid]

Blue Mouse, AT4050.
Try pointing the capsule at your chest or chin from about
forehead high, 45 degree angle.

[James Lehmann]

I have a Gefell M930 - like you, I have tried many other mics for v/o and this little puppy wins every time until you get up to Brauner VM1 level at 5x the price!

I also have a Brauner Phantom but this hardly gets used on v/o - there's just too much top-end on this mic, although the extended bass response is lovely.

Nonetheless I just bought a Shure SM7B and this does indeed offer a really nice alternative sound, maybe for jobs that require a softer more rounded tone for some corporates or audio books etc. Just don't expect the almost silent operation of the M930 - you'll notice the noise of the SM7B on raw tracks, whether this is a problem or not is up to you.

This will be a tediously controversial suggestion (search past threads ad nauseam) but I'd recommend trying out a VoVox cable with your M930 - it should bring out an even bigger, more extended sound of the mic and you might be surprised at the worthwhile value of the upgrade!

I tried a Blue Mouse and felt it was in the same sonic ballpark as the M930 - the Blue Kiwi on the other hand was quite different with a more rock-oriented tone that might work very well on certain voices and/or hard-sell commercials, but it's quite a bit pricier.

The Shure KSM32 is under-rated and way cheap, and has a nicely musical tone that's perhaps less clinical than the M930.

If you can track down a vintage U87, ie one that says "Made In West Germany" on it, these are classics and with good reason - an amazing tone especially for male vox that simply isn't present on the newer U87ai versions.

Now I'm just off to a VM1-equipped studio in town to record a documentary - about the only studio I go into these days where I still get genuine mic-envy!

[Rob Ellis]

Thanks James, I always appreciate your input.

[toxostoma rufum]

All good suggestions, but what about preamps? I think these make a huge difference for VO.

If you've got something clean and transformerless, how about something with a bit of iron, or a good tube preamp? Or...go for clean if you've got the opposite situation. Good pres for VO can be had for around 1k or less (Hardy, GR, Speck, UA Solo, Grace, Blue Robbie...and even ART MPA Gold with good tubes can fit the bill).

A lot of those mics you mentioned having used, including the tlm 103 and 416, sound great with a bit o' character.

[Rob Ellis]

I had thought about that as well.

My current pre is Avalon 737. I think Yoda(fellow Gearslut) once suggested a Sebatron.

[seanmccoy]

Originally Posted by James Lehmann

If you can track down a vintage U87, ie one that says "Made In West Germany" on it, these are classics and with good reason - an amazing tone especially for male vox that simply isn't present on the newer U87ai versions.

I have one of those, and do find myself going back to it more and more recently. It's not the quietest mic, however, which is one of the reasons I've been considering adding an M930 to my collection. Have any of you M930 users found it to be equally adept at capturing female voices?

[toxostoma rufum]

Originally Posted by elwood

I had thought about that as well.

My current pre is Avalon 737. I think Yoda(fellow Gearslut) once suggested a Sebatron.

Sebatron's a good option. I say you get yourself a John Hardy or a Great River...a hefty but clean sounding solid-state pre. Stick with your mic.

[Dayo]

I would keep the mic and save money towards a stellar mic pre like a Fearn VT1.

[Rob Ellis]

Thanks.

Just to clarify, I have never considered getting rid of the M930.

Mainly was wondering about another mic to complement it and offer a contrasting flavor.

But the pre-amp suggestions are food for thought.

[Doc Mixwell]

Originally Posted by Dayo

I would keep the mic and save money towards a stellar mic pre like a Fearn VT1.

Give this man the golden ticket!!

Take a microphone with no amplifier and give it a HUGH amplifier!!!!

[u b k]

Originally Posted by elwood

Mainly was wondering about another mic to complement it and offer a contrasting flavor.

if you truly want a different flavor, no preamp in the world will give you as effective and thorough a change as a simple mic swap.

two different pre's on the same mic can give you a range from lemon rosemary chicken to lemon parmesan crusted chicken. two different mics can give you a range from lemon rosemary chicken to antelope ravioli in a sage cream sauce.

i'm not saying you have to (or should) get such radically different mics, but my humble opinion is that if you want a *truly* different flavor a different mic is a much cheaper and more effective way to go.

this is why the big rooms have 1, 3, maybe 6 flavors of pre, but several dozen or more models of mic. they capture, and therefore generate, the recorded sound itself; everything afterwards merely processes that sound.


gregory scott - ubk
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[Doc Mixwell]

Originally Posted by u b k

no preamp in the world will give you as effective and thorough a change as a simple mic swap.

Except DW Fearn Microphone Amplifiers.

[NathanEldred]

We have a lot of voice over customers who really love the Bock 195. Usually coupled with a more transparent preamp like a Buzz Audio, Millennia, etc.

[u b k]

Originally Posted by Roc Mixwell

Except DW Fearn Microphone Amplifiers.

i honestly can't tell if you're being ironic or not.

if you are, it's actually pretty funny.


gregory scott - ubk
.

[Yoda117]

Didn't we have this conversation with elwood a few months back?

You'll find something to be said for both changes to preamps and microphones and regardless of choice, you'll find something new with your setup.

More importantly though, you've already got some great gear for VO and yet you're still looking for "something else". Personally, I think you need to sit down and figure out what kind of sound you actually looking for, then to go from there.

I've got to say that once I settled down on a mic or two out of the cabinet (which I'll admit, for a VO person with a studio at home is a bit obscene), I didn't really find myself lusting after any other gear. Sure, there is stuff I still want, but the GAS has gone to a different direction.

Just my $0.02 though.

But when it comes to looking for something to compliment your M930, I can't think of anything save for a SM7b, or maybe an RE-27 that I'd want to use as a compiment piece. Everything else that I'd use would be double your price range, at the least (and the UM92.1 is what I'd be looking at first, just because I like how it sounds on a good VO).

Again, did you ever think of getting a good ribbon mic?

As for the nasal intonations, you're on your own. If you have to concentrate on a regular basis in order to speak without it, it's worth chatting with a speech therapist or diction coach (and yes, even for VO I recommend it when you find yourself doing certain things that aren't necessarily related to your acting ability).

[Rob Ellis]

Yes, I really don't "need" another mic.

My last year or so of vetting mics has been both fun and stressful, and I guess it's hard
to face that it is pretty much over. Because the M930 has emerged as the best all-arounder for me.

Although I may end up getting an RE-20 this time around, since a good dynamic would be good to have around (and since I sold my SM7B)

My next high-end LDC purchase is probably years away.

That's a tough reality to face.

Guess it's time to start focusing more on.........performance

[Doc Mixwell]

Originally Posted by u b k

i honestly can't tell if you're being ironic or not.

if you are, it's actually pretty funny.


gregory scott - ubk
.

Irony:

When the literal truth is in direct discordance, to the perceived truth.

I dunno, was I?

[Rob Ellis]

Roc told me way back in October that the M930 was going to be my best choice.

Oh and Yoda also championed the M930 for voiceover even before I talked to Roc.

They were both right. But I had to find out the hard way.tutt

[Dayo]

The VT1 is a pretty versatile piece of kit. Depending on how much you dial in you can get quite a range of flavour. It's the best investment I've ever made in my sound.

[Doc Mixwell]

This picture of Doug, is ACTUALLY a Window, into what it would be like to use his gear to record something. He reminds me of President Lincoln, that is if President Lincoln, designed some extraordinarily awesome valve amplifiers with point to point wiring.

[Yoda117]

Originally Posted by elwood

Guess it's time to start focusing more on.........performance

They make a pill for that

Seriously though (and don't be troubled by this), a lot of VO folks fall into the trap of it being "all about the gear". It's not, and while I am tossing stones in my own glass house, I know that if a voiceover coming out of my place doesn't sound good, it's because I sucked, not the gear. When you're using gear past the "Radio Shack" level, the problem is usually with the talent and not the tool.

I still think it's worth your while to try out your 930 on different preamps. I think that a Speck, GR, or Hardy (leaning toward the Hardy based on personal bias; all three are great preamps in the sub-$1500 range) would definitely give you a sound that you'll enjoy (and yeah, I'm still a fan of the Sebatron). If you want to spend the $, snag a Fearn or Requisite preamp. I love Fearn preamps, and plan on getting a 2-channel when time and $ allow me to get one without the gf pitching a holy fit (I suspect that time will come after having purchased a new house and an engagement ring). Till then though, I've got some killer preamps in my place that work wonders with my mics. Like I said, you get to a level where it becomes about personal taste and less about performance.

As for the dynamic mics... strongly suggest you add the RE-27 to your list. I like the RE-20, but the 27 was nicer to my ears. I'm also at a higher register than you are with my natural speaking voice, so take that into consideration with the recommendation. Still, I prefered it over the 20 (just sounded a tad clearer to me).

Though I also invite you to discover the joys of ribbon mics. Not everyone's voice is good on a ribbon (at least for voiceover), but for long-form narration I find myself enjoying them (while listening) more and more.

Rock on!

[Rob Ellis]

I have heard that the RE 27 lacks warmth compared to the RE 20---any input on that?

I used an RE 20 in radio, but it was years ago. I remember it being quite bassy but not as clear as a good condenser. But it was overall a flattering mic IMO.

[David W. Jones]

I get a weird siblence with my voice on the RE-27 that I don't get with the RE-20, so I try to avoid that mic if I can.
You already have a workhorse condenser that complements your voice.
If it were me, I would pickup a MKH-416 or an MD-421 to have in my toolkit.

[Doc Mixwell]

Originally Posted by Yoda117

I love Fearn preamps

Yoda117:

Picture saying this at the top of your lungs in one of your character voices, but like 20 octaves higher, When you hook up the RM2J to this amplifier. The Joyful Screaming and yelping will need to be done inside the booth, for fear that the neighbors will call the cops.

[Jeff Jasper]

My suggestion to Elwood -- since he asked about microphones, not preamps -- is that he re-visit the MKH-416 and take some time to learn it.

I'm a baritone as well, and for me it sounds best at 8"...which for me is one hand-span away, from the tip of my thumb to the tip of my pinkie. I also like it straight on-axis so that it zooms in down my throat and captures every nuance in excruciating detail. This position also helps one stay in the sweet spot while allowing more freedom of movement than when the mic is at an angle. The distance helps as well. I find that while S's may be more pronounced with this setup, they are also cleaner and less smeared than with an LDC, and with a little manual de-essing in editing sound remarkably human.

My next microphone will either be a hypercardioid SDC or a Beyer M160 with an appropriate clean, high-gain preamp. I have a pair of Beyer M500s and love the detail, but the rising response tilt is too much.

If he's looking for a moving coil dynamic, I'd recommend the RE-27 with the high filter engaged, a Beyer M88, or a Sennheiser MD-441. The Variable-D RE-27 will be the most consistent, if that's a goal.

[Rob Ellis]

re-visit the MKH-416 and take some time to learn it.

Yes, I still have a Sennheiser 415 MKH (416's slightly warmer older brother)

I am still working with it. These shotgun mics do require some patience and experimentation.

When it comes to the 415 and/or 416 there are good days and not so good which is true with most mics but for me especially true w/ these two.

I picked up an RE-20 at Sam Ash this week for a really good price.

It's easy to see (hear) why this mic is considered such a classic.

Needs a ton of gain, but a truly classic sound. I think I will keep it around.

It may be "new toy" syndrome, but in some ways I seem to get a better sound out of the Re-20....maybe it's less revealing/more forgiving, or maybe it's just the way you can get right up on it without an overbearing proximity effect.

For a new voiceover person without a treated room on a budget this mic would my first choice.

Had an SM7B and liked it but like this even better.