voiceover mic

[chessparov]

Big, I trust you, however, don't trust my rudimentary microphone technique!

Being that my "experience" with a SM7 was about 15 minutes...

Chris

[petsematary]

Three year old thread but...Steve, did you ever get to try those Neumanns out? Any opinions...if you can remember 'em? Thanks.

[Vocalvoodoo]

Originally Posted by petsematary

Three year old thread but...Steve, did you ever get to try those Neumanns out? Any opinions...if you can remember 'em? Thanks.

I'd also like to know. I'm using the BCM-104, but I'd like to know your shootout results/opinons. For the most part I like it, but it's a little sizzly in the highs to my ears.

[Yoda117]

Hee...

Jowillie, long time no see.

Personally, I'd love to know if anyone ever did VO with a Horch. Seems to be the one aspect of this mic I can't get info on.

[JimmySX]

The facilities that I've worked used a TLM170 with a Focusrite Isa430. You won't get it any cleaner then that!
And I've made thousands of radio+tv commercials!!!

But he, that just worked for me

[wavcatcher]

At my new 9-5 day gig (well more like 9-9) we did a big shootout of a bunch of mics last summer for our primary VO studio and the Gefell UMT71s and M930 was our hands down favorite. They work great for foley too.

[Yoda117]

Originally Posted by wavcatcher

At my new 9-5 day gig (well more like 9-9) we did a big shootout of a bunch of mics last summer for our primary VO studio and the Gefell UMT71s and M930 was our hands down favorite. They work great for foley too.

I know that in the anime world, the UMT71s is seeing a lot of action on the West Coast. I tried it, but it just didn't wow me that much compared to the U87. Loved the Gefells for sung vocals, but not too much for spoken word.

I'm getting ready to toss down some $ on another tube for the VO cabinet and the Gefells are definitely a top pic (also considering a Horch, but I can get no info on how they work in a VO application).

Different strokes, different folks, and all that...

One thing I've been hearing a lot about lately is the use of a Chandler Germanium and a Peulso 22 47 to get a "voice of god" kinda thing going.

[jowillie]

Yoda, my man, tell us what are the subtle differences between the Gefell and the U87 that you noticed?
Are you using the U87 as your go-by standard?
Thanks for all your input.
Willie

[grexter]

hi, if you guys don't mind I wanted to bump in with a small question for Yoda:

You mention that the "anime" word uses Gefell mics a lot, i was curious about one thing: in the animated films how far is the talent from the mic usually? I heard that its very different from say radio VOs where the guy is a couple of inches from the mic..... ??

thanx

greg

[Yoda117]

Okay, let me make a disclaimer first (Jowillie heard it on another board already).

For those who are wondering... I am not an anime VA. I do VO, I know more than a few people in that industry, and I've done an animation or two, but I am not an anime VA.

I might be stupid, but I am honest, so there you go

Now... onto the questions.

I'm not saying that I didn't like the UMT71s, but for VO it just didn't wow me like the U87 did, and that's what I'm currently using as my primary mic.

The main difference for me was a lack of presence in my voice. As I said before, I thought the Gefell was awesome for sung vocals, but for spoken word it was just too soft (and I don't mean that I enjoyed a "hype" in my voice). The U87 also had a nice little bump in the mid range that I feel works great for VO on a lot of voices (not all, but a good majority). Simply put, I felt that my voice came through with a bit more of a sparkle with the U87.

I'm seriously, seriously thinking about adding a new mic to to "go to" lineup. I'm seriously considering taking the plunge and getting a Horch, but fear that it might be overkill for the purpose. Basically, I'm thinking about rounding out the mic locker with a good tube that helps to bring out a bit of the darker magic that I've gotten when using a U47 (though I understand the Horch to be more like a C12 than U47).

Obviously, I'd be trying one before putting down the cash.

But I digress... I've heard some great VO with the Gefell UM930 and the UMT71s, but for my voice, especially when using the upper registers, I preferred the U87 over everything else I tried at the time (TLM103, UM930, UMT71s, U89, 414, and a few others).

different strokes, different folks, and all that...
.
.
.

Grexter, yeah I was chatting with Crispin Freeman about 2 months ago and we both remarked about Gefells in the ADR world (at least for anime). Whether or not it's a recent trend, or signs of things to come is anyone's guess. That said, neither he nor I had any inclination to trade in our 87s anytime soon.

As for mic positioning... depends on the talent, the mic and the sound you're looking for. That said, yeah, my expereince has been that the mic is set further away than in radio. I've seen some folks have a mic set as far away as 15", though usually mine is quite a bit closer 6" or so.

I've got a great story as to why that particular talent has her's placed so far away... but that's for another time

[RobMacki]

Originally Posted by Stizz

We use the Sennheiser 416, basically when doing ADR for films - but there are a few vo talent that prefer it as well. Generally we use U87 - TLM103 in a pinch.

A large majority of my work is VO, either myself or other talent.
My two go-to mics are the U87 and the 416.
A lot depends on the voice.
A Male voice with a medium to low energy delivery and close proximity on a 416 is unbeatable IMVHO.

[VoxPro]

IMHO

Low budget:($400)

Electro Voice RE20
Rode NT2-A

Medium budget: ($1,000 to 1,300)

Audio-Technica AT4060 (tube)
Brauner Phantom C
Neumann TLM49
Gefell UM930
Neumann TLM 103

Big Budget:($2,600)

Neumann U87Ai
Manley Cardioide (tube)

Super Budget ($5,500 to $10,000)

a healthy Original U47 (M7-VF14-BV8) (tube)

Take into consideration that mic pres compressors and equalizers will improve the sound..don't forget a good AD Converter.

Good luck !

Originally Posted by dutchman

I'm searching a new mic recording voiceover at the studio where I work. We use a AKG C414 now, which is not a very good mic for voiceovers I think. We are thinking about a Neumann TLM170. Any comments about that? Other suggestions?

[jspkdnf]

I have a TLM 170 and i love it, it's very clean with a great warm sound. I've also used a sm7 on some recent voice over projects. but I still prefer the TLM 170.

Nutter

[jowillie]

Wow! Great input. If you do a site-search, there are a couple that address this issue directly.
It seems............if you are doing commercial VO that may have to go to another studio for more mix or whatever....there are two standards (or one actually). It's the Neumann U87 with the Sennheiser MKH416 if requested. Agree or disagree--that's the way it is.
If your market is more independent, you can use what sounds best to you and your situation. Ive heard national stuff done with Lawsons, Manleys, ADK-TLs and others. However, if you are a studio owner and an agency sends in talent for VO, are they going to expect to see the higher end mic?
I believe you should personally test as many recommended combos as you reasonably can to find the sound and system that works for you. That's why I appreciate the input here.
In the last month, I did several regional cable TV ads with Heil dynamics and an ADK A-51--the cheap one! The clients loved them. That said--I'm testing a 416 soon (Thanks Russ).
Everyone keep us up to date on what you experience in your research.

[Yoda117]

Originally Posted by jowillie

It seems............if you are doing commercial VO that may have to go to another studio for more mix or whatever....there are two standards (or one actually). It's the Neumann U87 with the Sennheiser MKH416 if requested. Agree or disagree--that's the way it is.

Depends on your area really. The 416 was and is still predominantly a West Coast thing. More to the point a lot of VAs simply cannot stand it for various reasons.

Where I'm from, the two standards I see used are the RE-20 and the U87. Why they've locked onto the RE-20 over other mics in the studio is still a bit of an oddball one for me (I do have one, and I enjoy it, but it's not nearly the nicest mic in the locker).

Trick with the 416 is that you have to take the time to learn about it. While placement is important for all microphones, it is critical for the 416.

[Gabriel Sousa]

yes, manley gold is a great mic

Originally Posted by chessparov

Bing, did you try out the SP T3?

I did at NAMM and was very impressed-even after
also trying the Telefunken USA microphones and
the Manley Reference (Gold), all wonderful sounding microphones IMHO.

Chris

[Brent Hahn]

I produce radio spots. If you go to my site and check out the samples page, you'll find a whole bunch of spots in a whole bunch of styles, recorded with 416's, Pearlmans, Gefells, Schoeps, SM57's... in the "sound design" sample, there's even a thing recorded using headphones for a mic. If you're interested, PM me and I'll tell you what was recorded with what.

[jowillie]

Brent,
http://www.radioactive.la/samples.htm Thanks for the excellent samples. I noticed the consistency of the presentation in spite of the widely varied styles and deliveries. (Did I say that?) That's what I'm talking about. It is way beyond what mic and chain and more on how to get that proper "sound" for over-air delivery. What are the standards? What is your process?
And yes, we are intersted in which was recorded with what.
Thanks for sharing that.
Willie

[minus-sounds.com]

Last week I did a VO work for language exams and it was a rush job. I used a TLM103 into a Millenia Origin as I wanted definition and not a boomy sound as I had no idea what the playback systems would be.
I had up to 3 people do a conversation. The mic was set up a little far away to capture them all. If one of the far left or right persons moved a little, I've noticed some off axis shifts that weren't very nice in my book. I had to redo the takes. Anyway the distanced worked for some natural ambiance so no additional artificial reverb has been added. The TLM103 was good put not stellar this time.

In a multimedia VO project that I did last fall, again I used the above combination and the results were very good. That project was big and it had something like more than 2500 takes, or maybe that was 3000. fuuck

[steve27ma]

We specialize in VO work for interactive media and have found the AKG C414 to be a great mike for this purpose. Particularly as the audio is being compressed to lower bittrate sound files.

Any of you who DON'T recommend it for VO could you please tell me what you don't like about it? Just curious.

[mowmow]

Originally Posted by steve27ma

We specialize in VO work for interactive media and have found the AKG C414 to be a great mike for this purpose. Particularly as the audio is being compressed to lower bittrate sound files.

Any of you who DON'T recommend it for VO could you please tell me what you don't like about it? Just curious.

414 is one of the standards, there is nothing wrong with it. It has a nice top end that can help cutting though the mix. I still hear 414 ish sound on modern music today.
I used to love them but I stop using because I wanted something warmer.