Newbie Voiceover Advice

[whyseye]

I'm slowly putting together a home studio for doing voiceover work, and although I've been doing a lot of research, and following existing threads, I don't think I've see this come up yet. (If so, please forgive my redundancy.)
I have a couple of serviceable dynamic mics (older Audio Technica & Shure) which I'm taking direct into my computer (via 1/8" adapter). As budget becomes available, I'd like to add something like a DMP3 and a large condenser mic to improve quality and add different colors to my toolbox. Most of the mic feedback I've seen has been geared toward singers - in voiceover, I'm doing everything from really intimate commercial work to wildly out of control animation stuff to basic narration. Budget is (of course) limited, but I'd rather not buy trash that will waste time and energy. My basic vocal quality is alto range, rich and full - anybody got feedback or suggestions? This group has been the best bunch of educators I've ever encountered - thanks for sharing!

 

[billisa]

Most of the mic feedback I've seen has been geared toward singers - in voiceover, I'm doing everything from really intimate commercial work to wildly out of control animation stuff to basic narration. Budget is (of course) limited, but I'd rather not buy trash that will waste time and energy.

Here are some thoughts:

CAD M177 (or M179)
Studio Projects C1 (or C3)
Studio Projects B1
MXL v67g
Audio Technica 3035
Rode Nt1a (not the NT1)

The Studio Projects B1 will sound like you. It's what I use for voiceover and music vocals. It's got relatively low self-noise.

The CADs are said to be very nice, and they also have low self-noise.

The RODE NT1a is VERY quiet and will likely sound like you.

Some like the MXL v67g for male voices -- perhaps a bit, warmer? Not quite as quiet as the aformentioned, but not a problem.

The Audio Technica 3035 is said to be a nice all-around mic as well.

In the past I've used Neumanns and Shures, but I've been very happy with my SP-B1, but if I wanted to spend a little more, I'd go with the CADs. Since I'm a quiet freak, I might spend a bit more and get the Rode...($199.)

Lot's of people like the SP-C3 for voices. But if you are able, it's always best to do your own testing on your own voice.

Some on this board have used every one of these, and much more, and very often. But truly, almost all the options out there offer a wealth of opportunity.

 

[whyseye]

Thanks

I've been leaning toward the SPB1, wondering if I should save for C3.From what I've gleaned here, I probably won't hear enough difference to justify the $$ differential. I love the CAD for promos, but probably will have to wait for that until I've filled in a few more spaces. What is the difference between the Rode mics (soundwise)?

 

[billisa]

I've been leaning toward the SPB1, wondering if I should save for C3.From what I've gleaned here, I probably won't hear enough difference to justify the $$ differential. I love the CAD for promos, but probably will have to wait for that until I've filled in a few more spaces. What is the difference between the Rode mics (soundwise)?

Why not just get the CAD? ($150.) As to the Rode's my sense is the NT2's, the NTK's, are considered perhaps less tending towards over-brightness, with more warmth. I'm not sure I've heard too much nice stuff about the NT1000. But if you're in the upper ranges of the Rode line it means there are other brands too -- Shure SM7, Blue "Mouse"...

Perhaps look at posts on the C3, because that seems to be special to a lot of knowledgeable people.

 

[In Tune Audio]

Not to distract from the mic talk, but another upgrade you will want to make fairly soon will be a sound card update. By using a 1/8 input, with an adapter, your going to be losing a lot of sound quality. It sounds like your using a soundblaster type soundcard. You will notice a huge improve in sound, when you upgrade to a soundcard designed for recording.

 

[Richard Monroe]

For cheap, I like AKG C2000B. For less cheap, I like B.L.U.E. Baby Bottle or Shure SM7B (a dynamic). The DMP-3 will be a big help, no matter what mic you choose to use. Best of luck.-Richie

 

[whyseye]

Not to distract from the mic talk, but another upgrade you will want to make fairly soon will be a sound card update. By using a 1/8 input, with an adapter, your going to be losing a lot of sound quality. It sounds like your using a soundblaster type soundcard. You will notice a huge improve in sound, when you upgrade to a soundcard designed for recording.

What's your take on the difference between taking signal in via sound card vs. in via USB? If I'm understanding what I've been reading, there is less computer-based noise with USB input, but I'm mostly interested in getting a rich, full, round, fat sound. Is there any compromise in quality with USB preamp and input, as opposed to direct from traditional preamp to upgraded sound card? (All other things being equal?)

 

[MadAudio]

For serious voiceover work, I would recommend the EV RE20. It is a standard mic in radio stations, and you'll never need to buy another VO mic again. It's a bit more pricey than the mics you listed (around $450) but worth every penny.

 

[steveanthony]

The advice on the sound card is right on. A good quiet room to record is next. And as far as a mic goes, when I started out doing VO's, I managed to pick up quite a bit of work using simply a CAD GXL2400 which runs about $80. It can be a bit crispy, but it's a good little mic for the money. It won't let you down.

 

[chessrock]

For serious voiceover work, I would recommend the EV RE20. It is a standard mic in radio stations, and you'll never need to buy another VO mic again. It's a bit more pricey than the mics you listed (around $450) but worth every penny.

I would have to agree with that sentiment. For a voice actor, your mic is your most important investment -- it's the tool of the trade. Another quick suggestion; probably the most used VO / narration mic in just about all the studios here in Chicago and on the west coast (from what I gather) are the Sennheiser shotgun mics, believe it or not. As in close-mic'ed with a pop filter. Those will set you back a bit, but I'm also assuming some of the lower-cost shotgun mics might have a similar kind of effect.

Now I have no idea what it is about these mics that makes them so ideal; perhaps the extreme directionality gives them a more pronounced proximity effect ? ... Who knows ... but that's what everyone is using these days. Just thought I'd pass that along.

 

[Innovations]

I am doing fairly good voiceover work with a MXL 2003 but it would not be my first choice to recommend ot others.

To start with you absolutely HAVE to get a separate preamp. If you are going directly into the 1/8 inch port on the soundcard then you are using the soundcard's preamp and that is crap. So forget mics for a moment your number one need is a preamp so you can be going in the line-in of your soundcard (presuming that your soundcard has a line-in).

Now when it comes to a mic I would recommend any of the following 3 in ascending preference. The Sennheiser MD421, the Shure SM7B and the Electrovoice RE20.

 

[Innovations]

What's your take on the difference between taking signal in via sound card vs. in via USB? If I'm understanding what I've been reading, there is less computer-based noise with USB input, but I'm mostly interested in getting a rich, full, round, fat sound. Is there any compromise in quality with USB preamp and input, as opposed to direct from traditional preamp to upgraded sound card? (All other things being equal?)

I use an external USB Unit (an edirol) but that is because I am recording on a laptop and laptop soundcards usually do not have line-in jacks. The external units have a quality sound unit and decent preamps. The A/D circuitry on a consumer soundard are better than the preamps are. That is why your number one priority is to stop using the mic-in port of your soundcard.

 

[Innovations]

I would have to agree with that sentiment. For a voice actor, your mic is your most important investment -- it's the tool of the trade. Another quick suggestion; probably the most used VO / narration mic in just about all the studios here in Chicago and on the west coast (from what I gather) are the Sennheiser shotgun mics, believe it or not. As in close-mic'ed with a pop filter. Those will set you back a bit, but I'm also assuming some of the lower-cost shotgun mics might have a similar kind of effect.

Now I have no idea what it is about these mics that makes them so ideal; perhaps the extreme directionality gives them a more pronounced proximity effect ? ... Who knows ... but that's what everyone is using these days. Just thought I'd pass that along.

Well, I was helping a colleague do sound checks at a new studio here in LA...checking out how different mic combinations worked. And one that he pulled out was, yes a sennheiser shotgun. After a few paragraphs of naration he said "Whoah, this mic really loves your voice". I have a big bass voice and the mic was about 12 inches away and pointed at my upper chest. While it might have been the proximity effect my theory was that it was that the chest resonances were exactly on-axis. We did not try it, as you describe, straight on with a pop filter.

Most voiceover work I have seen recorded is with the mich a little high and pointed down toward the mouth/chest. Nearly all broadcast work is done with the mike about 45 degrees to the side.

 

[Innovations]

For serious voiceover work, I would recommend the EV RE20. It is a standard mic in radio stations, and you'll never need to buy another VO mic again. It's a bit more pricey than the mics you listed (around $450) but worth every penny.

In my experience the mic that you see all over the place in radio is the SM7B. The Electrovoice you see in special locations in the station. In other words the SM7 they feel they can use on anybody and the EV20 when they feel that they have the right voice for it.

 

[chessrock]

While it might have been the proximity effect my theory was that it was that the chest resonances were exactly on-axis.

That's a really interesting theory, when you think about it. At first, I thought it was because the ADR and foley guys in film or HD editing just want something that might match up a little better with the original location sound.

Then you start seeing all of these strictly audio facilities using them, too, and you figure there has to be something more to it. So I guess it must be one of those oddball things that just works for some reason.

 

[DREAMLABS]

I'm slowly putting together a home studio for doing voiceover work, and although I've been doing a lot of research, and following existing threads, I don't think I've see this come up yet. (If so, please forgive my redundancy.)
I have a couple of serviceable dynamic mics (older Audio Technica & Shure) which I'm taking direct into my computer (via 1/8" adapter). As budget becomes available, I'd like to add something like a DMP3 and a large condenser mic to improve quality and add different colors to my toolbox. Most of the mic feedback I've seen has been geared toward singers - in voiceover, I'm doing everything from really intimate commercial work to wildly out of control animation stuff to basic narration. Budget is (of course) limited, but I'd rather not buy trash that will waste time and energy. My basic vocal quality is alto range, rich and full - anybody got feedback or suggestions? This group has been the best bunch of educators I've ever encountered - thanks for sharing!

Hey Whyseye! Greetings from one Voice-Over artist to another. I've been in the business since 1997 when I began my career in Radio. Over the years I saved my pennies was able to set up my own studio. I definitely know what it's like to start out on a shoestring budget. Here are my suggestions to set up a basic voice-over studio.

First of all get a budget mixer. For now you can pick up a Behringer UB1002 mixer for around $60.

Secondly, get yourself a budget condenser. The Studio Projects B1 condensor runs around $99.

A budget amplifier like the Samson Servo 170 is another good choice at $170.

You'll be able to pick up a pair of Behringer B2030P Studio Monitors for around $160.

I'm not sure what program you use for multi-tracking, but I'm sure you'll be able to find a copy of Cool Edit (now Adobe Audition) at an affordable price, if not free somewhere online.

With that said, you're good to go. The only thing missing is your convincing voice to sell products!

Why don't you check out my website for more info at

http://dream-labs.tripod.com

Good luck with your studio!

 

[whyseye]

That's a really interesting theory, when you think about it. At first, I thought it was because the ADR and foley guys in film or HD editing just want something that might match up a little better with the original location sound.

Then you start seeing all of these strictly audio facilities using them, too, and you figure there has to be something more to it. So I guess it must be one of those oddball things that just works for some reason.

I have seen the shotguns used a lot for promos - I hadn't thought about the ADR matching rationale, though. Funny! There's something about the way they sound, whether angled down but basically straight-on with pop filter, or at a greater distance angled down toward the chest, that just seems to work for deeper voices, male or female. Incredibly intimate and commanding, all at the same time - just kinda demands attention, but also renders great clarity and detail. Wish I'd thought to ask the engineers, but some don't appreciate those dang pesky curious actors.

Thanks to all for the good advice - I see that I'll need to save a few more pennies for the full works, but in the meantime, I feel equipped with a better understanding of *the bigger picture*.