Rode Broadcaster - Is This The Right Choice For Me (Sample Inside)?

SInstitute

New member
Hey guys,

So I want to get the Rode Broadcaster for my Youtube channel - I'm still growing and have just really started, with hundreds of videos left to produce. I provide maths tuition online through Youtube in the UK, currently using a Blue Yeti and I currently get around 20k-40k views a month. The Yeti is a nice microphone but I've noticed it doesn't provide the clear crisp type of sound a proper XLR mic provides.

YouTube

That is what I get with the Blue Yeti at the moment. I don't edit or process my audio after recording, I use software called voicemeter to add the bass effect live on the fly.

The reason why I wish to get a nice XLR mic is because I figured I would have got a proper mic setup down the line anyway, and my videos are used in the classroom by other teachers and they tend to have loud speakers - so I would like to keep background noise, hiss etc as low as possible and have the cleanest sound. Of course I don't think my voice is great either, but I suppose that is something which cannot be changed.

Reason why I'm considering Rode Broadcaster is I have heard a few Youtubers use it, and it has that 'artificial' radio voice - which I would like, like for example in the video below, right at the end the engineer comes up close to the mic and delivers a very punchy bassy sound with the Rode Broadcaster.

YouTube

So would the Rode Broadcaster be a good choice for this, or should I go for other industry standards to get the sound I'm looking for? Would I be expecting a good quality bassy sound by talking very close to this mic?

Thank you.
 
Hi Si (?) !
Let me first tell you that I am clinically hard of hearing! But then so will many of your 'customers' so my views are perhaps moot?

I listened to 30secs or so of your lesson and will suggest that yes, another mic might well be better but a couple of things struck that are NOT mic related* .

1) Evidence of 'popping' you must use a pop shield. If the mic came with a sponge gag, IT IS NO BLOODY GOOD! Heh! A frame pop shield 50mm or so in front of the mic will be vastly better.
2) There were 'gaps' of near total silence. I could just make out in other places a bit of 'whirring', computer? The gaps were I think the action of a noise gate and I found them MORE distracting than a constant ambient noise would I think be.
3) Your voice is fine (better than mine!) Ok, you are not a trained actor/vox pop artist but it is a complex subject you are trying to impart!

That Rode COULD be better, sounds pretty good on the other guy but since he is some 100mm off mic and still getting low room effect it seems to me he is in a very well treated room.

The mic is £285 here. I think you could find something 1/2 the price that will be as good. You also need an Audio Interface. It would be useful if the mic had a HPF (bass cut) but that can be done in software and editing.

Some here might suggest a quality dynamic such as the Shure SM7b, superb mic but if you want "crisp" I think capacitor is the way to go?

*There could be a gate in the mic?

Dave.
 
The RØDE and advertising voice guy are pretty clearly trying to emulate that sound you get in the "In A World" movie, and most commonly associated with the Shure SM7b and Electro-Voice RE-20. it does a fair job, but so would a lot of other mics, since the qualities you hear, or don't hear, have as much to do with the recording environment and technique as the mic itself, usually.

Broadcast mics have, historically anyway, been dynamics, and not condensers, because while broadcast rooms are isolated, they're not necessarily the quietest places, and (unlike a studio musician, perhaps) broadcasters move around, shuffle papers, flip switches, etc., and all of these kinds of little sounds are more likely to be picked up by a condenser than a dynamic.

But, I'd start with looking at getting an audio interface with a goodly amount of gain so you can simply try a few different mics. And then I'd probably start with a dynamic like a Shure SM57/58 or perhaps the Beta series (I like the Beta 57a), or some of the Sennheisers (835 is a good dynamic IME) and work from there. Any of those dynamics (and there are others) won't sound worse than the Yeti, and work well with any interface.

Then you can focus on things that matter most (IMO), like getting the mic distance correct for your voice and the amount of proximity effect you really want to get from any mic, to fill out your voice. Then, you need to control room echo/noise with some kind of treatment, as well as mic placement (make sure noise sources are behind the mic, not behind you), and as [MENTION=89697]ecc83[/MENTION] mentions, a pop filter (get a good one). You might be able to accomplish a lot of those with the Yeti, though it's going to be limited in placement options.

I'd look at a good boom stand (or good, articulating desk mount) with a suspension bracket/holder if you get a condenser and the mic doesn't come with one. (I'd even use one for something like a lowly SM57 - it cannot hurt.) Since mic positioning is critical, you don't want to be limited with a mic stuck on a desk stand!

If you go bigger into the SM7b or RE-20 area, you'll need a counterweight or stand designed for something as heavy as that. IOW, get the mic off the desk and isolated. The one other issue with those "pro" dynamics is they often require more gain than is available at the interface (one place that Broadcaster mic probably has an advantage), so you'll be in for more money for a preamp - it adds up!
 
Hi Si (?) !
Let me first tell you that I am clinically hard of hearing! But then so will many of your 'customers' so my views are perhaps moot?

I listened to 30secs or so of your lesson and will suggest that yes, another mic might well be better but a couple of things struck that are NOT mic related* .

1) Evidence of 'popping' you must use a pop shield. If the mic came with a sponge gag, IT IS NO BLOODY GOOD! Heh! A frame pop shield 50mm or so in front of the mic will be vastly better.
2) There were 'gaps' of near total silence. I could just make out in other places a bit of 'whirring', computer? The gaps were I think the action of a noise gate and I found them MORE distracting than a constant ambient noise would I think be.
3) Your voice is fine (better than mine!) Ok, you are not a trained actor/vox pop artist but it is a complex subject you are trying to impart!

That Rode COULD be better, sounds pretty good on the other guy but since he is some 100mm off mic and still getting low room effect it seems to me he is in a very well treated room.

The mic is £285 here. I think you could find something 1/2 the price that will be as good. You also need an Audio Interface. It would be useful if the mic had a HPF (bass cut) but that can be done in software and editing.

Some here might suggest a quality dynamic such as the Shure SM7b, superb mic but if you want "crisp" I think capacitor is the way to go?

*There could be a gate in the mic?

Dave.

Hi, wow I've very impressed by your knowledge and how you managed to pick up so much just from hearing a few minutes of my video. Yes I do not use a pop filter, I did buy one but lost it somehow. Is there really a big difference between a sock over mic type and free standing one with an arm? I will order one soon.

Yes I do have a noise gate turned on. I use an application called voicemeter which I believe adds the bass and treble that people normally add in post processing but it does it live, and I record in OBS Studio - saves me having to record video and audio separately.

I found the Blue Yeti to be very very sensitive, so I turned down the gain in my latest video. This video was kind of maths related, but more to feed to curiosity of my subscribers.

YouTube

The Rode Broadcaster does have a high pass filter - does that get rid of fan noise etc?

I will get betting the Focusrite 2i2, many Youtubers swear by it and I have heard good things.
 
Syed,

- What are your surroundings/room like? As I listen to your video I think I'm hearing something of an echo sort of sound like you are in a boxy type of space.
- Are you using headphones to monitor your narration and not monitor(speakers)?
- The Yeti is a multi-pattern microphone. Are you using the cardioid pattern which picks up sound in front of the mic?
- Agree with Dave the noise gate makes the presentation somewhat unnatural.
 
The RØDE and advertising voice guy are pretty clearly trying to emulate that sound you get in the "In A World" movie, and most commonly associated with the Shure SM7b and Electro-Voice RE-20. it does a fair job, but so would a lot of other mics, since the qualities you hear, or don't hear, have as much to do with the recording environment and technique as the mic itself, usually.

Broadcast mics have, historically anyway, been dynamics, and not condensers, because while broadcast rooms are isolated, they're not necessarily the quietest places, and (unlike a studio musician, perhaps) broadcasters move around, shuffle papers, flip switches, etc., and all of these kinds of little sounds are more likely to be picked up by a condenser than a dynamic.

But, I'd start with looking at getting an audio interface with a goodly amount of gain so you can simply try a few different mics. And then I'd probably start with a dynamic like a Shure SM57/58 or perhaps the Beta series (I like the Beta 57a), or some of the Sennheisers (835 is a good dynamic IME) and work from there. Any of those dynamics (and there are others) won't sound worse than the Yeti, and work well with any interface.

Then you can focus on things that matter most (IMO), like getting the mic distance correct for your voice and the amount of proximity effect you really want to get from any mic, to fill out your voice. Then, you need to control room echo/noise with some kind of treatment, as well as mic placement (make sure noise sources are behind the mic, not behind you), and as [MENTION=89697]ecc83[/MENTION] mentions, a pop filter (get a good one). You might be able to accomplish a lot of those with the Yeti, though it's going to be limited in placement options.

I'd look at a good boom stand (or good, articulating desk mount) with a suspension bracket/holder if you get a condenser and the mic doesn't come with one. (I'd even use one for something like a lowly SM57 - it cannot hurt.) Since mic positioning is critical, you don't want to be limited with a mic stuck on a desk stand!

If you go bigger into the SM7b or RE-20 area, you'll need a counterweight or stand designed for something as heavy as that. IOW, get the mic off the desk and isolated. The one other issue with those "pro" dynamics is they often require more gain than is available at the interface (one place that Broadcaster mic probably has an advantage), so you'll be in for more money for a preamp - it adds up!

I currently have a cheap mic stand that I use, but I will be looking to get a Rode Boom Arm with my audio upgrade. And of course the focusrite 2i2. I was looking at a cloudlifter preamp, but I was told the Rode Broadcaster wouldn't need one.

I have seen the Rode Broadcaster in many radio stations (not as much as the Shure and Re20 although) and a lot of Youtubers talk positively about the Rode.

YouTube

This guy has got about 7-8 million subscribers and has a very nice setup. My setup I have 4 monitor output, triple 27" monitors in front of me and a 50" TV above.

How would I go abouts trialling other mics without buying? I don't mind spending a lot of money if it was worth it as is it an investment for my career and Youtube, and my Youtube is monetised so it pays for itself like I purchased the Blue Yeti. Is there a way I can try out the Rode, Re20 and Shure without having to buy all three?
 
Hi, wow I've very impressed by your knowledge and how you managed to pick up so much just from hearing a few minutes of my video. Yes I do not use a pop filter, I did buy one but lost it somehow. Is there really a big difference between a sock over mic type and free standing one with an arm? I will order one soon.

Yes I do have a noise gate turned on. I use an application called voicemeter which I believe adds the bass and treble that people normally add in post processing but it does it live, and I record in OBS Studio - saves me having to record video and audio separately.

I found the Blue Yeti to be very very sensitive, so I turned down the gain in my latest video. This video was kind of maths related, but more to feed to curiosity of my subscribers.

The Rode Broadcaster does have a high pass filter - does that get rid of fan noise etc?

I will get betting the Focusrite 2i2, many Youtubers swear by it and I have heard good things.
A real pop filter does make a difference. Put your hand in front of your mouth and say the word 'POP' with some push behind it. You'll feel a push of air on your hand. It's this push of air you want to prevent from getting to the mic.

Try some recordings without the added EQ. Vary your distance to the mic. Getting closer to the mic will boost the bass due to what's called proximity effect (the mic should be in cardioid mode to make it work best). There will be a 'sweet spot' for distance where you should be able to find a good balance of bass to treble.

A high pass filter reduces the low end sensitivity of the mic... less bass. If you get close up to the mic the gain can be turned down to lessen room noise. Getting close increases bass from proximity effect. The high pass filter can be used to reduce this bass effect. Won't reduce fan noise. Distance away from the source of the noise can help as well as possibly an enclosure around the computer with the fan.
 
Syed,

- What are your surroundings/room like? As I listen to your video I think I'm hearing something of an echo sort of sound like you are in a boxy type of space.
- Are you using headphones to monitor your narration and not monitor(speakers)?
- The Yeti is a multi-pattern microphone. Are you using the cardioid pattern which picks up sound in front of the mic?
- Agree with Dave the noise gate makes the presentation somewhat unnatural.

I'm in my office in my house, it's not carpeted - should I get this done? Yes I am using cardioid, but I had the gain on so high, and only turned it down in my last video. I find the mic very over sensitive, and in general with me or anyone else, I find the Yeti has a lack of clear sound compared to XLR mics, would you agree with that?

And no, I don't use any headphones, I use a set of £10 basic Logitech speakers. I record my intro and check if I am happy with it, or I make an adjustment so normally I do about 5/6 intros and then record questions at a time and join them together in editing.

Sorry to keep posting videos, but it's very easy - I'm not trying to advertise my channel honestly. When I first started out I used a £7 mic from amazon, and I had so many comments to fix the audio it was unbearable. Listen to this only if you want to here some truly painful audio.

YouTube

I didn't anticipate to grow quickly, but have only made around 30-40 videos out of the 700-800 videos planned for maths tuition for all ages to 18. Many teachers use my videos in class with very big loud speakers, so I suppose it is very important to fix the audio as quickly as possible.

The Neumann tlm 102, is that worth considering? I know it's expensive, and I know it is not always the case that more money is better quality but the reviews are excellent. I don't mind spending that extra bit as is an investment and if it is worth the quality I would consider it.
 
You will notice Sy that there is a split in mic types at HR! This is geographical. I am in UK (EU for now!) whereas you will find comments like "most broadcasters use dynamics" stem from my American friends, in Europe the capacitor mic is at least as popular. You see a lot of AKGs in 'chat shows'. Both operating principles have been honed to near perfection but the 'MO' is slightly different for the two types. Then you have ribbons, the venerable STC 4038, LOT of those at the BBC! I am going to insert some heresy now, consider a 'tie tack' lavalier mic, a good one mind. Almost universal for proggs like the QVC store my wife watches and although they keep me poor I cannot but be impressed with the studio sound quality!

My pickup 'skill'? Nah, rather high levels through AKG K 92 cans (112dBSPL per volt).

You seem to want a 'nice' sounding voice with a bassy quality? This is not good for intelligibility, especially if reproduced over "big" speakers and especially at 'louder than life levels' and unless you have a good sound man at the PA pots, they ALWAYS play things too loud!

The 2i2 interface gets a lot of good rep and the preamps are such that you may not need a Cloudlifter pre amp for an SM 7b? Since I have none of those I shall leave that equation (heh!) to them as do.

I am a bit confused about your video/audio procedures? I don't do vids but would prefer to get the sound right then add that to the pictures.

Re 'Noises off'. If the computer you can put it waaay away and run a very long mic cable. VGA can go 10mtrs easy for a local monitor. Wireless kbd and mouse, $30?

Dave.
 
...
This guy has got about 7-8 million subscribers and has a very nice setup.
...
How would I go abouts trialling other mics without buying? I don't mind spending a lot of money if it was worth it as is it an investment for my career and Youtube, and my Youtube is monetised so it pays for itself like I purchased the Blue Yeti. Is there a way I can try out the Rode, Re20 and Shure without having to buy all three?

Are you going to put curtains all around the room like the jelly-guy did? Because the biggest challenge to fixing your voiceover is the sound of your room and the noise. If you don't tackle that first, spending hundreds of €s on equipment that will only enhance the bad sounds over the good. (He mentions he spent about 500€ treating that converted storage room, and says it's the least he's spent.)

I don't know about online companies there, but here it's possible to order (and, yes pay for) a mic and return it. The only cost incurred is the shipping cost. If you want to A/B a couple or more mics, you'd temporarily be out the cost of them, but get it back, minus shipping. Certainly worth doing if you're looking at expensive mics IMO.
 
Have any of you noticed that, now that Bill O'Reilly is no longer with FoxNews, his "home office" broadcast mic is a Blue Yeti?
 
Have any of you noticed that, now that Bill O'Reilly is no longer with FoxNews, his "home office" broadcast mic is a Blue Yeti?
Never watch it, but I can say for sure if you can see the brand name, he's getting paid for that product placement. I doubt that's the only mic on him, or if it is, that its innards are actually the same as what you'd buy at Amazon. Not saying a Blue Yeti is a bad mic - seems like they sell a crapload of them. But think about it. Here's a guy worth millions of dollars who has been broadcast with the best equipment available, and now he's using a $100 mic? I'm not that gullible.
 
Hi Si. You'll certainly get lots of valuable advice from people here. Also you could try Pinterest 1193 best Home Recording Tips images on Pinterest | Audio studio, Sound studio and Music . Go to Pinterest and in the search bar simply type in Home Recording. E-Home Recording will also get you lots of information. There's plenty there on Home Studios, Microphones, and Pop Filters and a whole lot more. It is visual too with lots of photos and graphics. Enjoy your journey and learning.
 
I late getting into this thread, so I hope I'm not just repeating others' comments. To me, the only thing that distinguishes the Rode Broadcaster from other large diaphragm condenser mics is that it is end address rather than side address. I doubt that the mic would sound too different from the Blue Yeti.
 
Back
Top