at2035 questions

mrNobody

New member
im just wondering how to get the best from my at2035, im currently just using it for vocals and also streaming.

the problem is that i have to be very close to the mic and also that every sound in the room seems to be getting picked up.

any advice? i do not have any tech knowledge of audio equipment etc so appologies in advance

its the at2035 xlr connected to a focusrite solo gen 2 then into a pc. no softwares are being used to change audio in any way
 
i...the problem is that i have to be very close to the mic and also that every sound in the room seems to be getting picked up.

I wouldn't ask such questions but for that above. Correct side? -And this is a side address mic.
 
the problem is that i have to be very close to the mic and also that every sound in the room seems to be getting picked up.
What do you consider very close? 4" to 12" might be typical for a condenser mic. Yup, a mic can and will pick up every sound in a room and outside of it as well, condensers being more prone to hearing every thing. Mostly you can try to identify what the noise is and try to get it quieter or like I do, record at quieter times of the day or night if possible.
 
What do you consider very close? 4" to 12" might be typical for a condenser mic. Yup, a mic can and will pick up every sound in a room and outside of it as well, condensers being more prone to hearing every thing. Mostly you can try to identify what the noise is and try to get it quieter or like I do, record at quieter times of the day or night if possible.

Yep. Get closer, and work your voice level stronger.
With a reasonably strong voice level and up on a mic as needed, there will still be some room sound in it, but should be well louder than the back ground.
Soft voice or not up on it,,, nope.
 
Microphones are designed to pick up sound, if the room has sound in it the mic will pick it up. If the room has flutter echos and bad acoustics the mic will pick it up. Get close as you can to the mic 2" could work, use a pop filter to allow for this without popping the mic. Try using a reflection screen to take out some of the room and the noise. Put an absorber of some kind behind you? Can just be a think blanket on a clothes stand for now?
 
This is why [A] room treatment is so vital and most classic vocal mics are dynamics (no matter what the marketing people might try to suggest).

That said, those isolation shields help some (some). But treating the space helps more.
 
The AT2035 has a high sensitivity of 22mV which means is puts out some 18 times more signal voltage than say a Shure SM58 for the same sound level. This is equivalent to having an extra 25dB of gain on top of the gain setting on the Solo, no wonder you are picking up all the ambient crap in creation!

As told, get close. Also engage both the "-10dB pad" switch on the mic and the High Pass Filter (bass cut switch). You will need a good pop filter but also try not to talk directly at the diaphragm, turn the mic 10 or so degrees off dead ahead.

Reflection filter yes but you can do nearly as good a job with duvets and blankets rigged around and above you.

Lastly, watch your recording level. You have not mentioned what recording software you are using (know as a "Digital Audio Workstation") but they all have signal level meters. You want your voice to average about 1/2 way on the scale the numbers being around -20dB "fs" (for "full scale").

Massive's comment about dynamic mics is a little bit of a "Pond" thing? Here in UK (EU for now and evermore if I have MY way!) capacitors are seen rather more often for VO work (but I DO see a lot more 7bs than years ago on telly!)

Dave.
 
thanks for all the suggestions guys :) il try adding that -10db pad and high pass filter.

if there any software i could try to help the mic out?
 
thanks for all the suggestions guys :) il try adding that -10db pad and high pass filter.

if there any software i could try to help the mic out?

Not really for random "noises off" dog barks say. Periodic noise, fans, traffic rumble can be reduced with certain software (I am sure it is in Reaper?) but these measures must be used with great restraint as you can end up sounding under water!

VO work will demand recording late at night/early morning and even then you will be forever editing out noises, fluffs and coughs and doing re-takes. But much depends on the level of quality and "professionalism" you want to achieve and, if passing work on, what will be accepted.

Dave.
 
Hello , I use a 2035 for vocals a lot with no major problems, but Some editing is usually required. The main thing I do , besides the above suggestions , is go thru a gate. I do some shuffling around while setting the controls. My interface has built in gate and comp , so most of the offending noise is gone before it ever hits a track. mark
 
Hello , I use a 2035 for vocals a lot with no major problems, but Some editing is usually required. The main thing I do , besides the above suggestions , is go thru a gate. I do some shuffling around while setting the controls. My interface has built in gate and comp , so most of the offending noise is gone before it ever hits a track. mark

Jooono!? We had a Behringer BCA2000* AI (still dead in loft) and that was bloody good when it worked. A great feature was a noise gate. Son used it on electric guitar which everyone knows to be noisy bstds and it cleaned up his input a treat.

I dare say some clever bugger here could tell you how to do that in software in "real time"?

Good one Mark, I have read many a post about noise issues but no one has yet suggested, AFAIK, the use of a gate for VO recording. I am sure it takes a bit of work to get set right but worth a do!

*Never been equalled IMHO for facilities in an affordable AI. Just wish Berry's had developed decent drivers for it and fixed the appalling reliability!

Dave.
 
The AT2035 has a high sensitivity of 22mV which means is puts out some 18 times more signal voltage than say a Shure SM58 for the same sound level. This is equivalent to having an extra 25dB of gain on top of the gain setting on the Solo, no wonder you are picking up all the ambient crap in creation!

That difference in sensitivity won't change the ratio (dB difference) between the intended sound and the unintended sounds, unless the user tries to solve too much gain by moving away from the mic.
 
That difference in sensitivity won't change the ratio (dB difference) between the intended sound and the unintended sounds, unless the user tries to solve too much gain by moving away from the mic.
Thank you. The basics are necessary lest we assign the wrong 'causes to the effect in question.
 
That difference in sensitivity won't change the ratio (dB difference) between the intended sound and the unintended sounds, unless the user tries to solve too much gain by moving away from the mic.

No of course the sensitivity does not affect the ratio of wanted to unwanted sound but that still does not stop capacitor mics getting the blame for it!

The point I was making is that the 2035 STARTS OFF with 25dB more "gain" than most dynamics and if peeps do not take that into account when setting the AI's gain they will get the level they think they need a foot or more away from the microphone plus of course all the crap they don't want to pickup.

Ideally you want a capacitor at that foot or so but in a very quiet place with plenty of treatment (or a really BIG room with a lovely acoustic)

The dynamic "wins" because its feeble sensitivity allows, nay, demands you get in close and that means your voice is now many times louder than the background noise. Get within kissing distance of an LDC and you will get nasty blasting noises or/and a clipping pre amp.

Its a thing called "critical distance" and there is a variation of it for PA* feedback setup.

*Actually, "Sound Reinforcement" a rather more genteel and civilized technique.

Dave.
 
No of course the sensitivity does not affect the ratio of wanted to unwanted sound but that still does not stop capacitor mics getting the blame for it!

I was just clarifying the point. What you said was correct, but the key point seemed to get lost in the volume of words.

You can get quite close to a condenser, you just need an effective pop screen that can fit in the small gap. Most condensers have pad functions that lowers the internal gain to prevent the active circuitry from overloading.

I would agree that this might be a job for a dynamic mic. Although you can get close to a condenser, it's usually a lot easier with a dynamic. Then inverse square law pretty much solves the problem of a poor acoustic environment.
 
is it not possible to buy something like isolation foam to cover the rest of the condenser mic with the only opening being the part you speak into?
 
The best you can do in the short run is to hang a heavy moving blanket behind your head where you sit...........and place a reflextion filter behind the mic. That will help to cut down on upper frequency room noises........but won't do as much for mid and low frequency noises.
 
MrNobody......I don't know if you ever said...... what are the noises in the room that are the problem? Keyboard typing, computer fan, etc?
 
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