Good mic choices for book narration?

DigitalGee

New member
Hi all,

First post! I'm just cutting my teeth and wanting to pursue audiobook narration (I've written about six books which I'd like to turn into audio books). I've got a Blue Snowball USB mic, but as I get more serious about all this I know I want an XLR mic, an audio interface, and much better sound treatment in my office/studio. I also do a bit of music creation on a Korg Pa700, but I don't think I'll need to connect it to my computer, because I can create mp3 files on it, save them to a memory card, and transfer them to the computer and open them with a DAW. Currently, I'm learning Audacity, GarageBand and Adobe Audition.

I have no singing ambitions - just narration and perhaps voice overs. I've done three voice overs for a client who was making training videos - that's how I caught the bug.

From my scouring of the interwebs, I'm hearing good things about the Rode NT1, a couple models from Shure, and the AT2020. Bearing in mind this is a hobby for me, I'd love to hear your thoughts on these or any other mics I should consider - again, mostly for narration. My budget is up to about $300, especially if that is a kit which includes a shock cage, pop filter and/or stand. TIA!
 
I can see this debate polarizing between the capacitor LDC mics and the "stoodio" dynamics such as the Shure SM7b and Electrovoice models?

The main consideration for V/O work is low noise, that of the 'system' and that of the room. Getting a really low noise system is harder with dynamics but the latest crop of AIs such as the MOTU M2 should be suitable. However, if you can get your space really quiet my choice would be for an LDC. As for model recommendations? I am not qualified to say. Much of course depends on the sort of voice quality you wish to convey. 'Open' and clear or 'intimate' and bit of "mainstream radio" growl?

Oh! Does that $300 include mic AND interface? If so you are going to struggle but the Behrnger UMC204HD I had had very good pre amps for its money. Be fine with a capacitor, maybe marginal with a 7b?

Dave.
 
I think, before we get into mic choice, we need to hear your voice. That is the deciding factor for mix choice. Some will flatter it, some be unhelpful or even destructive. High, low, 'windy', lisp, sibilant etc - all these are vital for a mic choice that will work for you. we can suggest mics that have proximity effect if your voice lacks warmth, and we can suggest you avoid them if it will hinder - we can suggest mic polar patterns too, but that might need us to see your recording space, as some types hear more 'room' and others hear more 'you'. I've got an M58 - but I like it for interviewing, I'd never use mine for a voice over. I'll give it a try actually I may be missing a trick here.
 
. I've got an M58 - but I like it for interviewing, I'd never use mine for a voice over. I'll give it a try actually I may be missing a trick here.

M58 is omni that sounds , always on the mic . Perfect for narration of NatGeo nature clips or interviewing. I used them during AV class.
 
Omni is rarely going to work in home environments when you need minimal noise, unless you stick it right in your face, and then proximity effect and plosives might enter in.

Besides pickup pattern, the M58 is down in the SM58-SM7b range [of output], so needs a decent preamp or CloudLifter I'd suspect. I looked for a good video test of the mic online and the couple of things I found were aligning it more field recording type situations. Gain and noise were noted in one, so probably not something I'd drop money on for voice over where there are other mics that are likely better fits for this application.
 
Hi all,

First post! I'm just cutting my teeth and wanting to pursue audiobook narration (I've written about six books which I'd like to turn into audio books). I've got a Blue Snowball USB mic, but as I get more serious about all this I know I want an XLR mic, an audio interface, and much better sound treatment in my office/studio. I also do a bit of music creation on a Korg Pa700, but I don't think I'll need to connect it to my computer, because I can create mp3 files on it, save them to a memory card, and transfer them to the computer and open them with a DAW. Currently, I'm learning Audacity, GarageBand and Adobe Audition.

I have no singing ambitions - just narration and perhaps voice overs. I've done three voice overs for a client who was making training videos - that's how I caught the bug.

From my scouring of the interwebs, I'm hearing good things about the Rode NT1, a couple models from Shure, and the AT2020. Bearing in mind this is a hobby for me, I'd love to hear your thoughts on these or any other mics I should consider - again, mostly for narration. My budget is up to about $300, especially if that is a kit which includes a shock cage, pop filter and/or stand. TIA!
You will need an audio interface with any non-USB condenser microphone. The Behringer UMC202HD is probably the entry point I'd recommend based on reviews - have not tried one myself - I've used M-Audio (can't recommend), Focusrite (can recommend based on older model still in use). I have a new Steinberg that's working for me, but the noise spec is not good for its price point, and so for your use, i'd say look around more.
 
I think, before we get into mic choice, we need to hear your voice. That is the deciding factor for mix choice. Some will flatter it, some be unhelpful or even destructive. High, low, 'windy', lisp, sibilant etc - all these are vital for a mic choice that will work for you. we can suggest mics that have proximity effect if your voice lacks warmth, and we can suggest you avoid them if it will hinder - we can suggest mic polar patterns too, but that might need us to see your recording space, as some types hear more 'room' and others hear more 'you'. I've got an M58 - but I like it for interviewing, I'd never use mine for a voice over. I'll give it a try actually I may be missing a trick here.

Not sure how to upload a sample of my voice, but all my life I've been compared to Gary Owens. Especially when I do my "AM radio" voice, which I do not want to use for narration. I have a fairly deep voice and people have been telling me I should be on radio for years. I know, I know. The AM radio voice is NOT what I'd be doing in narration. Just trying to describe what I'm working with.
 
It was surprising to me how important low noise was in projects like this. With music, the self noise is usually masked by other sounds. With nothing but a voice, there is no place for the noise to hide.

I remember we spent a lot of time working with Cat Malone on his voiceover project. He was using an MXL770, and had issues with what sounded at first like background noise. It was only after he switched to his NT1 that you could clearly tell that the mic was as much at fault as his environment.

I've probably seen more RE20s in radio studios than anything else. I've seen Audio Technicas, Shure, AKG and a smattering of other mics. If the RE20 is too expensive, you might look at the RE320. Its not quite as neutral as the RE20, but it has a slightly higher output which might avoid needing a cloudlifter type device.
 
I’ve got a 320. I don’t use it much but it sounds nicer than my sm7b and is so much more immune to people who cannot stay at the correct distance. It’s a very heavy mic if that’s important.
 
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