Deciding between EV RE20, Mojave 301FET & Sennheiser MKH 416 for VO

Basilosauridae

Basilosauridae

Member
I do voice over work and right now I just have a Shure SM58. I'm a female so looking to upgrade to something appropriate for my voice. I do everything from high energy commercial work to more whispery NSFW audio. I think I've narrowed it down to between EV RE20, Mojave 301FET & Sennheiser MKH 416.

What do you guys think of these microphones? Pros and cons? things I should know or consider?

Samples of my voice recorded with the SM58 can be found here:

Thanks!
 
That's a very different set of microphones!

Just pure opining here, since I don't do voiceovers... Short answer, I'd probably get a good LDC. The Mojave is the only one of those in your list! The rest here is just rambling...

But, you really need to try mics to decide what best suits your voice, and, for me, that means one that requires the least amount of fiddling. So, if there's sibilance or other qualities you find yourself spending time on (did I hear a de-esser in there?), find a mic that (e.g.) does *not* have that [somewhat popular] presence hump in its response curve right where your sibilance is most likely to pop out.

I would not expect a long shotgun to be a primary mic for voiceover. I have seen that page with voiceover artists where it's listed, but, really, it's a puzzle, unless you are working where the mic must be at a distance, e.g., out of video frame, it just seems like a bundle of money for a more single-purpose kind of mic, though admittedly, a kind of "gold standard" in some applications.

What is your space like? I only listened to the recordings on a set of old Sony headphones, but there's something about a closed-in space there.

A LDC will be more likely to pick up unwanted ambience, though a bit here and there is easy to process out these days with something like RX. But, it does require a better space than a dynamic. If you're in a radio booth kind of environment, then the EV is likely going to be a better fit, though may not capture vocal nuance if you really get into different voices.
 
keith.rogers said:
That's a very different set of microphones!

Just pure opining here, since I don't do voiceovers... Short answer, I'd probably get a good LDC. The Mojave is the only one of those in your list! The rest here is just rambling...

But, you really need to try mics to decide what best suits your voice, and, for me, that means one that requires the least amount of fiddling. So, if there's sibilance or other qualities you find yourself spending time on (did I hear a de-esser in there?), find a mic that (e.g.) does *not* have that [somewhat popular] presence hump in its response curve right where your sibilance is most likely to pop out.

I would not expect a long shotgun to be a primary mic for voiceover. I have seen that page with voiceover artists where it's listed, but, really, it's a puzzle, unless you are working where the mic must be at a distance, e.g., out of video frame, it just seems like a bundle of money for a more single-purpose kind of mic, though admittedly, a kind of "gold standard" in some applications.

What is your space like? I only listened to the recordings on a set of old Sony headphones, but there's something about a closed-in space there.

A LDC will be more likely to pick up unwanted ambience, though a bit here and there is easy to process out these days with something like RX. But, it does require a better space than a dynamic. If you're in a radio booth kind of environment, then the EV is likely going to be a better fit, though may not capture vocal nuance if you really get into different voices.
Click to expand...
Thanks for your thoughtful comments. :) You're right that my space is pretty enclosed, I'm in a converted closet that I padded to death. I'm going to be moving to a slightly larger space and trying to be more strategic with my sound treatment in the next couple of days.

You mentioned "find a mic that (e.g.) does *not* have that [somewhat popular] presence hump in its response curve right where your sibilance is most likely to pop out." you also mentioned that the EV might not capture vocal nuance super well and I'm trying to do character acting as well so nuance is important.... are there any mics that come to your mind that I should look into? My budget is up to $1000. Thanks again for your help!
 
Get the biggest microphone you can..

The Re20 in the shock mount is impressive.

Isn't the 416 a shotgun? That is more for a stage or a scene.

A smaller space, get close with a dynamic for intimacy. The Re20 should work awesome.
 
LazerBeakShiek said:
Get the biggest microphone you can..

The Re20 in the shock mount is impressive.

Isn't the 416 a shotgun? That is more for a stage or a scene.

A smaller space, get close with a dynamic for intimacy. The Re20 should work awesome.
Click to expand...

Thanks for your feedback. I was leaning towards the RE20, but I'm a little concerned about the "not as good at picking up nuance" comment above.

I put the shotgun on the list because for some reason its listed as a "must have" by many VO professionals but I'm not 100% why. Glad to hear that everyone else is as confused as I am.
 
EV makes a nice microphone.

Check out Beyer Dynamic too. Listen to the demos with a pair of headphones. I liked the M201. With the windscreen it was a microphone with lovely proximity. The screen keeps the 'plosives tender.
 
I think you're best bet is to try to check out a few different mics before you buy. Listening to your various demonstrations on Soundcloud, I think you voice could use a bit more weight in the lower region. The current recordings seem a might strong to me in the 1 to 1.5K region. I don't know your current monitoring setup, The problem sometimes comes from the monitors having a peak for which you then try to compensate .

Maybe find some announcers or readers that sound natural for you, and compare your recordings with different mics to that. Otherwise you run the risk of buying a half dozen mics before you find the one that suits you best (which is fine if you have plenty of $$ and like to buy microphones :giggle:). Try a few different distances, to see how proximity works for or against you.
 
Keep in mind I'm a brit - but I watch CBS for two programmes - NCIS and NCIS New Orleans, and they have exac tly this kind of VO on some of the ads I have to watchm, and they're totally different from the ones we have here, so perhaps it gives me a different perspective on US VO sound? Your voice is exactly the kind of thing I hear, but it's quite hard sounding, and I'd never have thought that was a 58 - which are usually more mellow. Assuming you're not running some kind of special EQ, I'd suggest NOT going for a condenser because it will make it harder not softer, and for me - it's bordering at the top of acceptable hardness. I think the EV 20, or maybe 320 could be good, or even (despite the fact I have one and hate it) the SM7B - they do an automatic mellowing/softening but retaining clarity - not just a dull sound.
 
I think the current SM58s may be a bit more hyped in the highs, though they have a very fast dropoff past 10k, so, no "air," but just below that it's pretty present.

pubs.shure.com

SM58 User Guide - Shure

User guide for the Shure SM58, our legendary dynamic cardioid microphone. Find the frequency response, specifications, placement tips, and more.
pubs.shure.com pubs.shure.com

I think the RE-320 is similar in that sense. (@rob aylestone and I have different opinions on this mic :) - it really accentuates my sibilance. The RE-20 is a different mic, though I've not tried one.)


p.s. The Mojave does not have that hump, and appears smoother than some, but there are a *lot* of mics in that $1k area that probably work fine. And, I don't think a multi-pattern is necessary for this application. The MA-201fet, cardioid only, might be sufficient and save some $. But, again, so many nice mics once you decide to spend more than a few hundred (though I've found nice mics there, too!) No help, I know...
 
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Miktek C7e?
www.sweetwater.com

Miktek C7e Large-diaphragm Condenser Microphone

Large-diaphragm FET Condenser Microphone with 3 Selectable Pickup Patterns, Switchable Bias Voltage, Shockmount, Wood Presentation Case, and Aluminum Carrying Case
www.sweetwater.com www.sweetwater.com

I don't do VO, but have a Miktek C1 which I consider one of my better vocal mics. Both the C1 and C7e have an internal switch that can give the mic two different voicings by changing the capsule bias voltage. Transformer coupled output.

Female VO demos with a Miktek C7.....
www.voices.com

Welcome to the #1 Marketplace for Voice Over Talent | Voices

Naomi McMillan is a professional voice actor on Voices . Learn more about their skills, work experience, reviews, and listen to samples of voice over demos.
www.voices.com www.voices.com

Male voice comparison to a U87...
 
Given the issues you've posted in the past with noise and the fact that you are relegated to recording in a closet, I'd stick with dynamic mics that have good off axis rejection. Heil PR40 fits the bill. RE 20 also. I have also had the chance to give a good listen to the Presonus PD-70 dynamic but have not had the chance to put it on a female voice yet. It has a nice top end presence. The condenser choice will pick up the whole neighborhood. Shotgun? What was that about?
 
Oddly, some people do like 416’s for VO duty. I never had luck with them close in, but recently we got some AKG CK8 capsules fir the 451s and they are rather good on voice. I like the sound better than the shotguns we use for video.
 
+1 Folkcafe
I'd let the environment make the decision. If you're fighting the room then I'd stick with a dynamic mic and stay close to it.
The RE20 is good for this as it counters the proximity effect, where a 7b/58 does not,
so you get a nice full clear dynamic sound without having to worry about sounding boomy.

In a bad sounding room it can be a very forgiving microphone but it's not just a crutch - It's a great sounding voice mic regardless.
 
Some interfaces do need, or benefit from, something like a Cloudlifter to go along with the RE20, though it depends on the voice. And, you might need a sandbag for your mic stand!
 
RE20 Demo's female..................
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www.voices.com

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keith.rogers said:
Some interfaces do need, or benefit from, something like a Cloudlifter to go along with the RE20, though it depends on the voice. And, you might need a sandbag for your mic stand!
Click to expand...
I was planning to get a cloudlifter for it, and maybe a boom arm but I’ve had some trouble figuring out what would be a good boom arm to get. I’ve hear if I’m not careful they can add some unwanted frequencies. Any suggestions on a good boom arm for the RE20?
 
Boom arm..... this one was delivered to my doorstep this morning....

Got it set up and it's pretty stiff to move (which may be a good thing). Holds position even with a light weight mic. Includes a riser which can increase its reach. I was going to get a Rode PSA1, but found the Auray and there were a few things I liked better.


I actually ordered a used OC White Podcast Pro several days ago which hasn't shipped yet due to B&H's holiday schedule and I'm not sure if I'm going to cancel it or not since I got the one above. Either would handle the RE20 or any other mic well.

 
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Basilosauridae said:
I was planning to get a cloudlifter for it, and maybe a boom arm but I’ve had some trouble figuring out what would be a good boom arm to get. I’ve hear if I’m not careful they can add some unwanted frequencies. Any suggestions on a good boom arm for the RE20?
Click to expand...
EV does sell a suspension mount for the RE20, but that's another $100, so I'd probably want to wait and see if it's necessary.

Do you mean a desk mount boom arm as the others suggest? No idea, but anything flimsy is not going to hold that mic. B&H does sell a kit with everything in it, and a 3rd party suspension mount that probably works. B&H is a good supplier.

www.bhphotovideo.com

Electro-Voice RE20 1-Person Broadcaster and Cloudlifter Kit (Black)

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www.bhphotovideo.com www.bhphotovideo.com
 
Since this the first day with the new Auray mic boom arm and putting it through its paces, thought I'd mount up the RE20 with a FetHead to see how it supported it :P. Gotta say I'm pleased with this boom arm so far.

Keith, the boom arm offered in the B&H kit is the Auray model with an internal cable. One of the things I read on Amazon was that the Auray internal cable is not all that easy to replace if the need arises. I've Velcro tied the cable on the one I bought and that works well. Before the boom arm I was using the RE20 on a mic stand with an arm and just the standard mic clip it came with. I never felt the need for any shockmount or suspension, although it did pick up foot tapping on the floor if I forgot what I was doing while playing. If just reading VO copy the clip should be OK I think.

Yeah, kinda wondering if the OP might have meant a mic stand with an arm rather than an adjustable boom arm like this. Either would work well depending on budget and need of either leaving the mic stationary or needing to move it.

FetHead can save a few dollars over the Cloudlifter.....
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re20 on auray.jpg
 
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