Filling out a flexible mic locker for voice

[Bampei]

I do a lot of voiceovers for commercial and mutimedia work.

I also produce a weekly syndicated radio sports-talk show, and rotating weekly spots for the Armed Forces Radio and Television Service.

I have been building a project studio to eliminate the need to commute to commercial studios every other day, and have accumulated a fair stable of mics.

The usage is strictly vocal, mostly solo, but also for use with guests and remote show recordings for broadcast. Virtually all work is done in mono.

I work with my own voice (deep broadcast, movie trailer type), as well as many other people with variable voice types... as well as character voices for cartoons and mutimedia gaming.

I am wondering what you "experts" would add to my existing locker, given the choice and an unlimited budget in order to cover all potential voice types individually.

(1) Neumann U89i ($1100.00 eBay deal)
(1) BeyerDynamic M500 original (ribbon) ($220.00)
(2) Sennheiser 421-II ($215.00 ea)
(1) Studio Projects C1 ($199.00)
(1) Studio Projects C3 ($299.00)
(1) Shure SM-57 (Used with Pro Cassette for Interviews)($60.00)

I have considered the Rode NTK, and Sennheiser 416, but do not have the ability to audition them, and don't know whether they would add anything or just be redundant in the mix that I already have.

OK guys... lemme have it!

 

[jake-owa]

Check out an electrovoice RE20...that's a common announcer type mic with a nice versitile sound.

 

[Sklathill]

How about a Shure SM7? I honestly never used one in a voiceover capacity, though I hear it's great for it, and I've done a killer jazz vocal on it.

I'd also suggest that CAD mics, particularly the M179 and M9. Excellent mics that should contrast well with your current condensers. I'd also suggest checking out a Marshall V69 as well.

1100 on a U89? Good deal, there...

 

[Bampei]

Check out an electrovoice RE20...that's a common announcer type mic with a nice versitile sound.

I'm very familiar with the RE20, using them regularly in a broadcasting studio. I find the mic's somewhat muddled, and prone to severe proximity effect. Maybe it's just my voice, but the RE20's have never been a favorite of mine. I much prefer the 421's for in-studio broadcasting.

Smart suggestion though! Thanks.

 

[Bampei]

1100 on a U89? Good deal, there...

Thanks for the suggestions. I've never considered the mic's you've mentioned, and the only one I've seen is the SM7, though I've never auditioned it. I will. I'm unfamiliar with CAD mics totally. Condensers? Dynamics? Benefits?

On the U89, yeah, I was VERY surprised at the price. It was a BUY NOW price on an almost mint U89 with the Neumann shockmount. I think I got lucky to see it first, thought about it for about 2-seconds, and jumped on it as fast as I could enter my password in the bid box! I was deathly afraid that others would see it before I could hit my ENTER button!

The only thing wrong with the mic is a very small and localized dent in the casing from the shockmount being tightened too much at one point. Everything else is primo along with the original Neumann box.

Lucky me!

 

[NathanEldred]

I would definitely try an ADK A-48 or TT, both right around a grand. If you don't like them for some reason, then move on to something else. A quality condenser always sounds better on voiceover to my ears than a dynamic...although a dynamic through a quality preamp will do a decent job. Make sure the preamp is quiet at higher gains and high quality. Once that signal hits a compressor the noise floor will be brought way up, so if the front end before the comp isn't quiet it's not going to be the best it can be.


Nathan Eldred
atlasproaudio.com

 

[invisiblemute]

I've only read good things about the new Shure KSM series. As far as RODE they seem to make decent mics but reviews are very mixed depending on taste which leads me to think they are not as flexible. They're not considered industry standard like a Neumann U87 which I've NEVER read a negative thing about. Might also want to look into the BLUE Bottle and Lawson L47MP. They're pricey but you did say unlimited budget right?

I've been trying to ID mics left and right on TV and here's what little I have to share:

EV 635A - it's that mic you see almost EVERY reporter in the field using. It's omni so it picks up just enough ambient background noise to add to the audio mix.

Neumann TLM103 - I think this is the mic Howard Stern uses and it sounds really nice for him. Warm and very full bottom.

Shure SM7 - The one Robin (Howard's side-kick) uses.

Sennheiser MD421 - Could be mistaken but it may be the hand held one that Graham Norton uses for the audience.

I don't think the SM-57 is even in the running next to these other ones. People around here like it because it CAN sound great but usually if you have to pair it with a REALLY good preamp and predominantly for rock vocals or snare drum. I've never heard it being recommended for the voice work you describe.

All these recommendations are assuming you have a pre to compliment these mics. Does little good to have one without the other.

I only have Marshall mics and a Mackie so what do I know? But I have done a lot of reading and research (which is no way to choose a mic mind you!) so I'm trying to regurgitate a useful
summary.

i'm'

 

[Richard Monroe]

2 mics come to mind- Shure SM7, already mentioned, and a discontinued mic with a cult following- Shure SM82. A line level broadcast mic that needs phantom power. It was designed to run off of a mercury battery that can no longer be legally made, and most line level inputs don't give you phantom power, so you need a separate power supply. You can find them on ebay occasionally, and it is one bitchin' condenser for voiceovers. Almost no reach, it rejects anything that isn't right in front of it, but has very mild proximity effect, and the high-end detail of a good condenser.-Richie

 

[Innovations]

The two that come to my mind are either the RE20 or the SM7. The reason is that if your interviewee is not that good a voice you do not want to put something as unflattering as a condenser in fromt of them. A forgiving dynamic (of which I would only count the 421 in your current locker) is the thing to use when you are bringing in some coach or athlete for an interview and don't want them sounding bad.

 

[DigitMus]

Well, you've gotten some good advice on field mics, so I'll suggest a couple of studio picks. Any of the AEA RCA ribbon recreations, or their new R48 will do a better job of the classic ribbon sound than the Beyerdynamics (not bad mics, I've got a couple of Beyers myself - but not quite "the stuff"). I would also highly recommend any of the Brauner tube mics (I'd bet the Phantom C FET mic is just as good, but I haven't heard one yet).
You DID say cost no object - though the R84 is under a grand, the Brauners ain't cheap.


Scott

 

[Bampei]

Thanks guys!

This thread has produced some exceptional responses that are giving me some new ideas, as well as thoughts that take me out of the box.

Clearly, the Shure SM7 is a mic that I had not considered, but after researching it based upon multiple recommendations in this thread, I think I have to own one.

The CAD mic's look interesting,and I'm going to look around for a sound sample to hear them.

The Shure SM82 suggestion is very interesting. I've never seen or heard of this mic before, but I'll keep my eyes open for one to peek at.

I am likely to buy another Beyer M500 and have it modified and refitted with an RCA ribbon, so the suggestion for the AEA RCA's is essentially already in the works in my head.

Innovations recommended the RE20 again, but I really detest that mic, and frankly haven't heard anyone sound really good on it. My 421's deliver better response in my opinion.

The SM57 in my locker is just for quick outside interviews with a Marantz PMD430 Pro Cassette recorder. The EV635A suggestion would be excessive overkill as all our interviews are broadcast via AM radio (lo-fi)

I'd also like to check out the Brauner's mics, though I've never seen one. From what I read, they're worth a look.

Others that were not suggested that I am considering include mics from Lawson, Gefell, and a Neumann m149.

Keep up the banter guys. The posts are making outstanding reading and research opportunities. We all learn from one another.

"Remember.... a mind is a terrible thing to taste"

 

[Richard Monroe]

For more info on SM82, check Shure's homepage under discontinued items. For a pcture, it's included in my current mic cabinet in the pictures page off the ptoject page on my website www.bardwire.com. It's the long one. Aside from its intended application, it is one great acoustic guitar mic.-Richie

 

[Tim Brown]

My vote is for my favorite mic:

The Sennheiser 441.




Tim

 

[flatcat]

Have you considered a Soundelux? If you can try a U195, I hear they're really nice.

 

[willovercome]

i use an NTK for a lot of people. i'm not too sure how useful it would be if i had a locker like you're describing, but i use it for many male vocals.

 

[Bampei]

Thanks again for all the suggestions. They provided me with solid ideas and research opportunities.

As a result, I have just purchased a Rode NTK, and will add the following mics to my locker when I can find a reasonable deal on them:

Shure SM7
Lawson L47MP
Eventually a Neumann M149
A Beyer M500 converted to RCA ribbon
Octava 319 - For really dark sounds...

I think this will get all my bases covered for just about anything I need to do in my voiceover, narration, multimedia, and broadcasting work.

Thanks again!