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Voice-over Recording Studio Tips - Page 3 Contact me to have your question answered! I'll try to answer them, but if you ask me questions along the lines of "what do you think of the DF23905 compander?" then I can't answer - all the equipment I've used I have mentioned on these 3 pages! This is page 3 of a 3 page article - please read the first 2 pages before asking me - you may find the answer is already here! Previous messages of note on this topic: What a superb article on voiceover mics, very helpful. I completely agree with you regarding the Audio Technica ATM31A, it does have a very rich sound to it and I've used one myself many times in the past. A very under-rated and often overlooked piece of kit indeed. [[mic now discontined]]
Ben's response: It must be nice in Brazil. It's one of my favourite Frank Sinatra songs!
Seeing as you have an SM57, you don't need to do anything about the noise
except buy a Behringer Composer Pro MDX2200. The SM57's pickup is so small
compared to condensers, that you don't need any acoustic treatment in
the room really (unless it's really bare and echoey). However, the MDX2200
has the function you will need - a noise gate. After
you've set it up (easy - only 2 I do recommend the large windshield for the SM57 or popper stopper - it will stop you popping the mic - the windsheild A81WS will let you lip-mic. I love it, but it wasn't cheap. I prefer recording at night. I don't have problems with temperature as I live in the north of England - rain is more of a problem! I (who know nothing about audio recording) have been tasked with
buying a microphone and minidisc recorder to take out with me to Tanzania
in 2 weeks for a friend wanting to make recordings of broadcast quality
for bbc world service. My friend in TZ knows v.little about equipment
requirements and other friend at BBC W.S was equally vague saying "Sony
minidisc recorder about £150 + Beyerdynamic M58 mic" but also
something about recorder being able to automatically adjust recording
level to voice rather than needing a mixer...means nowt to me! Obviously
it needs to be a portable recorder and have a usb connection but there
are so many models and I don't understand the technical blurb. Can you
recommend any particular sony models? I don't have a problem with the
mic.
I would assume you can borrow this sort of equipment from the BBC. But most importantly you must gain a good grasp of the equipment and recording techniques before you go out recording in the field, or your recordings will show inexperience. Take lots of batteries, and I would advise a back-up mic too.
Best wishes, & good luck!
Hi, Ben ! I`m 30 years old musician, composer, radio & TV (sound) advertising, VOICE OVER maker from Serbia. I have a litle private studio (special isolation room, PC with EMU0404 card, Tannoy Reaveal monitors, Alesis RA150 amp, Behringer mix...) So many years i work with dynamic Shure SM58, than with Beta SM58a. Now it`s time to get a some condenser microphone in a budget. I`m thinking about AT 3035, or RODE NT1a.What is your sugestions? Thank you, very much !
I used to use large condenser microphones, but recently I've been using an SM57 and have been receiving more compliments than before! (although they are all 'domestic' clients). Other people will advise you to go to a microphone shop and try a few microphones out to hear which one sounds best with your voice, but I've always felt this is impractical. Good luck & best wishes, and let me know how you get on. ====================FOLLOW UP======================
Ben's response: Yes - you are 'popping' the mic. Maybe
you are too close to it. If you can angle it so that it is slightly to
one side of your face, then when you say anything with a "P"
the microphone capsule does not receive the full-on force of plosive air
from your mouth. A popper-stopper should stop it though. Dear Ben
Condenser mics, especially larger diaphragm ones like those I've suggested, will reveal the acoustics of your bedsit. Use duvets and blankets to deaden the sound if it's echoey.
Hello, I'm making a short film with a very low budget on a Panasonic PV-GS65 Camcorder. Hey, you got to start somewhere. Anyway, I need to record a great deal of Voice over and I was wondering if you had any ideas of what someone can use for cheap. Any advice would be great. Ben's response: If it's on a camcorder, the audio quality will probably not be 'broadcast quality' so you don't have to worry so much about the frequency spectrum of professional studio microphones to record your narration with. Almost any good microphone will do - condenser microphones (some use batteries to power them) will sound richer than dynamic mics - just make sure that you don't make any handling noise when you're recording (by moving your hands or the mic cable) and avoid plosives (whenever your narrator says the letter 'p', e.g. postman) as it will overload the microphone and distort the sound. To get a sound without hearing the acoustics of your room, record them under a duvet which will prevent sound waves bouncing off bare walls and ceilings. Hi Ben, great VO article on your site . . . thanks for posting that. Have you ever used a Shure SM7 mic (now called SM7B)? It's fairly common in U.S. radio broadcast studios. I'm considering buying it because my existing large condenser (A-T 4047) picks up EVERYTHING and I just can't acoustically treat this place as much as I would like. My primary use is not VOs exactly, but rather webcasts and personal audio journals. Thoughts?
Ben's follow-up: I bought an SM7B after this email, and you can read the review on page 1 of this article.
Ben's response: I use an SM57 with the huge windsheild that Shure recommend for it for use in winds up to 30 mph, and no matter how hard I try, I cannot pop it at all! I'm not sure if it would fit the SM58, although a conventional windshield would stop popping quite a bit. Worth a try. Behringer do a Feedback Destroyer rack mounted unit. This would solve problem 2! I think it delays the signal by a matter of milliseconds and it makes all the difference.
I live in California and am trying to set up a home VO studio. I was thinking about getting an AT2020, but it doesn't seem like it will do very well. I can't afford the SM7B, as much as I would love to have it. I was wondering what would be a good mic to purchase in the $100 range. Also are MXL or CAD good brands. I would appreciate any help you could offer, and thanks for creating such a great site. I learned a lot today. Ben's response: Thanks for your comments on the site. I'm afraid I live in England so I'm not familiar with product prices in dollars. The AT2020 is cheap. The AKG P100 is cheap too. I'm not too sure why you've decided the AT2020 won't do very well. Could you explain? Why not get an SM57? They sound so similar to SM7Bs that it's really hard to hear the difference. They don't lose much value, so if your financial situation improves you can eBay it and use the funds to buy a more expensive mic. Anthony replies: Thanks for the reply. I guess I assumed that since you used the AT2020 for applications other than VO that it wasn't very good. I've also read that it was designed for project studios. Not sure exactly what that means, but I guess I assumed that it wasn't the way to go for VO. Ben's response: Not at all - it's a very
good mic. It's just that for a time I used it for voice recognition because
it was quite cheap and would be on my desk all the time where it was liable
to get dusty and knocked and sneezed on all the time, where I wouldn't
want my AKG C414 (which cost about 10 times as much!).
Greetings Ben, Thanks for your informative site. I am a musician (cello) in Melbourne and have some podcasting ambitions (classical music related and radio plays) using an old broadcast console. I have been seeking cheapish microphone alternatives to the SM7 (which our national broadcaster uses, and which I like) and read with great interest your comments on the SM57. Just wonder if you did the transformer removal mod at all? This seems to be a well received upgrade, although levels are lower. Any thoughts as to the best way to suspend the SM57 and an appropiate arm arrangement? I was thinking of a long gooseneck in preference to a "folding lamp type" arm..? Also where would you recommend the best place to source the mega windscreen you use? Many thanks for any ideas, and congratulations on such an informative and friendly website. Ben's response: Thanks for your nice email. I'm glad
the site was useful! I didn't try the mod, because I find the mic excellent as it is. I think the mod is more for recording engineers who have a lot of SM57s miking up drum kits and amp cabs, where the sources to be recorded are very loud. Doing it for the purpose of recording the human voice may be risking too much of a noise floor to make it worthwhile. As I say on the site, I have an SM57 and an SM7B and for the difference in price, there's no huge difference in sound when you put the windsheilds on.
I got my mega windscreen from an online UK audio shop. It might be worth checking out Shure dealers in Austrialia? It would be a great investment - you'd never have to re-record anything to get rid of a pop. Hope this helps. Let me know how you get on!
For voice over...what are your thoughts on the Sennheiser MKH-416? Which mic preamps would you suggest? I have access to a totally rebuilt and updated tube TL Audio mic pre. Your thoughts? Please compare the AKG 414 to the Sennheiser 416. Also, what sound card do you suggest into mu laptop? Ben's response: I'm with Corey Burton all the way on the MKH-416 for voice work. http://www.coreyburton.com/sennheiser.html A tube preamp would sound nice and warm - the opposite of how the clinical MKH-416 sounds - as long as it's not too noisy. You can do a lot better than the 416. Thanks for bothering to write "Voice-over Recording Studio Tips". It's interesting real-world, non-star-struck stuff. One thing that caught my eye was the use you're making of the AT2020. I'm looking for a microphone to use with my computer: I want something I can use every day for calls over the Internet. I have phantom power, and decent preamps and A/D convertors but currently have no mics other than an unsuitable measurement microphone and a poor mic on a very basic headset. I'm considering everything from boundary mics (AKG C 400 BL, Audio-Technica PRO 44 and the like - it's a shame the Beyerdynamic MPC 70 USB isn't cardioid), through dynamics (I wish the Beyer M 99 were a bit cheaper) and small condensers, to large condensers (anything from the AT2020 to something as versatile as the NT2-A). I'd welcome any advice and recommendations. Might the low response of the AT2020 below 500Hz be a problem for me, and also the lack of a shock mount? Thanks for your nice comments. 2 feet is quite a long way to be from any studio microphone. It's normally a hand-span that's recommended for the correct pick-up from studio mics recording voice if you don't want to pick up too much room reverb. If you have your speakers on as well, you'll need something like a hyper or super-cardioid polar pattern, otherwise you'll get feedback. I'm not greatly experienced in boundary mics, but I'd have thought that these were the last thing that would be appropriate for your application. Their pick-up field is huge and room-sized and would again lead to feedback. I don't have a shock mount for the AT2020, but if I was doing VO work with it, I wouldn't put it on a table stand without a bass cut as the vibrations from the PC would be picked up through the desk. Condenser mics pick up more than dynamics I have, but will also pick up what your speakers are doing. A dynamic wouldn't so much, as it would have a smaller pick-up field, but you'd need to be closer to it so that it could hear you. Not sure if this is of any help really. You could try a Rode Podcaster? i am thinking of starting a home voiceover studio to produce a language learning audio material by myself(using my own voice). i had no idea how to do about it so i'd been searching on the net but there's was no useful information available in japanese so i ended up here. i have a couple questions about equipment. #1. do you think the windshield shure A2WS could be a good alternative for my shure sm57? they don't sell A81WS here in japan and international shipping can be very expensive. #2. what is the best mic pre-amp to be used with BEHRINGER MDX2600 and sm57? i have a terratec phase x24fw. i connect my sm57 directly into this fw interface but i'm not satisfied with its low input level. so i'm thinking of buying a mic pre-amp as well as MDX2600. #3. or do you think just buying a condenser mic like at4040 would be a better option for what i have now? thank you very much in advance. Ben's Response: Hi Yusuke, The A2WS fits onto your existing SM57 and will prevent it from making 'pop' sounds and breath noises when you are speaking close to the microphone. Because it is simply a piece of foam, it is not heavy at all to send by post. I'm really no expert in the pre-amps, but most modern mixers such as Behringers, have really good mic pre-amps. They are also very cheap to buy compared to prices a few years ago. This will raise the level from your SM57 for the MDX2600. A condenser microphone will give you a slightly crisper sound, but they pick up a lot more sound from your room, and noise your neighbours make, PC fan, traffic noise, AC, etc. Hope this helps! Reply: Thank you very much for your quick and kind reply. I will get an A2WS that's available here in Japan at $10. If I don't like it I will think about getting an A81WS from the US. I will try Behringer mixer for sm57 and MDX2600 and see how I will like its sounding. I think I should stick with my sm57 since the only problem I have at the moment is not enough input gain when I plug it into my firewire interface. Thanks a lot. You've been a great help! Hi Ben. Thank you for the site, I read it top to bottom. I'm looking to get a new mic, I use a CAD dynamic that plugs directly
into my sound card & I use Steinberg to edit. I would like a mic that
has a rich sound to it, but gives my voice some ressonance. Basically
I do VO, but for myself, I'm an amateur. Ben's Response: Thanks for your kind comments. The SM57 should flatter your voice - I
suppose you could call it a 'friendly' mic! With a windshield, it's impossible
to pop, and is forgiving with regard to room acoustics because its pick-up
is much smaller than a condenser's. The SM57 I personally found better
than the SM7 - especially for the money. Hope this helps! Reply: You're the best. I love Ben Eden productions, wish I could hear more of your work, but I'm in the USA. I currently use a dynamic Cardioid, but it's not that great. One quick question, would the SM57 muffle my voice? I ask only because I sell CDs where I give instruction, etc and having a clear sound is great... but editing mouth noise (and I still have them even with the CAD I'm using now) takes FOREVER... So, muffled or no muffled? Ben's Response: Muffled is a strong word. The SM57 won't sound as 'crisp' as a condenser at the very high end, but it's certainly not muffled. In fact, I often use it for non-broadcast voice work, and I get compliments much more often than when I used a C414. I don't think most people can hear over 16Khz anyway, so you're not missing much. For the amount they cost, it's worth trying one out and if you don't like it (which I doubt!) you can stick it on eBay and lose very little. If you follow the link to Musician's Friend on my website, it's free shipping too. Give it a go and let me know how you find it.  Whats
your opinion on the Beyerdynamic M99?
I plan to use it with mbox2 pro tools LE for voice overs on video productions. What alternatives do you recommend at a reasonable price to performance? Ben's Response: Looks like a nice mic - never seen or used one before you emailed, so
have no opinion I'm afraid! Follow up from enquirer:
What's your opinion of this mic for voice-over/vocals and maybe a bit of foley? I plan to use it on my computer desk, will it pick up computer noises on recordings? How important is it to use one of those reflection/shield devices around the mic? Do you suggest I use a pop shield with it, or a wind shield to protect it, or leave it as it is for best recording. Appreciate your help. Ben's Response: I must say it's a pity you have gone for the AT4040 mic especially when
considering what you will be primarily using it for. A visitor who emailed
me (and whose response is on my site) said how he finds his similar AT4047
picks up EVERYTHING in the room. So yes, it will pick up your PC, and
any other noises from your room or indeed your building. It is a very
sensitive mic. Follow up from enquirer: Yes I think you may be right. I am in the process of returning this the
AT4040. Would you recommend the shotgun type mics used on film and tv work as a decent voice over/foley mic? Instead of getting the specific voice over such as the M99 as it could also be used out on location for sound recording. I would have dual purpose so instead of buying 2 specific mics I would just buy 1 high quality shotgun and use it for multi purpose uses. Do you the signal to noise ratios of shotguns, when I was using one it picked up alot of noise on the recording compared to the clip on mic I also used on that shoot. So ended up using the audio from the clip mic. I am considering the shot gun mics from Beyerdynamic's broadcast range, is there one in particular you would reccommend? Thanks for your help Ben's Response: Shotgun mics do not work as voice-over mics in a studio setting. They are far too directional and give a very metal sound - not warm on the voice at all. I can see what you're trying to do, but these two applications are very different and I think you should try starting off by buying a VO mic such as the M99 and see how well it does when used for foley work to see if you can get away without needing another mic. It would have to be much nearer the source than a shotgun would be to pick-up the sound though. I'm a new v.o just starting out- got a decent voice reel etc, and about to send it out, but many agents won't accept you without your own recording equipment, or access to cheap facilities. I'm London based...any suggestions? I'd really appreciate it as I have no idea where to start. I'm not thick- but not over-tech-svvy either! Ben's Response: Please read the article on this website - you are the reason why I wrote it. Hello Ben, Thanks very much for the chance to ask these specific questions. A colleague recommended your site for its considered assistance and straight-talking opinions; I know that, for those of us not yet up to speed on technical home-studio issues and choices, your website and accessibility are comforting and appreciated. I\'m hoping you won’t mind addressing the specific decisions I face in setting up my home studio. I'm a former broadcaster/professional speaker who's been out of the game for a while; I’ve now been asked to take on some (narration/audio book) voiceover projects for former speaking clients and realize that, as production technology has largely passed me by, I’m in rather urgent need of informed technical guidance (in the past, I was able to depend on sound specialists to handle the technological/engineering end of a project; with those folks long retired, I’m learning a new field). My first need is a microphone. In the absence of a realistic opportunity to 'test-drive' various models to gauge their compatibility with my voice, what would your recommendation be to maximize the voiceover result in the following voiceover circumstance? I know that, based on previous work on a similar voiceover project, the optimal vocal effect will result from my mouth’s being very close to the mic and my narrating in a deep, intimate timbre with controlled volume but, of course, plenty of inflection (my speaking voice is deep, rich and mellow, suggesting seductive authority). The recording environment will vary: on some occasions, the work will be done in a quiet, remote location (little ambient noise but, otherwise, no special soundproofing in the carpeted, panelled room); on other occasions, the work will be done in whatever circumstance I happen to find myself (cottage, rural accommodation, etc., where they could be the distant din of traffic, birds’ chirping or a door’s closing). Based on that limited description, could I ask you to offer a couple of suggestions regarding likely microphone candidates (money is always a consideration, of course; however, realizing how this key component can affect/complement the end product, I’m willing to consider a higher-end option if, in your opinion, its superior performance justifies the greater price. Based on the above mic recommendation, may I ask what additional components/accessories (preamp/mixer, etc.) you’d recommend? Would you say that, whichever mic one selects, those additional components should be individually selected based on their proven compatibility with that specific microphone...or is it more likely that today’s components typically have crossover compatibility and should be expected to perform well regardless of pre-existing mic/component configuration? I do recall a number of people saying to me, over the years, that no one mic would serve all circumstances or projects/voices; in the event that I later acquire additional, more specialized microphones, would all of the components you might suggest for my home studio be presumed to work well with the specialized microphones in that collection? (In fact, would it make sense that, since roughly 50% of the VO work will be done in a quiet home studio and the other 50% will be in areas of likely greater environmental background noise, I should consider two mics, with each one specifically suited to one of those scenarios? Finally, Ben, has an industry-standard software application emerged for professional voiceover work? While my immediate projects will involve primarily narration, I expect to also need to create some future commercials, trailers, etc. Again, thank you so much for your time. I know this is a rather detailed inquiry and I hope you won’t mind addressing these issues for me; it really is appreciated. Ben's Response: Microphone: although a 1" diaphragm condenser is oft used, I would worry that its wide pick-up may hear too much ambient noise if you aren't always in a acoustic studio environment. In this instance, I would recommend the Beyer M201. I recently bought one and am very impressed by the clarity, directionality and price. It's a dynamic, so it doesn't even need phantom power. I know these are used on the major BBC speech network on FM here in the UK. Don't mic too close though. What it sounds like you're doing is forcing the proximity effect - a bass increase as the mouth is nearer the mic pick-up. In perfect circumstances, it should be a hand's width away. But if extraneous noise is being picked-up, then you may have to get nearer. I would suggest you get a few acoustic panels - perhaps just 24" square size, mounted on pegboard. You can then create your own make-shift booth wherever you are. Failing this, carpet, blankets, duvet or matresses can be used to deaden bare walls. To stop recording the noise the mic will pick up when you are not actually speaking, you should get a 'gate' like the Behringer one I mention on the site. It will not only limit your mixer's signal (no accidental overloads), but also compress it (more even signal) and silently mute the microphone when the signal level has dropped below the level of your speech. i.e. when you're not speaking, the mic is automatically muted so that it doesn't pick up any ambient noise. When you're speaking, it won't hear the noise anyway because your voice will be many times louder than the noise by comparison. You should get a mixer - even just a small one with a few mic channels. Behringer do a lot of very nice priced ones. It will probably have phantom power, which you may find you need in the future if you buy other microphones. If you're doing studio voice work, then a large diaphragm condenser would be fine - e.g. AT2020 or AKG P100. For location work, you will benefit from a tighter polar pattern which large diaphragms don't really do. So therefore a dynamic such as the M201, an SM57 (if you don't need incredibly crisp high-end). I would highly recommend a big windsheild for any mic you buy to stop it from popping - especially as you'll be so close to it. Cool Edit 2000 was the industry standard, which is very old now. I think the new name for the package is now called "Adobe Audition". Hope this helps! I'd be interested to know how you get on. Response: Thanks so much for your reply. I'd meant to ask whether you felt the Electro Voice RE20 may be particularly suited to the type of work I described. Could I get your opinion? Ben's Response: I wasn't over-impressed with it as I'm sure you've read on my website.
Contact me to have your question answered!
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Seeing
as you have an SM57 like me, you don't need to do anything about the noise
except buy a Behringer Composer Pro MDX2200. The SM57's pickup is so small
compared to condensers, that you don't need any acoustic treatment in
the room really (unless it's really bare and echoey). However, the MDX2200
has _the_ function you will need - a noise gate. After you've set it up
(easy - only 2 knobs) you can have it so that any background noise below
a certain level is automatically faded down, transparently. When you speak,
the level of your voice will re-open the source. Depending on the quality
of the recording required and the level of your voice, you may even be
able to keep your AC on in the background - ideally as far away from the
mic as possible, and behind it rather than in front of the pick-up. I'm
not sure, but you may be able to do this filter in post in ProTools, but
I find it easier to do at the source. 
knobs)
you can have it so that any background noise below a certain level is
automatically faded down, transparently. When you speak, the level of
your voice will re-open the source. Depending on the quality of the recording
required and the level of your voice, you may even be able to keep your
AC on in the background - ideally as far away from the mic as possible,
and behind it rather than in front of the pick-up. I'm not sure, but you
may be able to do this filter in post in ProTools, but I find it easier
to do at the source. 
Ben's
response: I have two portable minidisc recorders and I love them.
One is the (now very old) MZR3 and the other is the MZR37. They both have
mic inputs and were the standard for audio field recording for broadcast
radio. I'm not sure what they use today - probably some sort of solid-state
memory recorder. But for availability and price, portable minidiscs still
win out. I bought a newer generation Sony minidisc recorder in about 2001
and was rather disappointed in the auto recording level function - it
seemed to be overloaded very easily (unlike my old units) and I sent it
back. I'm not too sure what they're like these days, what with USB connections
and all, so I couldn't really advise you. My suggestion would be to buy
one to test out before you leave the country to make sure it's not overmodulating
the audio from the microphone, otherwise all of your recordings would
be poor quality and potentially unbroadcastable. Get the one that uses
your budget up (i.e. don't get the cheapest you find). You may be able
to get advice from a minidisc forum or newsgroup?
The
Beyer M58 is okay as a journalist's microphone for news conferences, etc.
It's an omnidirectional dynamic. I personally love my Audio Technica ATM31a
which is a cardioid condenser mic which sounds so good - studio quality
on the streets - but that's because I'm not a journalist and look after
it (they bash mics around quite a bit). Audio Technica have a few stereo
field mics that may be interesting to use...
Ben's
response: I would go for the Rode NT1a - it has very low self
noise and comes with a suspension mount. As an alternative, I would choose
an AT4033 over the AT3035 - I've seen more AT4033s in studios and radio
stations than I have 3035s. 
Hi,
Ben !
Ben's
response: If you have phantom power, you could get an Audio Technica
AT2020 (left). I have one and it's very good. A Studio Projects B1 might
also be a good pick. AKG have a new mic just out called the P100 (right).
It received a favourable review in Sound On Sound magazine and I know
people who love it. These are all under £70. 
Ben's
response: If the pick-up zone of the SM7B (left) is anything
like the SM57, it will make a huge difference to you. It may be a bit
overkill for webcasts and journals, especially price-wise. I know you
get what you pay for, but you may like to try out an SM57 with a windsheild
and if you're happy with the sound congrats - you've saved a bundle. Sennheiser
do (did?) a headset with a really good broadcast mic arm, which most commentators
use - e.g. ESPN Baseball, BBC, etc. I can't seem to find it online though.
Maybe Beyerdynamic do something similar. It's almost a lip-mic, and because
it's designed for noisy events, has excellent off-axis rejection and sounded
beautifully warm from my experience. 
Hi
Ben I have a Yamaha emx 512sc powered mixer with Peavey bass bins and
Yamaha tops and I use a Shure SM58 I get a lot of feedback and I get a
lot of popping! I sing solo to backing tracks pop and musicals, some of
the musical numbers require soft high notes, you need to be close to the
mike and powerful notes away from the mike it pick up my breath on high
notes and pops on powerful notes unless I am a long way of it can you
suggest a mike I could use to eleviate this problem.
I
have a mic arm from a radio studio that the SM57's on, but I have in the
past used it on a conventional mic stand with boom arm joint, and it doesn't
tip it over. It doesn't need a suspension mount or anything. You can get
little table-top ones for little money, like they would have on a talk
show host's desk. I have one, but I'm quite tall so I find myself stooping
down to talk into it. 
After
looking around I opted for the AT4040.