Upgrading my VO Setup

[skyace888]

Hi Experts,

I do voiceovers for tech videos (among other things) and am looking to up my game from my present setup. Currently have:

- Yeti Blue USB mic with boom arm and pop filter
- Untreated room/office in below image (carpet floor but computer fan noise and some street noise at times)

img upload free
- MixPre 3 II (used for non VO work on location presently)
- SM58 and other dynamic mics

Looking for suggestions on...

- How I might treat the room or if I should move my VO work to my walk-in closet. I am planning on remodeling the computer room anyways shortly.
- Which XLR mic might be most ideal. Top contenders are SM7B, TLM103, MKH416. I’m in South Florida and would love to test/rent these before buying. Plan would be to use the mic with my MixPre (either direct or as an audio interface)

Any other tips or suggestions greatly appreciated.

Thanks!

[Drew Stephenson]

Treating the room will make the biggest difference. Easiest way to experiment is to lob a couple of duvets over mic stands (or similar) and move them around to see where makes the most difference. Generally behind you in a V shape is a good place to start. For more permanent installation look at the mirror points to the side, behind and overhead.
In terms of mics, definitely test before buying and see which works with your voice.

[ef37a]

Hello skyace888 and welcome. You have pre-empted my first thought, use the MixPre 3 and turn the noisy, B computer off.

The street noise can be minimized by using a dynamic* mic closer to you and the choice of microphone I shall leave to my youngers and betters though the SM7b gets a lot of good press and I am sure (from Doc Robjohn's comments) that the Mix Pre's pre amps are well up to its low sensitivity? You will also be able to run at 24 bits with its lower noise floor, not that 16 bit USB mics are all that noisy. I have a modest Citronics LDC that is really very quiet indeed, better than my room most of the time.

You WILL be told in no uncertain terms to "get some room treatment!". Fortunately, for VO work you don't need gargantuan, expensive bass traps, instead look up some back issue "Studio SOS" articles.

*NOT that capacitor mics are inherently "bad" at picking up room effects than any other mic operating principle. They just are up to 20dB more sensitive than dynamics and the latter allow closer working.

Dave.

[James Perrett]

As everyone else has said, get the room sorted. Tuck the computer away in a closet, work out where the traffic noise is getting in and take steps to plug the holes. If the window is a weak link then you could use secondary glazing with at least a 4" air gap or make some window plugs which you fit to the windows while recording.

The Mix Pre has a good reputation so should handle just about any mic. It is probably worth hiring a few mics before you buy - or find a good local dealer who would loan you some demo mics to try.

[Tomás Mulcahy]

All excellent points already. Here's a cheap tip. With most windows you can get a significant reduction of incoming noise by putting them on the so-called "winter" setting. You'll see two or three hex key screw on the lock mechanism (on the long edge). It can be rotated inwards for a tighter seal. Let some lubricant sink in before going at them. Bear in mind you will need to replace the seals a bit sooner than your other windows because they'll be squashed tight for longer.

Definitely put some kind of absorber in that corner on your left.

I'd recommend audio test kitchen website to if not audition mics, at least make a short list for your auditions.

[Mike Stranks]

Most of my work is voice-over….

As others have said you need as quiet and acoustically neutral a space as possible. That means primarily trying to exclude as much external noise as possible, not generating noise within the room and treating he room acoustically.

Not generating noise in the room for me means not recording to computer. Fortunately you have MixPre… record direct to that at a suggested 24-bit, 44.1 resolution. Transfer your recorded files to computer for editing.

Mics are very much about what suits your voice… If you have a sibilance then you want one that’s not going to accentuate that. If you have a lo-mid resonance then you don’t want one that will draw attention to that. Unless you’re wanting the up-close-and-personal style making use of proximity effect then I’d avoid a dynamic mic. A neutral capacitor - eg not an NT1a - is what you need. What’s normally called a Large Diaphram Condenser/Capacitor. I record as a matter of course with the high-pass filter engaged at around 80Hz.

If you’re having to use any form of pop-filter you have the mic too close and/or in the wrong position. Have it at about forehead height angled down to your mouth and pointed to the corner of your mouth. Minimum distance is about 8”.

I prefer to use a paper script on a stand almost vertically in front of me. That keeps your head up and stops inadvertent throat tensions and minimises chest resonances. Even with good acoustic treatment be aware of the hard and shiny surfaces of desk tops and monitors. I’ll often cover both with thick cloth to help absorb some of the sound and stop it being reflected into the mic.

[ef37a]

If you’re having to use any form of pop-filter you have the mic too close and/or in the wrong position. Have it at about forehead height angled down to your mouth and pointed to the corner of your mouth. Minimum distance is about 8

^ New one on me Mike but makes abundant sense. Does of course depend on OP getting his room quiet enough. Son used to have to record acoustic guitar in the wee small hours even in leafy, suburban Northampton.

For a fairly neutral LDC the Sontronics STC-2 is not a lot of money and has a pad and HP filter.

Dave.

[Mike Stranks]

Fair enough Dave…

These days I’ve become a purist and am increasingly of the view that if the room is right and the mic suits your voice any tweaking or fudging should be unnecessary.

By fudging I mean having to use a dynamic/pop-filter so that you can work the mic closer etc etc. For casual use such fudges are acceptable, not if you’re doing spoken word on a regular basis. I recognise that we all have to start somewhere and I’ll admit that my road to this point has been long and sometimes tortuous!

BTW an excellent YouTube channel for quick checks on mic sounds and generally good assessments is Podcastage… It’s saved me from some mic blunders before now…

[Mike Stranks]

Rereading the above it comes across as harsh… not what I intended so apologies.

That said, I do think getting the room right is key. I’ve battled on with dodgy rooms in the past where external noise was a big issue. I think that these days if that were so I’d seriously think about recording somewhere else.

Of course we don’t know if external noise is a problem for the OP… we may be giving answers that are looking for a question!

[skyace888]

Thanks all for the replies!

I think one key decision point is if I treat the room or setup my recording space in another room. No one seemed to mention recording with the MixPre in my walk-in closet. Is that not ideal? Either way I think I will be recording to the MixPre directly vs using my computer which generates fan noise.

Tomas, I live in hot South Florida and my windows do not have any "winter settings" since we don't have a winter. Audio test kitchen website is a good tip. I will check that out.

I've reached out to my local Guitar Center and Sam Nash. One Guitar Center location apparently has the SM7B and TLM103 on display to test. Sam Nash has a used TLM103 available to rent. I may try these options for now (too bad the MKH416 isn't available).

[Drew Stephenson]

I think that depends on the walk in closet! Normally they're pretty small and small rooms don't generally help the situation.
But a smallish room with lots of hanging clothes or shelves with folded clothes/towels etc could actually be quite acoustically dead, and presumably you're another closed door away from any outside noise?
Give it a go and see how it sounds is the simple answer.

[James Perrett]

Small closets tend to end up sounding boxy and bass heavy as there isn't enough room for sufficient bass absorption treatment. However it is worth a try - especially if you are going for that larger than life bass heavy blockbuster voiceover style.

[MOF]

too bad the MKH416 isn't available

Not really a microphone for VO, I’ve only read of its use in a well treated ADR studio to match location dialogue at a typical boom to actor distance, not close up.

[skyace888]

Thanks guys.

So I was able to find a local store that rents mics and have rented both the TLM103 and Manley Reference Cardioid for a week. I'm testing them out with my MixPre 3 II in the office room as well as my closet. While my office is not an ideal recording spot today, I am looking to either make it more ideal or record in another room like a walk-in closet (regardless of if I go dynamic mic or cardioid mic).

Additional thoughts welcomed and I'll keep you posted. Wish I had a way to rent a SM7B but that probably won't be possible.

[James Perrett]

If you can afford a Manley Reference Cardioid then you might as well just buy a Neumann U87 and be done with it. The U87 works acceptably well on just about any voice and is probably the nearest thing to an industry standard vocal mic. Once you've used it you'll recognise the sound from countless other recordings that you will have heard. You can also treat it as an investment - the value of a U87 seems to keep on going up.

[skyace888]

Yeah those were just the two high-end mics that had available to rent from their used inventory. They are asking $1,900 for the Manley. They said they previously had a used U87 and that would have been nice to test with the others. The search continues...

[Tomás Mulcahy]

No winter? I envy you Agree with James about the U87. It really is the standard.

An awful lot of stuff is done incorrectly in audio for picture and VO, because we see pics of it being done without being aware of the reasons or the science involved. Case(s) in point (a) overuse of shotgun mics (b) booths.

too bad the MKH416 isn't available

Not really a microphone for VO, I’ve only read of its use in a well treated ADR studio to match location dialogue at a typical boom to actor distance, not close up.

Agreed. Shotgun mics don't function well indoors without extremely careful setup as you describe. They're only ever used in ADR to make it easier to match the sound of the mic used on location. Even this practice I would question, personally. YMMV.

And I echo blindrew's point above about closets. A treated room is much much better.

[skyace888]

Thanks all.

So I've done some testing with the TLM103 and Manley Reference Cardioid in my closet recently. Feedback welcomed. They are both great mics! I do worry about the transformer setup and the tubes with the Manley though and what's involved maintenance-wise. These were recorded in my closet.

https://drive.google.com/file/d/1BJfKFu ... sp=sharing
https://drive.google.com/file/d/1RRNwUf ... sp=sharing

I know I need a better treated room for recordings but I'm not sure what's practical or possible where I currently live. Would love to get some thoughts on mobile solutions like the IsoVox (plus their IsoMic), Glide Gear Portable Isolation Sound Booth, Snap Studio Ultimate Vocal Booth, or even something like the Aston Halo in a reasonable space. Has anyone used these?

Edited to fix links - JP

[ef37a]

I can't help you with this exotic microphoni Sky but can perhaps allay your fears about valve reliability and replacement longevity?

Double triode valves are very long lived, decades for old Mullards in radios and audio kit. The 12AT7 used in the Manley Reference is the third most common valve of the 'big three'. The 12AX7, 12AU7 and 12AT7* in order of usage.
Another valuable property of valves is that they do not degrade, buy a couple of decent samples (they are ALL going to get vastly more expensive in a decade or two!) and put them somewhere safe and they will still be bang on original spec 20 years later.

Transformers are, if anything even more long lived. I stripped out a 1950 radio a year ago and the power transformer was still in perfect working order (OK, the output traff was shot but that was a regular fault back in the day anyway, valves used to bugger them)

*I have never understood why the 12AT7/ECC81 came to be used in audio gear? It was a television/oscilloscope bottle! But then, what do I know?

Dave.

[Tomás Mulcahy]

https://drive.google.com/file/d/1BJf...ew?usp=sharing
https://drive.google.com/file/d/1RRN...ew?usp=sharing

Not working:
"Sorry, the file you have requested does not exist.

Make sure that you have the correct URL and that the file exists."

[skyace888]

Weird. Anyways I reshared them from Google Drive.

https://drive.google.com/file/d/1RRNwUf ... sp=sharing

https://drive.google.com/file/d/1BJfKFu ... sp=sharing

[Ariosto]

I thought both these recordings to be good and found no problem with them. The Manley recording was a little more "in your face" but not exceptionally so. Maybe it had a bit more bass timbre, or you were closer to the mic. I certainly found both recordings to be of a professional quality and a hell of a lot better than some of the examples one can hear on radio and TV (In the UK that is ...).

[skyace888]

Thanks Ariosto for your feedback! Hope to test a few more microphones and then make a decision shortly.

[Tomás Mulcahy]

Agree with Ariosto. Both are fine recordings fit for production. There is a slight "hardness" that sounds to me like it's caused by a resonance in the mic stand or maybe a local reflection, such as from that corner.