VO-BB - 20 YEARS OLD!

[Mike Sommer]

Correct, Or at eye level is fine too.

You just what it up and out of the way.

So and long as the capsule is aimed at your mouth, you're good.
_________________
The Blog:
http://voiceoveraudio.blogspot.com/

Acoustics are counter-intuitive. If one thing is certain about acoustics, it is that if anything seems obvious it is probably wrong.

[georgethetech]

[CC Heim]

wow, thanks for the excellent diagram and photos! I do think excelling at VO is a never ending process!

[Bruce]

Perfect explanation Mike. Thanks.

Now you'll notice in Banksey's videos and photos he's often much further than 10 inches away from his mic, but that's because he has a well sound-dampened huttie. Notice the videos of the actors doing animation in big time studios. They're often what looks like 18 to 24 inches away from the mic. As has been said here before, the better your room treatment the further back out of "pop" range you can get.

B
_________________
VO-BB Member #31 Enlisted June, 2005

I'm not a Zoo, but over the years I've played one on radio/TV. .

[Mike Sommer]

Right Bruce. In a well treated room, 1 to 2 feet allows the voice to bloom, you'll get the full mix of the head, chest and mouth. The capsule of a condenser mic also does not get that gummy sound that so many (dare I say) less expensive mics can have- when working close. "The less mature capsules" as I call them.

Note in the above pictures of Disney Stage B (the ADR stage), Doc Kane has 3 mics for ADR. Doc uses an array at the podium - generally a U87 for closeup, a TLM for medium shots, and a shotgun (possibly a Neumann, or MKH 70?) for distant ones; but thoughtfully adapts choices for each particular production's preferences and to match what was already used for location shots. He doesn't mute any of them, but records all three, favoring the one that best matches the scene as primary track for the particular cue. Re-takes are almost non-existent; he catches everything, from the moment you first step up to the stand. There is simply nobody else who quite comes up to his level of secure confidence and mastery of capturing dialog - the absolute Best in the biz.

This could not be done in anything less than a well treated room.
Stage B was were all the classic Disney dialog was done from 1940 to 1983 or so when they did the upgrade.
_________________
The Blog:
http://voiceoveraudio.blogspot.com/

Acoustics are counter-intuitive. If one thing is certain about acoustics, it is that if anything seems obvious it is probably wrong.

[D Voice]

Air currents apparently are created behind the pop screen which can disturb the recording if they are too close as well,

What is the absolute minimum distance detween the mic and a pop screen (whether metal or panty hose)?


(I understand that music engineers will set the pop screens further from the mic to get singers to back off the mic, but I would like to know the minimum distance, when working with a dynamic mic, for instance.)

[Mike Sommer]

Wouldn't that be the minimum distance from which it stops breaths from popping the mic?? at what ever volume you're speaking.

If the stopper was right up against the mic - let's say an inch or less- and I'm speaking softly. This distance should work well. But if I was pushing the words out hard, the stopper would not be as affective.

As for the anomalies created by a pop stopper; these are not going to ruin a take like a good blast of air will.

And just where is this data about air current frequency anomalies anyway??

Can anyone really hear them?

If so why is everyone still using popper stoppers??

Seems like a lot of hype from high end/boutique pop stopper manufacturers to me.

This is the stuff I think about late at night folks.
_________________
The Blog:
http://voiceoveraudio.blogspot.com/

Acoustics are counter-intuitive. If one thing is certain about acoustics, it is that if anything seems obvious it is probably wrong.