VO-BB - 19 YEARS OLD!

[CNB]

Greetings, fellow voiceover artists! I come in need of guidance. I've been researching gear for a little while now, and my searches have led me here, where I've been able to glean some very helpful insight just by reading old threads. But as my particular situation hasn't been described anywhere I've checked, I now turn to you for direct advice.

I am venturing out into the world of VO for the first time, professionally speaking. I've been studying and taking classes for several years, and recorded my first demo in December. I also recently began auditioning through an agency. However, I find that while nobody there has specifically criticized the sound quality of my home auditions, what has passed in class now sounds sub-optimal compared to the home auditions of others, and there's no reason to handicap my chances of getting booked by submitting recordings that don't sound nice. (Suffice it to say, while I get better sound out of my set-up than one would reasonably expect, it's MacGyver-esque. My pop screen is literally a piece of kleenex taped over a circular cardboard cut-out. My mic stand is a lamp. The mic itself was an external clip-on that came packaged with an iRiver iHP-140 mp3 player I got back in 2003. You get the idea.)

Yet, I'm stuck between a rock and a hard place. I know that the best way to improve sound quality is to improve the environment in which I record. But I live in a studio apartment, where I have only one viable room to use and which is open to a lot of infiltration from the refrigerator, garage door, cars/buses, etc. Moving would not just take a lot of time, it would take more money than I have, as well. And while I would love to geek out and buy the nicest equipment my ~$1,000 budget would allow, I also know that nicer gear might just make the flaws in my recording space more apparent.

So what to do? Instead of a quality condenser mic, do I get a quality budget dynamic mic (which I understand will focus more on one's voice and less on ambient noise) and pre-amp/interface (specifically, I'm thinking of an SM58 + MicPort Pro), which would save me money, and which I could later save as a travel sound chain? Or do I wait until I can test better condensers in my studio to see exactly what they'd sound like in my precise situation, and if they turn out not bad, go with a something like an AT4040, NT2A, or AKG C214 (or another, if anyone's got any strong suggestions)?

Also, even if I do get the SM58, how much of a difference would there be between a MicPort Pro, and a combo of a dedicated pre-amp and interface (like the GAP pre-73 and Echo Audiofire 2)? I realize that ultimately, it's mostly about personal preference in how you sound. But having never tried these out, I'm just curious how different such a setup can be, not whether one is "better" than the other.

And lastly, is there anything I'm neglecting to consider in the chain?

Mic--->interface--->pre-amp--->soundcard/computer

Not counting cables, that's as much as I've been able to ascertain is needed. Is anything missing? Sorry for so many questions, especially if the answers already lie here, readily available, and I've simply not found them. I appreciate any and all help offered!

[Chuck Davis]

Hi CNB..and welcome to the board. With your space limitations and the sound you say is already in the space that does present some problems. Any large diameter condenser mic will pickup your room tone...plus the fridge and traffic outside. You could combat the the room tone somewhat with isolation around the mic...possibly an arrangement of moving blankets as "walls". Using a dynamic mic can be okay...some go that route... I use a shotgun style condenser. They have a very tight pickup pattern that can work well under less than ideal conditions. Your micport pro choice is a good one.

Do some listening. Try a variety of different mics. Dynamics, condensers, etc. Bottom line: find what sounds best on your voice within your budget.
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Wicked huge.....in India.
www.chuckdaviscreative.com

[todd ellis]

george whittam talked about a couple of usb mics in this thread:

http://www.vo-bb.com/phpBB2/viewtopic.php?t=13960

that might be the best way to go mic-wise - simple - inexpensive & to the point. as far as your room goes - keep trying. moving blankets - room divider(s) - foam salvaged from couches on the roadside ... you sound clever - you'll make it work.
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"i know philip banks": todd ellis
who's/on/1st?

[heyguido]

Wow.... Where to start....

It's hard to imagine you getting anything even remotely marketable out of the audio chain you've described.... and you could blow your whole 1k budget on a good mic, or a good preamp, or proper room treatment to make your recording environment viable.

That said, many are able to work with some amazing kludges, but getting them right takes time and experimentation to get their individual quirks worked out.

Some hang enough moving blankets to pack a small apartment. Some cover a closet with a couple of hundred bucks worth of Auralex, and come out for air every 15 minutes. Some pair a MicPort Pro with a tight-patterned mic and a pillow fort. Your mileage may vary.

Chuck's right about the condensers. They are highly sensitive to the limitations of your environment. Start with a good dynamic like an EV RE20 or a Sennheiser 421, or even a Shure SM7B. All are proven broadcast mics with reasonable rejection of extraneous noise, and all can be had on ebay for a couple hundred bucks, give or take.

Your choice of preamp or interface depends a great deal on your recording setup and budget. An M will do the job, as will many of the M-audio, Apogee, PreSonus, etc interfaces out there. Some work better with Apple, some work better with Windows. All have their limitations, and learning to use them within their limitations is often the greatest challenge.

Most important, however, is your recording environment.... Somewhere to do your work in peace, without the interference of the outside world. Many of us spend thousands getting it right. Some of us manage to do it on a shoestring. Most of us are still trying.

Can you do it on 1k? Sure. Will you get it right on the 1st 1k? Probably not.
Start slow. Be patient. Don't Give up.... and ask for lots of advice. There are good people here, and with patience, flattery, and humility, you can coax it out of some of the best around. Start with posting some audio. Let us hear what you've got to work with. We'll try to be gentle. Welcome.
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Don Brookshire
"Wait.... They wanna PAY me for this?"

[georgethetech]

This is my one size fits most answer.
I can work with you via phone to design an acoustical solution that you DIY.
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If it sounds good, it is good.
George Whittam
GeorgeThe.Tech
424-226-8528
VOBS.TV Co-host
TheProAudioSuite.com Co-host
TriBooth.com Co-founder

[chuckweis]

There are a ton of low-cost options for you, but I personally would NOT go with the SM58. It's fine for something like doing a radio remote broadcast, and obviously stage use for singers, but not for VO.

You mentioned the GAP 73...for about 350/each, I'm sure you wouldn't be at all unhappy with the sound from an SM7 and the GAP.

Also, keep in mind that your chain would be:
Mic---> pre-amp---> interface---> computer (you had Mic---> interface.......)

[Monk]

Reality check:

if you were any other type of contractor, do you buy your tools from the dollar store?

no. You get real.

DeWalt, Matco, Snap-On.

A dentist does not buy cheap drills to get the job done.

So, save time, get good tools and set up shop. Get the right room put together, and a decent microphone and pre-amp. If you can hear the refrigerator in your recordings, things ain't right.

People say that V.O. is competitive, it is and it isn't. No one has your voice. but, quality sound is hard to come by. It takes training and decent gear and the right room.

I have a sign in my garage. 1. don't buy cheap tools. 2. see #1.

If you're going to do this, start off right. Otherwise it's frustrating. A cheap guitar hurts the student. Same for V.O.

My .o2. Hire George.
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Company, villainous company, hath been the spoil of me...

www.monksvoice.com

[whalewtchr]

Monk speaks wisdom +1 what he says.
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jonahcummings

[Ed Gambill]

Some have suggested for you to get a SM7, RE20, MD 421. I disagree with those suggestions for two reasons. First none of them are very much better than a SM57 or 58. Secondly they cost a lot more than the 57 or 58.

Some suggest a USB microphone again I disagree with that suggestion. When you buy a microphone with built in conversion and a USB connector you have limited the use of the microphone.

All the top line microphones were invented before USB was an input option for computers. The XLR connector on any microphone is more robust than any USB connector and they only connect one way and can not be intentionally or accidentally miss connected.

Go inexpensively with a SM 57 or 58 with a Shure USB interface. You will have a good interface and a microphone that can be used for other occasions.

If you want to spend a bit more get a SM81 (condenser) and the Shure interface. Do your home work and you will see the differences.
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Esse quam videri "To be rather than to seem"
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[Bish]

I use both the SM7b and the MXL V88 as my go-to mics. I've got the MXL V69me (tube) that I have a love/hate relationship with. I would agree that for a good general-purpose mic, you should really go for an LDC with an external interface. This allows to to be future-proof and upgrade the components as and when you feel it's necessary. I interface via a Mackie mixer and an Apogee Duet. I can change any part of the chain as and when I need/want to.

I would say, however, that I think there is a big difference between the SM7b and the SM58. I use the SM7b as my standard mic for long-form narration. I had access to the SM58 as well and found it harsher. I know the capsule is the same, but I did a number of A/B tests and found there to be quite a difference. I should note that I also had a Heil PR40 for a while, and we didn't get along at all.

These observations are all from testing with my voice in my environment... I understand/respect other opinions because they are based on a completely different set of variables. I will certainly agree though, that the quantifiable technical attributes of a dynamic mic make it a different beast that may not lend itself to the requirements of cutting through the mix in a commercial production... not a problem with audiobooks!

That being said, I am going to jump on the environment bandwagon. The best audio equipment I ever bought was a dog-pile of OC703

Cheers
Peter
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Bish a.k.a. Bish
Smoke me a kipper... I'll be back for breakfast.
I will not feed the trolls... I will not feed the trolls... I will not feed the trolls... I will not feed the trolls.

[Ed Gambill]

Just a bit of history on microphones, The carbon, condenser and electric condenser were invented by Bell Labs, the ribbon invented by GE, an the dynamic by Siemenss.

I believe from appearance that the SM7 SM2 SM57 and SM58 share the same capsule. After the capsules are manufactured they are tested to see which ones have a “Presents Peak”. The peak is a slight rise in frequency curve in the upper frequency of the capsule. Those capsules are then used in the SM58. Those without the presents peak are used in SM57. The Sm58 and the SM57 have no frequency attenuation circuit. The SM2 and SM7 have passive circuits to tailor the output of those microphones. This adjustment can easily be done in post with any good DAW.

Peter maybe that presents peak is why the SM58 sounded harsh to you.
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Esse quam videri "To be rather than to seem"
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[Bish]

Ed, that was pretty much my understanding as well... although I would think that the actual physical construction of the mic (capsule suspension, basket type, etc.) must come into play somewhere... but yes, a flexible DAW should be able to do a good job with minimizing the differences. This is where I start to get on to shaky technical ground. I've seen long discussions about tuned head-basket designs having a noticeable difference on the performance of LDC mics, so I'm just transposing that across to dynamics.

I never did try the SM58 with my dbx286a... that may have been interesting.
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Bish a.k.a. Bish
Smoke me a kipper... I'll be back for breakfast.
I will not feed the trolls... I will not feed the trolls... I will not feed the trolls... I will not feed the trolls.

[Ed Gambill]

Peter

You are spot on. The design of the Grill and all other physcial part can make a sonic difference.

Some time ago I bought three (3) matched 22-251 from John Peluso, I went to his lab to pick them up. At the time he did not have an AKG C12 inspired microphone, he does now. The capsule is the same C12 that is used in the 22-251, the same tube a bit different in circuit and notable difference in the physical built.

BTW, and I know you know this, AKG built the 251 for Telefunken as well as there C12. I have an AKG 414 EB with the C12 Capsule.

I am building my own Decca Tree mount for the 22-251.
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Esse quam videri "To be rather than to seem"
www.SaVoa.org No. 07000 Member AES

[Scott Pollak]

[Hart]