Matching a microphone to a voice

[redge]

Do mixers who work in film or television face situations where an actor or personality wants to use a particular microphone because it flatters his or her voice?  Do you ever proactively decide to experiment with microphones with an actor to see what might be most flattering?  Are there other things that you do, at the recording rather than post stage, to model/flatter  a particular voice?

[Jeff Wexler]

Do mixers who work in film or television face situations where an actor or personality wants to use a particular microphone because it flatters his or her voice?  Do you ever proactively decide to experiment with microphones with an actor to see what might be most flattering?  Are there other things that you do, at the recording rather than post stage, to model/flatter  a particular voice?

The only thing that I have done, actually quite a few times, is change lavalier microphones for an actor or actress that just doesn't sound right on whatever mic I would normally use (most probably a COS-11). There are some voices, as you point out, that are just not helped by certain microphones. Other than that, there really isn't much to be done that is feasible, particularly in a scene with more than the one actor. Unless they are wearing mics, it is not to feasible to have a special microphone, or even special EQ, for one actor in a scene. I have at certain times, when it is possible and too dangerous, made some EQ changes on the fly, dynamically with the dialog, to alter one actor's voice usually in relation to how the  other actor sounds in the scene. These are things which are more appropriately done in post where multiple passes can be made --- not such a good idea on the set.

Regards,  Jeff Wexler

[Philip Perkins]

Do mixers who work in film or television face situations where an actor or personality wants to use a particular microphone because it flatters his or her voice?  Do you ever proactively decide to experiment with microphones with an actor to see what might be most flattering?  Are there other things that you do, at the recording rather than post stage, to model/flatter  a particular voice?

I have swapped a Schoeps MK41 in for a Neumann KMR 82 on a sibilant actor, since the Schoeps was kinder to his voice.  In VO work, if time is allowed, I like to hear as many as 4 different mics on the actor if they don't have a preference themselves.  Otherwise,  what Jeff said, certain lavs work better than others on certain voices.  One of the reasons that certain mics are very popular for movie sound work--most people sound good on them, and in a scene with multiple characters you need a one-size-fits-all boom mic.

Philip Perkins

[Brad Harper]

Last year I was doing a series of commercials for Cox Communications. All of the actors were recorded on a Schoeps CMC6 with MK41 capsule, but when we got to a particular female I started to hear some midrange distortion. I switched to another Schoeps, but I still heard it. I tried to EQ it out, but that wasn't working. Finally, I tried a Sennheiser MKH50 and the distortion was gone. Each time that actor came through I had to put out the Sennheiser. However, this was the only time I prefered the MKH50 to a Schoeps.

[JP Evans]

The situations are rare, but I've switched out my boom too for a single talent.  I've found that the producer appreciates the attention to detail as I explain why I'm switching it out.  It's a nice chance to reinforce why they hired you! 

[SoundHound]

I would routinely trim the EQ on the fishpole mic and individually trim the EQ for each wireless.  For problem voices through one Fishpole mic I would double patch the mic.  Then trim the EQ for "A" and "B" talent and fade between the two "Inputs" as if I had two mic feeds.  The virtue of this technique is you can never "Blow a Fade" only miss EQ shading.  Never a big mismatch and, in any case, always reversable in post.