Voice-Over microphone setup

[Scott Smith]

All the WE preamps are tube. Way before solid state came on the scene!

--Scott

So were they solidstate or tube?

//Christian

[Philip Perkins]

I'm not sure which studios you are referring to, but I still see quite a number of tube mikes in use for both VO work and ADR in both LA and NY . Not too many ribbons, though (although I still like to hail out the MI-10001 once in a while).

I'm not sure which studios you are referring to either.  What I see in the VO studios in the SF area are the 87 and the 416 and no tubes (or ribbons), unless they are specifically requested.  Music studios are another matter. 

phil p

[Eric Toline]

I was in a post house on a project this past weekend and every mic in the booths were U-87's. In fact the talk back mics were U-87's also.

Eric

[Christian Holm]

I really like the Neumann sound... And the U87 as a standard works very well in most applications.

For this VO I wanted something more like early Nat King Cole, Bing Crosby "Christmas" what I thought was the Ribbon character.

If anyone here know for a fact how this was done(of course a hole chain of events from the talent, mic choice, pre amp, tape and mixing) I'm very interested to hear how and with witch type of equipment.

Some history:

http://www.silvertonemastering.com/electrodyne/index.html

//Christian

[studiomprd]

"  how this was done "

it is about the archers, not the arrows.

sorry, you cannot make Tom Sellek sound like Nat Cole with any mic.

[Rick Reineke]

OR..  a thin-voiced VO amateur sound like James Earl Jones, whom I have recorded in my days as a studio eng.  With his voice, I didn't particularly like the sound of an U-47, and ended up using an 87, (through a Neve 80 series, direct to DAT.. yeah it was a while ago.) I didn't have much time for experimentation and thought the U-47 would work. It didn't, sounded kind of 'fuzzy' as I recall. Not the desirable tube type warm and fuzzy.

[Scott Smith]

Wow, I'd like to be able to afford a U-87 for a talk-back mike!

Though there is certainly no shortage of U-87's in many booths, I have also regularly seen M-49's and M-50's, along with some more modern tube mikes. Could be just what they have up in the booth at the time.

Haven't seen any 416's, except for ADR and Foley work.

--Scott

I was in a post house on a project this past weekend and every mic in the booths were U-87's. In fact the talk back mics were U-87's also.

Eric

[Philip Perkins]

Wow, I'd like to be able to afford a U-87 for a talk-back mike!

Though there is certainly no shortage of U-87's in many booths, I have also regularly seen M-49's and M-50's, along with some more modern tube mikes. Could be just what they have up in the booth at the time.

Haven't seen any 416's, except for ADR and Foley work.

--Scott

416s are very common, a standard of sorts for VO esp commercial VO.  As I said, I hate the sound of them for close VO, but many clients and VO talent insist on them.

phil p

[RadoStefanov]

Maybe on a sound stage.

416 would not work in a vocal boot however I have seen 81i having great results in a VB back in eastern Europe.

416s are very common, a standard of sorts for VO esp commercial VO.  As I said, I hate the sound of them for close VO, but many clients and VO talent insist on them.

phil p

[John Blankenship]

Maybe on a sound stage.

416 would not work in a vocal boot however I have seen 81i having great results in a VB back in eastern Europe.

Philip is correct.  Many V.O. artists use a 416.  It's all in how they work it (often pretty close).

For example, on Harlan Hogan's web site where he is now selling a signature mic produced in collaboration with Marshall Electronics, he has comparisons between his mic and 1) a 416, 2)an RE20, and 3) a U87, since those are three of the most popular with V.O. artists.

http://voiceoveressentials.com/content/vo-1a-voiceover-microphone.htm

John B., CAS

[studiomprd]

and speaking of Ribbon Mic's:

" -beyerdynamic has debuted its RM 510 interchangeable ribbon capsule for its OPUS 900 and OPUS 600 wireless systems.

The RM 510's design features a 3-micrometer-thick, aluminum ribbon that features a sound-channeling technology providing the capsule with its cardioid polar pattern.

The capsule's treble resonator reportedly delivers high-frequency reproduction and also serves to protect against "plosives."

Every RM 510 wireless microphone capsule is handmade in Germany. "

[Jeff Wexler]

For example, on Harlan Hogan's web site where he is now selling a signature mic produced in collaboration with Marshall Electronics, he has comparisons between his mic and 1) a 416, 2)an RE20, and 3) a U87, since those are three of the most popular with V.O. artists.

http://voiceoveressentials.com/content/vo-1a-voiceover-microphone.htm

John B., CAS

I liked the way the Harlan Hogan website (your link) compares the various common VO microphones --- very useful. I know the goal is to sell their new signature microphone but I think it is still a valuable comparison site.

-  Jeff Wexler

[studiomprd]

what the sound is being listened to on is an important factor in how it "sounds"...

[Petros Kolyvas]

what the sound is being listened to on is an important factor in how it "sounds"...

While I totally agree - allowing the client to make a choice out of a number of equally good options means it's another thing you can cross off the "worry about" list. They might change their mind later, but it's less likely since the seal of approval has already been applied.

[John Blankenship]

I liked the way the Harlan Hogan website (your link) compares the various common VO microphones --- very useful. I know the goal is to sell their new signature microphone but I think it is still a valuable comparison site.

Jeff,

If you like V.O. mic comparisons, try this site:

http://www.vocalimpactmedia.com/SoundStorage.html

John B., CAS

[Jeff Wexler]

Thank you, John, for the link to that site. Lots of microphones tested, fun to listen to.

-  Jeff Wexler

[Jim Feeley]

If you simple must have an RCA ribbon mic, this seems to be the guy to go to. Even if not, I thought this was a nice story:

===

PITMAN, N.J. — Clarence Kane possesses a skill set that makes him rather unique in age of “if it’s broke, throw it away” and “nothing’s made in America anymore.” He repairs ribbon (or, more correctly, velocity) microphones, and has been doing so for more than 30 years. Kane’s customers have included Les Paul, Chet Atkins and Pixar Animation Studios. While Kane repairs and rebuilds all types of ribbon mics, the overwhelming majority of his business centers around classis RCA issues, even though the last of these was sold more than 30 years ago. Business is good. On average, Kane rehabs two microphones per week, or around 100 per year.The curious thing is that he didn’t start out as a microphone repairman.

===

Rest of the story and some pix here:

http://www.radioworld.com/article/110138

[Eric Toline]

Clarences business is known as "ENAK" which obviously is Kane spelled backwards. www.enakmic.com. Just a piece of trivia that adds very little to the thread but makes for stimulating cocktail conversation.;-))

Eric

[RadoStefanov]

Try the Oktava ml53 with Mike Jollie mod.

You can buy it brand new and modded here.

http://www.oktavamodshop.com/product_info.php?cPath=2_42&products_id=88

I have the moded ml52 and even though is just a little dark it is great for vocals.

Mike changes the trany with Lundahl, opens the grill and some other stuff

If you simple must have an RCA ribbon mic, this seems to be the guy to go to. Even if not, I thought this was a nice story:

===

PITMAN, N.J.— Clarence Kane possesses a skill set that makes him rather unique in age of “if it’s broke, throw it away” and “nothing’s made in America anymore.”He repairs ribbon (or, more correctly, velocity) microphones, and has been doing so for more than 30 years. Kane’s customers have included Les Paul, Chet Atkins and Pixar Animation Studios.While Kane repairs and rebuilds all types of ribbon mics, the overwhelming majority of his business centers around classis RCA issues, even though the last of these was sold more than 30 years ago.Business is good. On average, Kane rehabs two microphones per week, or around 100 per year.The curious thing is that he didn’t start out as a microphone repairman.

===

Rest of the story and some pix here:

http://www.radioworld.com/article/110138

[Marc Wielage]

If you simple must have an RCA ribbon mic, this seems to be the guy to go to.

Another excellent source for ribbon microphones is Wes Dooley of Audio Engineering Associates in Pasadena. His clones of the 44 and 77DX's are amazing...

(in this case, I think there's a modern figure-8 condensor inside this shell!)

--Marc W.

[jon_tatooles]

Part of the sound with the dynamics and ribbons is because their sensitivity is so low, you have to really push the mic to get output. That often make a better/different speech performance.

In a prior millennium, I "recovered" (literally dumpster-dove from Shure's service department) a few original SM5's that were pitched because of faulty connectors, etc. and were replaced with SM7's. We refurbished these and kept them around for special projects. I still have a few SM33 and 333 ribbons that were tossed, but perfectly working. The SM5 used nearly an identical Unidyne III transducer as the SM57/58. The mechanical housing gave it its unique polar pattern and sound.

[Christian Holm]

Thanks Jon,

Interesting... now when you say it... part of the sound is very similar between dynamics and ribbons.

And now I understand why!

The VO is now recorded and I choose the RCA over the U87... It gave me more warm close feeling.

//Christian

[John Blankenship]

Christian,

I'm glad your recording turned out the way you wanted.

A couple of further comments for the discussion:

People are mentioning the differences between "dynamic microphones and ribbon microphones," however, to be correct, moving coil microphones and ribbon microphones are BOTH dynamic microphones.  A dynamic microphone uses electromagnetic induction which they both do.  Electromagnetic induction refers to a conductor moving in a magnetic field, thus inducing a current relative to the sound waves hitting the diaphragm.

On an unrelated note, another worthy voice-over mic -- which you wouldn't guess in a hundred years without trying it -- is the original Audio Technica AT835 short shotgun microphone.  While I consider this mic a really poor choice for location recording, as a voice over mic it has a smooth, somewhat mellow sound that works great.  It also EQs nicely if you want it punchier in the upper mids, etc.  Please note, I'm talking about the original AT835, and NOT any of its successors such as the 835a or 835b, neither of which I like for anything.  The original AT835 only operates on battery power -- a single AA.

I also did pick up one of the Harlan Hogan mics for our post studio and feel it'll be a worthy addition to the mic locker.  It competes favorably with other top choices.

John B., CAS