[tonetony]

Hello all

Where I work I have been assigned to make a proposal to built our own
recording facility for voice over artists. As I have more of a music
production background I am not very familiar of what are the industry
standard mics or what is perceived as good quality in general in terms
of speech recording. We are definitely thinking of a stereo microphone
- to be able to accommodate two talents at the same time. Would you
guys have any recommendations here?

Also, is there any set of headphones that have proved to be the
optimum for such a task? I am thinking of DT150s as their closed-back
design ensures minimum leakage but I've had musicians in the past
wearing them that have been claiming that they are quite
uncomfortable.

Many thanks to all

[Richard Crowley]

"tonetony" wrote ...
Where I work I have been assigned to make a proposal to built our own
recording facility for voice over artists. As I have more of a music
production background I am not very familiar of what are the industry
standard mics or what is perceived as good quality in general in terms
of speech recording. We are definitely thinking of a stereo microphone
- to be able to accommodate two talents at the same time. Would you
guys have any recommendations here?

Perhaps you mean "two microphones" rather than "a stereo microphone"?
It would be very unconventional (and difficult to work) to use a
stereo microphone for two (or one) voice-over artists.

Also, is there any set of headphones that have proved to be the
optimum for such a task? I am thinking of DT150s as their closed-back
design ensures minimum leakage but I've had musicians in the past
wearing them that have been claiming that they are quite
uncomfortable.

Sony MDR-7506 is an industry standard. See another discussion
recently running he "Sony 7509? Opinions?"

Note that the size of the room and the acoustic treatment are
quite possibly more critical than your microphone choice.

[tonetony]

Note that the size of the room and the acoustic treatment are
quite possibly more critical than your microphone choice.

Good point Richard. I forgot to mention that we've already got a sound
booth.It seems it has been professionally treated and everything is
wired to the desk so this one thing is out of the way.

When I started working in the industry, one of my first jobs was in a
radio advertising company which had its own audio production studio. I
clearly remember a stereo mic there, cased in a trapezoidal kind of
housing that was the pop filter as well. Or could it be two mics in a
broadcasting housing? Hmmm....I am not sure at all. I remember it had
a brilliant sound a beautiful proximity effect but the brand didn't
graft on my brain cells.

[Mike Rivers]

tonetony wrote:

Where I work I have been assigned to make a proposal to built our own
recording facility for voice over artists. As I have more of a music
production background I am not very familiar of what are the industry
standard mics or what is perceived as good quality in general in terms
of speech recording.

This is the wrong end of the project to start with. Those are things
that are easy to change, and individual artists may even have their own
favorite mics and headphones (though you have to provide something).
Where you should start is with the space itself. Once you build the
room(s) then you can start experimenting with mics.

Acoustically, voice-over has every bit as stringent requirements as
music recording. You need to keep extraneous sounds out, and you need to
have enough absorption in the room so as not to accentuate sibilance but
not so much that it sounds too dead. You should study this out, and
perhaps consider some pre-fab vocal booths in your proposal.



--
If you e-mail me and it bounces, use your secret decoder ring and reach
me he
double-m-eleven-double-zero at yahoo -- I'm really Mike Rivers
)

[Scott Dorsey]

tonetony wrote:

Where I work I have been assigned to make a proposal to built our own
recording facility for voice over artists. As I have more of a music
production background I am not very familiar of what are the industry
standard mics or what is perceived as good quality in general in terms
of speech recording.

Nothing has changed. Folks still use U87s, RE-20s, SM-7s, and RE-27s,
the same as they have for years. There are some newer mikes well worth
having... the Coles 4040 is one hell of a handy thing to have in the
cabinet, and some of the more bright condensers are popular. But if you
have a U87 and an RE-20 in the cabinet, you will have customers.

We are definitely thinking of a stereo microphone
- to be able to accommodate two talents at the same time. Would you
guys have any recommendations here?

You don't want a stereo microphone. If you want to have two folks at
the same time, you either want two microphones or you want a bidirectional
microphone (like a U87 in figure-8). If you use a stereo microphone for
voiceover you will have to lock the talent's head down in a vise so that
they do not move a fraction of an inch.

Also, is there any set of headphones that have proved to be the
optimum for such a task? I am thinking of DT150s as their closed-back
design ensures minimum leakage but I've had musicians in the past
wearing them that have been claiming that they are quite
uncomfortable.

I'd get a set of DT150s, an AKG K240, and a Sony MDR-V6. All of them are
totally different but they pretty much cover the spectrum of what the
talent will want.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Ty Ford]

On Wed, 19 Nov 2008 10:06:09 -0500, Scott Dorsey wrote
(in article ):

tonetony wrote:

Where I work I have been assigned to make a proposal to built our own
recording facility for voice over artists. As I have more of a music
production background I am not very familiar of what are the industry
standard mics or what is perceived as good quality in general in terms
of speech recording.

Nothing has changed. Folks still use U87s, RE-20s, SM-7s, and RE-27s,
the same as they have for years. There are some newer mikes well worth
having... the Coles 4040 is one hell of a handy thing to have in the
cabinet, and some of the more bright condensers are popular. But if you
have a U87 and an RE-20 in the cabinet, you will have customers.

We are definitely thinking of a stereo microphone
- to be able to accommodate two talents at the same time. Would you
guys have any recommendations here?

You don't want a stereo microphone. If you want to have two folks at
the same time, you either want two microphones or you want a bidirectional
microphone (like a U87 in figure-8). If you use a stereo microphone for
voiceover you will have to lock the talent's head down in a vise so that
they do not move a fraction of an inch.

Also, is there any set of headphones that have proved to be the
optimum for such a task? I am thinking of DT150s as their closed-back
design ensures minimum leakage but I've had musicians in the past
wearing them that have been claiming that they are quite
uncomfortable.

I'd get a set of DT150s, an AKG K240, and a Sony MDR-V6. All of them are
totally different but they pretty much cover the spectrum of what the
talent will want.
--scott


I like my U 89 in hypercardioid into a Millennia Media STT-1 with 34Hz down
3dB and a little compression. My room is big by VO standards; 25' x 35' with
a blend of diffusion and absorption. I work the mic at 4-6 inches with no pop
filter.

http://idisk.mac.com/tyreeford-Publi...akes/NAV01.wav

Regards,

Ty Ford



--Audio Equipment Reviews Audio Production Services
Acting and Voiceover Demos http://www.tyford.com
Guitar player?:http://www.youtube.com/watch?v=yWaPRHMGhGA

[WillStG]

On Nov 19, 6:54*am, tonetony wrote:
Hello all

Where I work I have been assigned to make a proposal to built our own
recording facility for voice over artists. As I have more of a music
production background I am not very familiar of what are the industry
standard mics or what is perceived as good quality in general in terms
of speech recording. We are definitely thinking of a stereo microphone
- to be able to accommodate two talents at the same time. Would you
guys have any recommendations here?

Two mics is better, for Broadcast redundancy and it's cheaper/
easier to replace a mic failure.
RE20's and SM7's or SM5's are ubiquitous and are fine dynamic mics (no
phantom needed), and very durable. Some VO guys I like have U89's, or
whatever makes them sound good. They all have home studios and bring
their own mics, or Zephyr in tracks live. Some tracks that are
ongoing they might internet in.

Will Miho
NY TV/Audio Post/Music/Live Sound Guy
"The large print giveth and the small print taketh away..." Tom Waits

[Steve King]

"WillStG" wrote in message
...
On Nov 19, 6:54 am, tonetony wrote:
Hello all

Where I work I have been assigned to make a proposal to built our own
recording facility for voice over artists. As I have more of a music
production background I am not very familiar of what are the industry
standard mics or what is perceived as good quality in general in terms
of speech recording. We are definitely thinking of a stereo microphone
- to be able to accommodate two talents at the same time. Would you
guys have any recommendations here?

Two mics is better, for Broadcast redundancy and it's cheaper/
easier to replace a mic failure.
RE20's and SM7's or SM5's are ubiquitous and are fine dynamic mics (no
phantom needed), and very durable. Some VO guys I like have U89's, or
whatever makes them sound good. They all have home studios and bring
their own mics, or Zephyr in tracks live. Some tracks that are
ongoing they might internet in.

Will Miho

I agree with all the mic suggestions above. However, if budget is an issue
I can highly recommend the MXL 909. A fellow VO guy called me up a few
months ago to tell me that he had purchased a mic for me to try out. He
said that it was a very close fit with the Sennheiser 416 that I had been
using. (That mic, although some hate it for VO, works very well with my
voice --- cuts nicely through music, etc.) Sceptical of a $69 microphone, I
put it up and recorded some copy. Then, I cut that track into another track
of the same copy recorded with the 416. With a 2 db boost at about 2K it
was very difficult to tell the difference. I've yet to switch back to the
416, which now stays in my location/travel kit all the time. Incidently, I
have the Shure SM7, an RE20, and a U47 in the cabinet, too. YMMV.

Steve King

Steve King

[Tim Perry]

"tonetony" wrote in message
...
Hello all

Where I work I have been assigned to make a proposal to built our own
recording facility for voice over artists. As I have more of a music
production background I am not very familiar of what are the industry
standard mics or what is perceived as good quality in general in terms
of speech recording. We are definitely thinking of a stereo microphone
- to be able to accommodate two talents at the same time. Would you
guys have any recommendations here?

Neumann TLM 103 plus pop screen and a RE-20 for those who refuse to learn
how to talk into condensers.



Also, is there any set of headphones that have proved to be the
optimum for such a task? I am thinking of DT150s as their closed-back
design ensures minimum leakage but I've had musicians in the past
wearing them that have been claiming that they are quite
uncomfortable.

Many thanks to all

Make all supply their own headphones.

Anything you buy will be broken, stolen, or complained about.

Buy the cheap $20 sennheisers for emergencies or as I do sell them to people
when they break theirs in half or yank their own wires out..

[Scott Dorsey]

Tim Perry wrote:

Buy the cheap $20 sennheisers for emergencies or as I do sell them to people
when they break theirs in half or yank their own wires out..

Do you like them as much as the $20 Yamahas? I have been buying the Yamahas
as disposable headsets. They leak a bit but can usually stand being sit on.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Tim Perry]

"Scott Dorsey" wrote in message
...
Tim Perry wrote:

Buy the cheap $20 sennheisers for emergencies or as I do sell them to
people
when they break theirs in half or yank their own wires out..

Do you like them as much as the $20 Yamahas? I have been buying the
Yamahas
as disposable headsets. They leak a bit but can usually stand being sit
on.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

A matter of ease of purchase from a regular supplier and a bulk rate
discount.

check out the 5 pack HD202
http://www.bswusa.com/searchresult.a...and=SENNHEISER

What I like is the price and the fact that sound comes out.

[Scott Dorsey]

Tim Perry wrote:
A matter of ease of purchase from a regular supplier and a bulk rate
discount.

check out the 5 pack HD202
http://www.bswusa.com/searchresult.a...and=SENNHEISER

What I like is the price and the fact that sound comes out.

Excellent! I have been buying the Yamahas for a similar reason; Harris Allied
has a 6-pack of them.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Tim Perry]

"Scott Dorsey" wrote in message
...
Tim Perry wrote:
A matter of ease of purchase from a regular supplier and a bulk rate
discount.

check out the 5 pack HD202

http://www.bswusa.com/searchresult.a...headphone s&b
rand=SENNHEISER

What I like is the price and the fact that sound comes out.

Excellent! I have been buying the Yamahas for a similar reason; Harris
Allied
has a 6-pack of them.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

Harris? you mean SCMS? maybe Broadcast General store?

Alas after many years of serving broadcasters
http://www.scmsinc.com/07022007.htm Harris just gave up.

[Scott Dorsey]

Tim Perry wrote:

Excellent! I have been buying the Yamahas for a similar reason; Harris
Allied
has a 6-pack of them.

Harris? you mean SCMS? maybe Broadcast General store?

Alas after many years of serving broadcasters
http://www.scmsinc.com/07022007.htm Harris just gave up.

Well, there goes that. Guess I am buying the Yamahas next.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[david gourley]

"Tim Perry" put forth the notion
:


"Scott Dorsey" wrote in message
...
Tim Perry wrote:

Buy the cheap $20 sennheisers for emergencies or as I do sell them to
people
when they break theirs in half or yank their own wires out..

Do you like them as much as the $20 Yamahas? I have been buying the
Yamahas
as disposable headsets. They leak a bit but can usually stand being sit
on.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

A matter of ease of purchase from a regular supplier and a bulk rate
discount.

check out the 5 pack HD202
http://www.bswusa.com/searchresult.asp?
searchType=category&cat=headphones&brand=SENNHEISE R

What I like is the price and the fact that sound comes out.



I'll second that deal. I got a pack of them almost 3 years ago, they've
held up well beyond my expectations, and still work today.

david

[tonetony]

Many thanks to all. All points taken. Out of curiosity though; has
anyone used any of the BCM Neumanns? Specially the dynamic BCM sounds
or rather reads, quite interesting.

[Paul Stamler[_2_]]

"tonetony" wrote in message
...
Many thanks to all. All points taken. Out of curiosity though; has
anyone used any of the BCM Neumanns? Specially the dynamic BCM sounds
or rather reads, quite interesting.

I reviewed them in Recording magazine. Short answer: they're okay-sounding,
but have some serious problems in the shock-isolation department.

Peace,
Paul

[Ty Ford]

On Mon, 24 Nov 2008 14:52:31 -0500, tonetony wrote
(in article
):

Many thanks to all. All points taken. Out of curiosity though; has
anyone used any of the BCM Neumanns? Specially the dynamic BCM sounds
or rather reads, quite interesting.

My Pro Audio Review piece from 2005.

http://idisk.mac.com/tyreeford-Publi...nn_BCM_104.pdf

Regards,

Ty Ford



--Audio Equipment Reviews Audio Production Services
Acting and Voiceover Demos http://www.tyford.com
Guitar player?:http://www.youtube.com/watch?v=yWaPRHMGhGA