Microphone Shock
Voice over microphones – How to choose the best for you and your budget
If you Voice123.com market or Voices.com, the bad microphone ensure not be hired, or if you do, who are not employed by the same person again.
Here we see three types of microphones used, their strengths and weaknesses, cost and how to determine which one (s) to go.
We will discuss the types, then search in specific makes, models and prices.
Before beginning, the most important thing I can say is that the microphone is the most important part of your audio chain, no exceptions. You can have the most fabulous arts in the world below the micro, but if the microphone is not enough, do not really care about the rest of this art. On the other hand, a microphone excellent followed by the average price of a product team will give you superior audio.
What do you want to do? Looking for a microphone that is soft and sweet, or hard-edged and in your face? Are you male or female? If you want to do movie trailers and screaming car dealer ads are need a different microphone if you're doing "door guy or girl next door" – voice work, or standard post – realistic voice work. These are the types of microphones to consider:
Dynamic
Dynamic microphones are what you see on radio stations and what they live vocalists (singers) are most often used. Are robust, with a sound quite good and is fine for most of the voices, that is, one can not sound absolutely fabulous in her distinctive voice, but does not sound horrible, which is not the case with other types, including some very expensive microphones. A dynamic is not qualified. The party photos of her voice, the diaphragm, is connected to a coil of wire, the sound of air movement causes the coil is moved between the poles of a magnet. The sound has to overcome the mass of the coil, and it sounds very small to stand still.
This does not make them wrong. Golden Rush Limbaugh EIB is a dynamic microphone, and, again, most radio stations and use. They are good general-purpose microphones and the voice of many more professionals use them. They are equally good for voices male and female, and you can make almost any type of style with them.
If you're on a budget, a dynamic is the only option, because Two other cost much more than they are worth. There are cheap versions of the other two, and I want one!
So if dynamic is so useful, why pay more for a condenser or ribbon?
Capacitor
A condenser, of which there are two types, the transistor and tube ("valve" in Europe), has no voice coil wire connected to the membrane. Amending an electric current generated by power supply external (found in most computer interfaces or an external power source, consult your dealer for more information, or batteries internal). Without the mechanical resistance of the coil of a dynamic microphone to overcome, a capacitor is much more sensitive to the nuances, and therefore sounds much more intimate.
Capacitors are of two types: the transistor and tube. A condenser tube, which is an expensive instrument (there are cheap and make good paperweights but no microphone) is almost always the best way to go. Sound very intimate and complete, and have a great sound in advance without being aggressive. They are very affected by problems of non-voice voice components – 'f', 'S', 'p' – and require a pop (check with your dealer.) One caveat – small quantities of certain types of distortion, so small that not consciously hear – is really good. Realizes the "heat" we hear in a micro tube.
often sound tube condensers capacitors better than transistors, but as with all things there are exceptions.
This is the third in a class by itself: the ribbon microphone. If the dynamic and condensers "listen" to the diaphragm, a ribbon microphone has a short piece, narrow and very thin corrugated aluminum suspended between two poles of a strong magnet.
You've seen the big microphone in the form of brine Letterman and Larry King desks. They are RCA model 77 ribbon microphones (used as props in this case), invented, I think, in the 1930's. They are found everywhere during half a century. RCA quit making films in the 1970 and entrepreneurial genius named Wes Dooley bought all the action films of the RCA (the tapes themselves) and, probably, alone re-enter the ribbon microphone the U.S. market. His company is called SAA, and even the logo of the AEA will be designed so as to closely resemble the logo of the RCA.
microphones tape are warm and smooth, jazz guys like to record with them are very nice for ladies' voices, and certain male voices that added depth nice suit. They also have a low output, which means that you have to crank up the entry into your system to get a decent of them. But increasing the input raises what is called the background noise, and you may end up with a recording where you can hear whistling in the background. Wes and others to confront the makers of the ribbon microphone with this problem, however, and some companies are doing preamps (ask your dealer about this) designed specifically for microphones tape.
Whether a film – or any microphone, for that matter – will be a good sound in your voice can not be met without a test. The tapes are very sensitive air in motion, if you blow in a test to see if it is on, there is an excellent opportunity that will destroy the tape. When the tapes were commonly used to study that were "packaged" – a bag team was put on them – only to move from one place to another in the study, to avoid damage to the tape of the air passing through them as they were moved.
Trademarks
Dynamics
There are a million brand, which of course goes for capacitors, but not that many brands of tape.
Do not worry, because there are various industry standards with which it is difficult to go wrong. Here are the three most popular dynamic, and probably sell more than all others combined:
Electro-Voice RE20
Sennheiser 421U (see dealer for the one specifically for your purpose)
Shure SM7
———
Shure SM57 / SM58 – less expensive and can be used if you do not have the money for other
These microphones, with the exception of the last two are in the $ 350 – $ 700 range. Although each has a characteristic "sound", which are fairly close together in this regard. Each one is well made and reliable over the long term, as in the past decades.
The Sennheiser, and I think the SM7, have what is called proximity effect: if you get just above the low they stress. Many speakers on radio stations to eat, they want that deep "Voice of God" sound. They are best used at a distance of 6.10 ". The RE20 is known for its lack proximity effect. Personally, I like better than others. Electro-Voice has a newer version, called the RE27, which users or I like or really can not sustained. In addition, the RE20 was also made in other model name, PL20. The final color is a bit different, but the same microphone. PL microphone line was made for miking drums and musical instruments and is no longer in production. I found one for $ 150 and PL20 I'm still jumping up and down, the average price used a PL20 or RE20 is double.
Price-quality, none of these microphones can be overcome.
Capacitors (Valves)
Probably the most recognized name condenser microphone in the world is Neumann (pronounced NOI-man), and its most popular model is called U-87. They sell new for around $ 2200, $ 1700 or less used. A Neumann and sounds amazing in his voice or the sounds honky. Is the microphone used in National Public Radio exclusive.
Is found in almost all recording studios of all sizes. I love your voice or you hate it.
There are more expensive Neumann, and a low price TLM103, but most professionals I've talked to do not see the need for a very high price, and although a good number of artists use voice-TLM103 ($ 995), in my opinion, are not as natural sounding as the U-87 or a good dynamic. I had one but sold it after a few months. This may sound good to hear particular however. I make this point because tastes are different, and it is true that a voice may sound bad to some micro and higher in the voice that comes. So how do you choose? Get to that in a second.
First, you must use a pop in a capacitor. This is a device that lets you talk directly into the microphone, capture all of your voice, but do not let the gusts of air from the non-vocal components of speech, including "P" sounds. Put your hand in front of the mouth and say "P." Feel the air? If the explosion hits a capacitor, say you do not want to be wearing headphones at the time. Now is a good idea to talk about wide (45 °) directly to any microphone, as they all will react badly to P appears, it's just REALLY capacitors react to them. Many users put RE20 pop-up screens in front of microphones though most people do not use pop-ups with dynamics.
capacitors flights: a big no-no.
capacitors flights are all over the market. You can buy a microphone with a good spider shock mount and aluminum case beautiful flight all for $ 75. Um, not thin 'so, Loooocy. They are unusually bright at the top and pounding on the bottom.
The really ominous is that, if you're starting, your ear is easily fooled into thinking that this sounds good. Does sound kind of exciting, but it is very tiring for listen to a recording made at a time. As famous Phil Spector said, "Everything is in the middle." Americans like to crank up the treble and bass. If you has a large number of micro delivery of high and low, and someone raises the ups and downs in your stereo, your work will sound worse than horrible. expensive microphones have rolled-off extreme low and high ends smooth. At first with one that may even think, "Wow, what's the big deal about this? It's boring." No, of course. Unboosted ups and downs. In other words, it sounds like you and not-for-a microphone. That is as it should be.
Remember, you are competing with people who own high end of capacitors, and is that how they sound. I'll take a dynamic $ 400 over $ 400 a capacitor most of the time.
Ribbon microphones
I have specific experience with a film: a AEA R84. Sounds great. Is an updated version of an industry standard RCA tape, model 44, invented long ago and is always used as the 77. Is three very nice, and comes with a sarcastic look padded, Brown equipped for the transportation and protection. Is about $ 990.
There are other tapes that have an excellent reputation, especially Coles. In general, I am not to both tape is widely used for voice-overs, but I think it is because many people do not know about them. I think it's also so much more to inertia as something – everyone learns what everyone is using and follow their example. In addition, the tapes do not have the sound in-your-face dynamic capacitors, and having.
How to choose the right microphone for you
The best way really is to call a professional recording studio and one hour of your time, and created an array of microphones and proof that you read each of them. It is infinitely better to match your particular microphone (And only) voice to get anything and try to make it fit with equation (Google "Stabilization in voiceover," and read!). I recommend test at least five microphones, making sure to include all of the above except the Shure SM57 / 58. When you hear yourself recorded in each of them the best usually make it clear, and is a good idea to ask the opinion of the recording engineer, and s / he knows what to listen.
However, no try this test in a home studio enthusiasts. Almost certainly not have the mics you need to do significant testing, and recording who is almost certainly not competent to evaluate what mic to use for voice-overs, most home studios exist for the purpose of recording music and vocal singing, not acting voice and voice-over.
What if you do not have a study within 50 or 100 miles, or their rates are too high (although I think the $ 100 to test worth several thousand dollars of the microphones will save you headaches incredible microphones sending back, etc.)?
This is what to do: If your budget allows, or buy a Neumann U-87 or a Lawson L-47MP II. The Lawson is a few hundred dollars less than the Neumann. The Lawson is the microphone I've used for nearly 10 years. Sounds like Disney, but more importantly, I have yet to record a voice does not sound as good. Microphones others only I have used in the past 25 years that have that quality is the Electro-Voice RE20 and Shure SM57, a singer of a $ 100 microphone that does not sound bad, but it sounds incredibly great either, and you must think that the fierce competition with capacitors of $ 2000. The SM57, however, work in a pinch. The Lawson is sold factory direct through a boy named Gene Lawson in Nashville. Google "Lawson Microphones." If you call them, can speak right to genetics. It's a great guy.
Also Mercenary.com recommend. There are less expensive, but worth paying another perhaps 5 percent to get the best advice is, and I say this very sincerely. Go to your site, get their number and call them. Tell them all you want to do, what other gear you have, what to buy, if you do not have any art yet. They really give a great big rip about their customers and the professional audio business in general. I can not say enough good about them. In case you're wondering about all these nice things I'm saying about Lawson and Mercenery, not only am I paying for them, nor know I'm writing this article:)
I have worked for years to get a good sound and I am writing this to maybe save some time looking for great sound.
Voiceover actor Michael K. Holmes has written and produced broadcast advertising for twenty years. Listen to examples of your ads and jingles in http://YourGreatRadioAds.com
About the Author
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