Thanks.....mics & preamps mix it up.

Just when we trying to find a good way to start a conversation about matching the right mic with the right preamp, we get a little “Vocal Voodoo.” Josh Mahler, a purveyor of power promos, steps in and kicks the door down.
Josh matches up four popular VO mics with three preamp combos that we really need to hear.
The mics are the CAD M179, the dual capsule, multi-pattern bargain; every broadcaster’s ElectroVoice RE20; the exciting Neumann BCM104 over the elbow side shooter condenser; and the Sennheiser MKH416.
He gives us examples of each mic running through the Safe Sound P-1 combo preamp and processor, the Apogee Duet preamp and firewire digital interface, and the very popular M-Box 2 preamp and digital interface.
Here’s the great part….Josh test each side-by-side.
The Safe Sound test is exciting because we are all interested in a good preamp that includes processing for less than $700. (I’m working on a deal, if anyone is interested—let me know.)
If you are using Mac, the Apogee is very highly regarded as a clean interface and this test of the preamps is very timely.
The M-Box digital interface’s preamps have been talked about for years, both for and against. Now hear them for yourself.
Thanks again Josh. Hear the test at:
VO Mic Tests

Only if you put a Shotgun to my head....

Why in the world would anyone take a fancy, single purpose piece of equipment like a hyper-cardioid shotgun mic and try to use it for voiceover?
Well, when you ask the top voiceover studios what are their most used mics, an overwhelming majority of the biggest will say the Neumann U87 and the Sennheiser MKH-416. There must be a reason (we'll discuss "standards" later).
But back to our double-barrell break-out.
Bill Campbell is another multi-media monster-man as studio director at ASAP Studios. He asks the same question you might--"Why wouldn't the shotgun-for-voiceover advantage work for any other shotgun mic besides the famous Senn 416--only cheaper?"
I have been asking the same thing for a long time. Even Sennheiser makes lots of other shotgun mic choices--none of which sound like their 416--most of which are less expensive.
What about the other brands? AKG, AudioTechnica, Sanken and others do have models that are highly rated by users and some are even more expensive than the 416. But how are they for voiceovers?
The Rode NTG-1 shotgun has fans that rave about its capabilities on lots of video forums. Now we can hear for ourselves.
Bill has sent us a test of the Rode NTG-1 for the Mic Test Site.
It is really clear and clean--sounds nice. You can get a brand new one for around $250. Wow! Not bad at all.
In addition to using the Sennheiser MKH416 in my voiceover studio, I use it weekly on a boom-pole while doing video spots. I even use it hand-held for on-camera spots (it looks kinda sexy with the windscreen). It really sounds good.
But I like the way Bill's NTG-1 sounds too.
I still want all of us that use shotguns for voiceover to discuss the various techniques we use to get the most out of these very special tools.

Coming: Test of the Sennheiser 421 and EV RE27 Dynamics--worth the money?

VO Mic Test

It's Back!!

Have you ever had one of those moments where you anticipated an event and you really didn't know what to expect....but you were excited about what could happen?
Well it happened, and I looking for words to describe what's going on now. I think "watershed moment" comes to mind. I got the MCA SP-1 back from Audio Upgrades today--a week sooner than expected.
I am writing this just moments after taking it out of the box, (Jim Williams neatly repackages all the parts that came out of the old mic) plugging it in and speaking a few lines into the machine. I did let it warm up a bit.
It is fuller, richer, with better lows and cleaner highs with a full range that sounds a little bumped in the upper low frequencies (or is that the lower mid's). Anyway....it seems suited just for my weak voice.
And it is really clean. Turned it up and let it cook.....very little noise.
Let's recap. Ordered the MXL MCA SP-1 from Pacific Sound, Stage & Lighting for $39.95 (listen to the "stock" test). Sent it to Jim Williams of Audio Upgrades who replaces all the keys parts with higher grade parts. Add $125 plus shipping.
I am going to try and call Jim Williams and get the scoop, the skinny, the what and how. Let me know what questions you want me to ask.
I am also going to try to engage him in preamp theory, especially for voiceover.
You gotta hear this: Mic Test MCA SP-1Modified
MXL SP1, MXL SP-1, MXL sp 1

...and the Beat Goes On.

Are we having fun yet or what! Steve Anthony sent two more mic tests. the Studio Electronics SE2200a and the popular AKG 414 BXLS.
Here's what else, Steve also understands our idea of making the good better...in search of the best.
He tells us, "Coming soon, the Charter Oak rigged with a new tube (a JJ ECC83s goldpin). As I studied upon this particular tube, the gold pin model may add something, so Iordered one. We'll see."
Thanks, Steve. We will begin talking about pre amps pretty soon. Does the pre amp make a difference? What do you think. Better yet--What do you know.
Tell us.
Check out the new mic tests here.

New Mic Tests Posted!

Thanks to Steve Anthony and Lance Blair, we can now hear the difference between a Heil PR40, a couple of CADs, Shure SM7b and a Charter Oak SA538.
Don't you love it when something outstanding starts to come together--better than expected?
In this case, it's been "kicked up a notch" with pro's like Steve and Lance showing us how to do a test on proper equipment.
The mics are almost in the order of approximate investment cost. In reality, the list should go. MSA SP1, CAD GXK2400, ADK A51, the MSA SP1mod and the CAD M177 (these two are pretty close in price).
Then we jump to our first test in the $300 plus range. That's the two dynamics, the Shure SM7b and the Heil PR40.
Yes, we will be talking about the Heil a little more in depth later.
Then, the Charter Oak SA538 at around $1,500 for comparison.
Check out the tests now at http://www.vocalimpactmedia.com/SoundStorage.html.
Send me your ideas and suggestions.

A Third of the Way into our First Test.

Do you remember how long the night before Christmas could be? Man, will tomorrow morning never get here? UPS Tracking says that Jim Williams signed for delivery of our MCA SP-1 microphone for our test. He says it takes about a week or so for the upgrades and another week to ship it back.

Let's recap what we are doing and what's coming. In the world of Voiceover Artists, gear mania can be an easy addiction. Personally, when a new job comes up, the first thing I ask is, "Can I net enough to pay for a new Lawson 47 and a John Hardy preamp?" But is this quest for supreme equipment justified or necessary? The quest should be for the supreme "sound." Do we have to spend a fortune to get the best sound?
I am not an technical expert. I am an experienced user of high tech equipment in the recording and broadcast business. Most importantly, I know technical experts in various aspects of the industry. Like most of us, I know when something sounds good--I just don't always know why.

That's the purpose of our upcoming tests. Can we find outstanding quality at a reasonable price? We will look at preamps, mics, location recording systems, digital interfaces, computers and any other items that make our job easier and more efficient. We will look in unusual places and talk to folks that may have some secrets that you and I wouldn't think of. We probably won't be testing your dream gear. But we just might reveal some real surprises. Most important of all we need to share our opinions and experiences. You have feelings on our various wants and needs, go ahead--let's put it out there.

Quick Note: Sennheiser MKH416 for sale.

I just got word that one of our pro cohorts has an extra "like new" Sennheiser MKH416 for sale at what I think is a good deal.
Contact me and I'll check your papers, credibility, references, see if you have had all of your shots and all other requirements to use this weapon of mass destruction.
Also, someone has asked all users of this intrument to submit notes on the techniques for its proper use. Things we do different than with other mics like breath control, mouth noise control and how to generally "work it" would be appreciated.

Tie up some loose ends.

Thanks for the calls, comments and messages. Joe, in our basic test set-up gear, we go from the Rane MS1b into an Alesis Multimix 8 USB and into the computer using Cool Edit Pro2. This is my extra unit since the "good" stuff usually goes to other systems I don't want to worry about. As it is turning out, this is the most worry free and dependable set-up I've found. We are looking at the MicroPro interface for future testing soon. I'll let you know....Better Yet--you let me know what you think if you have been using one for a while.

Steve Anthony (http://anthonymedia.com/) has one of the most varied mic lockers around. Listen to his demos and you'll hear how a pro is supposed to use his "tool-box." We're trying to convince Steve to add his voice, mics and opinions to the test page (http://www.vocalimpactmedia.com/SoundStorage.html).
I have just been told by my wife that I am late for my birthday party. Shouldn't we outlaw birthdays after age 11? Gotta go. Let me hear from you.

Starting Somthing

OK gang. While we wait for the turn-around in our first test, let's talk among ourselves.
I believe the Heil PR-40 is the dynamic version of the Neumann U87. "Willie--You're out of your mind. Those mics have nothing to do with each other." Let me `splain.
I thought seriously about entering the Neumann Anniversary Video contest where you do a video describing your favorite experiences with the U87. In 1969, I was hired at the flagship station of Southern Broadcasting (I replaced Ken Lowe who is now VP of Scripps and the originator of HGTV. My weekend and summer vacation stand-in was Rig Dees--my, haven't we all done so well). Anyway, the company was so excited about all the great young talent, they invested in the hottest new microphone--the Neumann U87. At that time, I was registered with Eastman as "Wild Willie Edwards--the original Wild Child." Yes...I was a screamer.
Well guess what...It's tough to scream into a hot condenser mic like the U87. Now, in the production room--it was heaven. I had been doing regional movie trailers ("See Barbarella do her thing....") and you can absolutely finese every word ever so delicatley. However, on the air, with all the processing it's like the mic is fighting you. I could not get used to it. Guess what? I slowed down my pace. I started talking to my audience. Putting lots of emotion into the patter. Oh my goodness--I became a morning personality instead of night-time banshee.
But back to the microphones....wait...let's continue this next time.
Let me hear from you if you have any similar memories.