THANK YOU!!!
I've spent 45 years in front of microphones, having started at 5,000-watt AM WING in Dayton in 1963. Little did I know, as I talked into the ever-present 77 DX's of those days, that I should have bought a case of them from RCA as my retirement fund! Following my first decade as a DJ, I went to work for voice great Mel Blanc as his studio manager, then on to 30 years as a TV producer and voice artist in New York. Now I teach VO from my home studio in Philadelphia (I am the only private voiceover coach in the entire Philly metro area), and voice audiobooks for AudioRealms.com, plus, of course, spots. So it is safe to say that I've spoken professionally into every popular "announcer" mic of the past 4 decades. (My current primary mic is a Rode NT-1000 condenser.)
However, in all those years, I never, EVER had a chance to hear mics compared head-to-head this way. As you know, we voice artists are always seeking the Holy Grail of mics, and need to hear ANNOUNCER voice samples (not musical instruments) in order to compare apples to apples. Visiting a Guitar Center store is a crude way to compare one or two mics, but of course, does not allow for dozens of shootouts. So I must trell you, this is the greatest site I have ever seen! I found it accidentally while looking for everthing I could find on Cascade ribbon mics. Needless to say, I GREATLY appreciated your shootout. You just saved me 150 bucks! I was getting a bad case of "ribbon mic lust," remembering those glory days of AM radio's big sound. I thought the Fat Head ribbon might do the trick, but now I think I'll hold off.
So this is just a little love note, a bouquet thrown your way, from an old timer in the voice biz. Any time I can be helpful to you in any way, just let me know.
Many, many, MANY thanks!
Best regards,
Chuck McKibben
www.voiceoverisland.com
Chuck,
Thanks so much much. It's alway good to know that "sound" traditions of quality are still in good hands (or voices) like yours.
It is sad to think of the newer generations of voices that didn't get to use the work-horses of the business. On the other hand, isn't it exciting that we old work-horses are getting to use some of the newest microphonic techology in history.
A great story would be to re-introduce some of the great old mics that we used in the past and the various techniques used to get the most out of them.
Again, thanks for your note.
Willie
VO Mic Tests
Thursday, May 29, 2008
Wednesday, May 28, 2008
More Neumann Transformerless Transitions...
In case you missed this the first time we talked about it:
Neumann celebrates its 80th anniversary with the launch of the TLM 67
In the world of studio microphones, the numbers "47", "67" and "87" have associations that inspire enthusiasm among professionals. It is no coincidence that the name of the new TLM 67 contains the number "67". In many respects,
the TLM 67 is based on the "workhorse" of the 1960s, the legendary U 67. Like the U 67, the TLM 67 incorporates the K 67 capsule. In addition, the special new circuit design closely reproduces the sound characteristics of the classic U 67, without the use of tubes. Similar Neumann circuit technology has already proved very successful in the TLM 49.
The TLM 67 is extremely versatile. Its three switchable directional characteristics (omnidirectional, cardioid and figure-8), selectable 10 dB pre-attenuation, and high-pass filter permit detailed adjustments to be made depending upon the specific recording situation.
The TLM 67 introduces a novel Neumann dual-color design. The pearl-gray of the microphone body combined with the classic Neumann nickel lends the microphone a touch of distinctive individuality. On the occasion of its 80th anniversary, the Neumann company is honoring its founder, Georg Neumann, with a three-dimensional metal emblem on the front of the TLM 67.
The complete product information is available on http://www.neumann.com/?lang=en&id=current_microphones&cid=tlm67_description.
Kind Regards, Georg Neumann GmbH, Berlinhttp://www.neumann.com
I am very interested in your comments. Anyone a traditionalist?
Neumann celebrates its 80th anniversary with the launch of the TLM 67
In the world of studio microphones, the numbers "47", "67" and "87" have associations that inspire enthusiasm among professionals. It is no coincidence that the name of the new TLM 67 contains the number "67". In many respects,
the TLM 67 is based on the "workhorse" of the 1960s, the legendary U 67. Like the U 67, the TLM 67 incorporates the K 67 capsule. In addition, the special new circuit design closely reproduces the sound characteristics of the classic U 67, without the use of tubes. Similar Neumann circuit technology has already proved very successful in the TLM 49.The TLM 67 is extremely versatile. Its three switchable directional characteristics (omnidirectional, cardioid and figure-8), selectable 10 dB pre-attenuation, and high-pass filter permit detailed adjustments to be made depending upon the specific recording situation.
The TLM 67 introduces a novel Neumann dual-color design. The pearl-gray of the microphone body combined with the classic Neumann nickel lends the microphone a touch of distinctive individuality. On the occasion of its 80th anniversary, the Neumann company is honoring its founder, Georg Neumann, with a three-dimensional metal emblem on the front of the TLM 67.
The complete product information is available on http://www.neumann.com/?lang=en&id=current_microphones&cid=tlm67_description.
Kind Regards, Georg Neumann GmbH, Berlinhttp://www.neumann.com
I am very interested in your comments. Anyone a traditionalist?
Saturday, May 24, 2008
About Those Sound Deadening Panels......
Hi,
Thanks for sharing your construction method of building the sound absorption panels. I'm considering building some for myself.
One question I have though is once they are built, how do you suggest positioning and mounting them?
I would plan to use them in my recording/mixing room as am alternative to products like Auralex. Would it make sense to build a number of these panels and simply mount them on the walls of my studio space?
Thanks.
Dave King
Dave,
One of the main misconceptions about setting up a vocal booth area is that it has to be totally covered in sound-deadening material. You still need a little “life” in your room.
That said, there is a difference between sound-proofing and sound-deadening. If you need a room that keeps all sound out (like the neighbor’s lawnmower), then you need to do much more than just controlling the sounds you are making in your room.
If your recording room is still the one you used in the “Recording Pretty Kitty” photos on your website, your solution should be simple. The panels we describe can be simply stood against the wall about a foot from the corner and again at 3 to 5 foot intervals along the wall. A more decorative (and better sound-control) approach would be to hang the panels on the wall like accent pieces. An example would be to turn a panel on its side and hang it where you now have the two pictures. The key is to knock down sound reflection from broad flat surfaces such as those walls. Those would knockdown some reflection—not cover the wall.
The beauty of the individual panels is that you can position them around the room to test the best effect. Then mount or stand as needed.
Thanks for your note, Dave. We’ll keep studying and pass on more info as we learn.
Hey Willie,
Thanks for the detailed response.
I'm guessing that by positioning the panels diagonally in the corner(s) it would make them operate as bass traps, correct?
I'm thinking about making a number of these panels and mounting them on the walls in my studio space. I'm wondering if it matters if they are mounted flush against the wall, or would it be better to have say a half-inch or more distance between the panels and the wall? This could accomplish by using spacers of some type. Any thoughts on this?
Thanks, again.
Dave,
Good call on the corner. That’s what I’m doing in my vocal space. However, probably the best bass trap is a large trash can filled with concrete. The best bass frequency absorber is mass. But I guess it all depends on how much bass frequency sound you are producing. Voiceovers, vocals and acoustic instruments should be effectively handled by your diagonally placed corner panels.
Now, about direct mounting the panels to the wall. Solid objects tend to vibrate according to certain harmonic resonance. That means at some frequency, the solid backing in your panels will be affected. Will it transfer to the wall? Probably, but the chances of that affecting the sound response to your mic are unlikely and can be determined for sure by testing.
Sound engineers suggest definite air-space between the sound insulator and the mass of the wall. That will also help defuse sound coming through the wall from the other side.
So, yes—a little off-set from the wall is a good thing. I would try small foam pads (nothing expensive) to off-set the panels ½ to 2 inches from the wall. Sound engineers will tell you that the distance of the off-set should be at least 4 inches. But what sounds are we producing? Heavier and louder may need more radical measures.
The advantage of the separate panels is the flexibility it gives you to test. Position them in the most likely place to absorb reflections and then move them around to see if it affects the sound. Test, play, record and listen. You are looking for the sweet spot in the room and you will know when you find it—you will hear it. Hopefully, that sweet spot will be right where you currently have your gear set up now.
Again, I am not an expert. I certainly am not a sound engineer. I just learned from experience and advice from sound engineers. All I ask from you is to share what you learn as you set up your room.
Willie
VO Mic Test Page
Thanks for sharing your construction method of building the sound absorption panels. I'm considering building some for myself.
One question I have though is once they are built, how do you suggest positioning and mounting them?
I would plan to use them in my recording/mixing room as am alternative to products like Auralex. Would it make sense to build a number of these panels and simply mount them on the walls of my studio space?
Thanks.
Dave King
Dave,
One of the main misconceptions about setting up a vocal booth area is that it has to be totally covered in sound-deadening material. You still need a little “life” in your room.
That said, there is a difference between sound-proofing and sound-deadening. If you need a room that keeps all sound out (like the neighbor’s lawnmower), then you need to do much more than just controlling the sounds you are making in your room.
If your recording room is still the one you used in the “Recording Pretty Kitty” photos on your website, your solution should be simple. The panels we describe can be simply stood against the wall about a foot from the corner and again at 3 to 5 foot intervals along the wall. A more decorative (and better sound-control) approach would be to hang the panels on the wall like accent pieces. An example would be to turn a panel on its side and hang it where you now have the two pictures. The key is to knock down sound reflection from broad flat surfaces such as those walls. Those would knockdown some reflection—not cover the wall.
The beauty of the individual panels is that you can position them around the room to test the best effect. Then mount or stand as needed.
Thanks for your note, Dave. We’ll keep studying and pass on more info as we learn.
Hey Willie,
Thanks for the detailed response.
I'm guessing that by positioning the panels diagonally in the corner(s) it would make them operate as bass traps, correct?
I'm thinking about making a number of these panels and mounting them on the walls in my studio space. I'm wondering if it matters if they are mounted flush against the wall, or would it be better to have say a half-inch or more distance between the panels and the wall? This could accomplish by using spacers of some type. Any thoughts on this?
Thanks, again.
Dave,
Good call on the corner. That’s what I’m doing in my vocal space. However, probably the best bass trap is a large trash can filled with concrete. The best bass frequency absorber is mass. But I guess it all depends on how much bass frequency sound you are producing. Voiceovers, vocals and acoustic instruments should be effectively handled by your diagonally placed corner panels.
Now, about direct mounting the panels to the wall. Solid objects tend to vibrate according to certain harmonic resonance. That means at some frequency, the solid backing in your panels will be affected. Will it transfer to the wall? Probably, but the chances of that affecting the sound response to your mic are unlikely and can be determined for sure by testing.
Sound engineers suggest definite air-space between the sound insulator and the mass of the wall. That will also help defuse sound coming through the wall from the other side.
So, yes—a little off-set from the wall is a good thing. I would try small foam pads (nothing expensive) to off-set the panels ½ to 2 inches from the wall. Sound engineers will tell you that the distance of the off-set should be at least 4 inches. But what sounds are we producing? Heavier and louder may need more radical measures.
The advantage of the separate panels is the flexibility it gives you to test. Position them in the most likely place to absorb reflections and then move them around to see if it affects the sound. Test, play, record and listen. You are looking for the sweet spot in the room and you will know when you find it—you will hear it. Hopefully, that sweet spot will be right where you currently have your gear set up now.
Again, I am not an expert. I certainly am not a sound engineer. I just learned from experience and advice from sound engineers. All I ask from you is to share what you learn as you set up your room.
Willie
VO Mic Test Page
Saturday, May 17, 2008
Showed Me--A Great Demonstration
If you believe in your product, what is the best way to prove it works as good as you say? Demonstrate it in actual use under familiar conditions of how the customer will use it. Right? The Schoeps Microphone Showroom is probably the best interactive comparison of a microphone product line we’ve seen.
Go to the SCHOEPS Microphone Showroom. After the intro choose English (or whichever suits you). Let the Flash files load and click the “speaker” button. It will load a speaker file. You will notice a highlighted column under the CMIT 5 U signifying distance of mic to speaker. Listen to each one as you pull the marker to the various distances. Wow!
Many video professionals have told me that I really ought to try the Schoeps shotgun for our video crews. I said, “Sure—someday, somehow.” But I really had no idea that I could—until this demonstration. Now, I’m a believer.
Go to the SCHOEPS Microphone Showroom. After the intro choose English (or whichever suits you). Let the Flash files load and click the “speaker” button. It will load a speaker file. You will notice a highlighted column under the CMIT 5 U signifying distance of mic to speaker. Listen to each one as you pull the marker to the various distances. Wow!
Many video professionals have told me that I really ought to try the Schoeps shotgun for our video crews. I said, “Sure—someday, somehow.” But I really had no idea that I could—until this demonstration. Now, I’m a believer.
Wednesday, May 7, 2008
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