VOMicTest

Mics for Broadcast?

2011-11-24T22:42:00.000-05:00

Quite a few new mics have come on the scene in the last several years that resemble or ask us to compare to the standard broadcast mics we have used for years. Usually these are end-address large diameter dynamics. Included are new mics from Rode, Blue, Charter, Heil and now--the new ones from MXL. Even the the long standard bearer--Electro-voice has new choices to the RE20.

Mics for broadcast have to meet many various demands. Have some of the demands, or styles, changed? You bet.

The picture above is me on-air in 1969. Yes, that is a Neumann U87. The company had just replaced all on-air mics with this new mic that was supposed to make every announcer sound like.... well, you know...ballsy or something.

The problem for me was the fact that I was a Rock & Roll screamer--Wild Willie Edwards. I knew how to work the dynamics and adjust levels to where my voice was easily part of the music and other programing. But the new U87s were condensers. It could pick up a fly-fart on the other side of the room. I had to change the way I worked the mic drastically.

Also, radio was changing around that time. FM was coming on strong. The "Hey-man" style of progressive FM allowed for a natural presentation perfect for the right condenser mics.

I have been lucky enough to work with a lot of various mics. In broadcast, I have even been blessed to hear myself on RCA Dx77s and 44s (ribbons). The mic we used on-air and in production before the U87s were Sennheiser MD421s. I became a voice-over star on the Shure SM7. (And the model before that looked like a football.)

But enough history...back to the new mics. There are a few condensers mixed in with these new end-address mics. Does that mean they are not really for broadcast? Well, not necessarily. It's back to the "right tool for the right job in the hands of a skilled craftsman."

I really look forward to sharing some new test of these new broadcast type mics. I will even let on to some existing studio mics that I feel are fantastic "On-air" mics. You may be surprised.

New "Broadcast/Voiceover" Mic from MXL?

2011-11-03T11:42:00.001-04:00

Very interesting. I understood MXL had been looking at this type of mic for a while.

Has anyone tried or heard this new mic?

MXL End address studio mic--BCC-1

Again...Very interesting. I really would like to hear and compare.

Compare at Rode Mic "Soundbooth

2011-11-01T19:32:00.000-04:00

Check it out:

http://www.rodemic.com/soundbooth

Long load times.

Let us know what you discover.

Mic Makers Offer Fall Discounts

2011-10-10T10:49:00.000-04:00

From Broadcast Engineering

With the turn of the season to autumn, the major microphone manufacturers have announced rebate incentives for select wireless and/or microphone products. These rebate programs from Shure, Sennheiser and Audio-Technica all apply to purchases made on or after Oct. 1 and run through the end of 2011.

Audio-Technica is offering rebates on its professional wireless systems, including the 4000 Series, 3000 Series and 2000 Series.

Shure’s rebates apply to the classic SM58 and SM57 dynamic microphones, along with cash back on the purchase of its PGX wireless system and a rebate on its new PGX Digital wireless systems.

Sennheiser’s rebate program covers its 2000 Series professional wireless systems, plus the full range of its Evolution G3 wireless series. The G3 rebates include the LE Sets, ew100 range, ew300 systems and ew500 G3 wireless.

For full details on the products involved, visit the respective manufacturer websites. All require submission of the original UPC code from product packaging, along with the associated sales receipt.

Link to BE article

42 Years Ago and I Still Appreciate High Dollar Mics

2011-08-20T10:33:00.000-04:00

Notice the albums, the turn-table and the "count-down clock" (that's the light bulb on the right).

What's with the striped shirt and tie? I forgot R&R had a little class, although mine was mostly "low."

Blue Mics "Reactor" Looks Different, But How Does It Sound?

2011-08-18T19:33:00.000-04:00

Interesting.

I would love hear the Reactor on various Voice-over tests.

Malo Shares a Discovery. Tell Us What You Think

2011-08-01T21:41:00.000-04:00

I would like to ask you to check out the OSP STM-1300C Studio Condenser Microphone. The maker did a mic test on youtube and a shootout where it was compared to the Neumann u87. I was skeptical, but I purchased it and I must say it sounds AMAZING, especially at the price of $149.99. Check out the video, and I can make samples if needed. Thanks!!

I was wondering if you could post this test.

Audio Technica 835b versus the Sennheiser MKH 416

http://soundcloud.com/malospam/416835bledge

Sennheiser mkh 416, a hollywood standard VO mic and boom mic ($1000) versus an OSP STM1300 (250$). Both plugged into a zoom H4n, no pop filter used sorry about that, 6 inches away from my mouth, no processing. Is it worth the price difference for this application? I also have a test from 12" that I will upload soon. Let us know your thoughts.

http://soundcloud.com/malospam/mkh416vsosp-stm1300-6inches

Thanks Malo

What Are We Buying From Sennheiser?

2011-06-24T09:13:00.001-04:00

Notice the smallest sales groups.. one of which is Georg Neumann. Does the profit margin make up for smaller numbers?

Wedemark, Germany (June 24, 2011)—Sennheiser has released its financial statement for the business year 2010, reporting an increased turnover of 468.2 million Euros--an increase of 20.1 percent and the largest in the company's history. The company’s 2009 turnover was 389.9 million Euros last year. Profit increased from 3.8 million Euros (in 2009) to 22.6 million Euros.

"All product groups and all markets have contributed to this positive result," said Volker Bartels, Spokesperson of Sennheiser's Executive Management Board. "One of the important factors that contributed to this result was the revival of the professional side of our business and the highly positive growth at the end of the year, particularly in the consumer segment. Now we have to stabilize this dynamic growth and further expand our business.” On average in the year 2010, the Sennheiser Group employed 2,117 people, 1,153 of them in Germany.

The largest part of the company's turnover came from headphone sales, which contributed 34.9 percent of total turnover. Following this was wireless microphone sales (25.5 percent), then Sennheiser communications products (8.1 percent) and then wired microphones (7.4 percent). Audiology products made up 6.6 percent of the total turnover and professional headsets made up 4.5 percent. Georg Neumann GmbH contributed 3.6 percent of the total turnover with studio microphones and studio monitors. The conference and information systems sector contributed 3.3 percent.

Despite a global shortage of electronic components, Sennheiser was able to increase production in 2010, by its own reckoning, thereby able to overcome the immediate effects of the global economic and financial crisis.

Sennheiser managed to reach double-digit figures for its growth rate in all sales regions in 2010. In particular, Asia influenced growth in the elecronics industry. In the the "Asia and Australia" region, turnover increased from 44 million Euros in 2009 to 59.7 million in 2010, an increase of 35.6 percent. "This positive development shows us that using our own sales subsidiaries on the ground was the right strategic decision," affirmed Volker Bartels. The audio specialist also grew in the Americas. Turnover increased by 26.5 percent compared to last year, up to a total of 125.6 million Euros. There was a notecibly reversed trend in the "EMEA" region. In this previously decreasing market (-2.8 percent in 2009), Sennheiser achieved an increase of 14.7 percent. In the sub-regional breakdown, Central Europe contributed excellent growth of 17.9 percent. Generally speaking, sales outside Germany continues to be extremely important for Sennheiser. In 2010, the company's export ratio was about 83 percent.

Research and Development (R&D) is a central component of Sennheiser's business strategy. Spending on R&D in 2010 was 6.1 percent of turnover - i.e. 28.6 million Euros. To recognize future trends and opportunities, Sennheiser runs a company-owned research facility: the Sennheiser Innovation AG in Zurich, Switzerland. Here, Sennheiser analyzes future trends that may have an impact on Sennheiser’s business and on the audio specialist’s product development. "We need to be able to react quickly to changes in the market,” Bartels said. “This is why we focus on consumer needs in the long-term and try to recognize important developments as soon as possible."

For Sennheiser and its employees, 2011 will be focused on implementing the new company structure. Since the first of January, Sennheiser has been organized into three business divisions, helping provide greater market and customer focus in each respective business area. "We have developed a divisional strategy over the last few years and this is now also being reflected in our organizational structure,” Bartels said. “The company's new divisional organization will allow us to perfectly adapt our products, services, processes and especially our way of thinking to our customer's needs. This is another reason why we look at the future with optimism.”

Sennheiser
www.sennheiser.com

Mics for Video

2011-05-08T17:52:00.000-04:00

Microphone use for video is a little more of a different animal. We tell new videographers that if the lighting is close (we can see the eyes) and the audio is spot on, the viewer will forgive a lot of visual mistakes. Actually, the quote is often attributed to Cecil B. DeMille.
I have been meaning to write on this subject outside of the manual we have for our teams, but the folks at HDVideo Pro have done a good job:
Microphone Grab Bag

Have you seen the "Pocket Sound-booth?"

2011-03-23T21:37:00.000-04:00

Description

The Pocket Sound Booth™ reduces ambient sound received by a microphone; placing special high acoustic loss materials and structures between unwanted sound sources and your microphone. Basically, it alters and tightens the polar pattern of a microphone while making minimal changes to the near field on axis response.
The Pocket Sound Booth™ fits over your side-address studio microphone or axial (hand held) microphone and doesn't require any expensive hardware to do its job. Other products such as reflection filters cost around ten times as much as the Pocket Sound Booth™ and they block less than half of the ambient sound that the Pocket Sound Booth™ does.
The Pocket Sound Booth™ uses a quarter wave trap to reduce wavelengths that are 4 times the largest dimension of the Pocket Sound Booth™. The quarter wave trap allows open acoustic passage for the microphone being used in the Pocket Sound Booth™ to have minimal coloration.
Pop Filter and Wind Screen
The Pocket Sound Booth™ includes two variations of front filters if you need them. One filter is an extremely acoustically transparent and very effective turbulence filter (pop filter) and the other is a more conventional windscreen.
The system supports microphones of all polar patterns, some square type microphones are supported and other types can be fitted to with a few minor adjustments. The model PSB448 is 4" x 4" X 8". Voiceovers with a ribbon microphone and a Pocket Sound Booth™… big, smooth, silky and quiet!
An XLR extender might be needed for some shorter axial microphones. An XLR extender and Proximity Touch Up Filter™ (TUF) is also available for shorter microphones. This special microphone filter is passive and compensates for close microphone use (-3dB) without rolling off all of the lower bass. Most low cut filters “cut off” all the low bass (-12dB at 75Hz.).
The Pocket Sound Booth™ is made in America.

Cloudlifter Adds Gain to Ribbon and Dynamic Mics

2011-02-24T23:14:00.000-05:00

There are times when I prefer to use a dynamic mic in certain situations. Some large diaphram dynamics need a lot of gain to get the best sound. Here's a solution:

The Ramblings of Some Audio Guy: SomeAudioGuy Video Mini-Review: Cloud Microphone's Cloudlifter CL-1 Mic Activator

Is Blue Upping USB Mic Credibility?

2011-02-20T10:27:00.001-05:00

I haven't found a USB Mic that I would use for all voiceover applications, although I have used some pretty good ones. But this review piques my interest.

Engadget's Review of the Blue Yeti Pro

I would love to test this new Blue. Maybe I will ask my new found "Apple" buddies to loan me theirs.

About Your Acoustical Environment

2011-02-19T07:37:00.000-05:00

Universal Audio published an interesting article on Sound Proofing/Deadening for musicians. Most points can be taken by Voiceover Artists.

Studio Acoustics and Soundproofing Basics

Here's the "Build Your Own Sound Deadening Panels" piece we did several years ago:

DIY Sound Absorbing Panels

Would You Take a Class With This Teacher?

2011-01-28T16:02:00.003-05:00

How to improve microphone technique (for singers but some of the same principles for Voice Over).

WHOA! A New RE(3)20

2011-01-14T13:09:00.000-05:00

Anaheim, CA (January 14, 2011)—Electro-Voice has released the RE320, drawing from its RE20 and RE27N/D Broadcast Group mics to create a studio and live performance mic for the MI marketplace.

The RE320’s key features include Electro-Voice’s Variable-D proximity control technology which affects tonal performance; a patented humbucking coil for reputedly noiseless operation; and a high-output neodymium magnet structure capsule.

Rounding out the feature set is the new “dual personality” switch; one setting of the switch engages a response curve for voice and most instrument miking, while the other switch position activates a response curve designed specifically for kick drums with dips and peaks in traditional spots.

Regarding the switch, Electro-Voice’s Rick Belt comments, “We’ve known for many years that the RE20 is sought-after for miking kick drums, despite its broadcast vocal ‘original purpose.’ Adding the kick drum curve switch position as a key RE320 feature reinforces its usefulness as a specialty instrument mic, in addition to its outstanding performance on voice and low-mid to upper-register instruments in the alternate switch position.”

Sennheiser introduces the MK 4 large-diaphragm studio microphone

2011-01-13T12:05:00.001-05:00

At the NAMM Show in Anaheim, audio specialist Sennheiser is presenting the new MK 4, a large-diaphragm true condenser microphone. This cardioid microphone, which is manufactured in Germany, is Sennheiser’s first large-diaphragm side-address microphone and focuses on giving the best possible sound quality rather than technical extravagance. It provides a powerful yet warm sound that is both direct and tight with fine treble resolution.

The MK 4 large-diaphragm microphone was developed for project studios, but is also affordable for home recordists and musicians

The MK 4 with its nickel-colored finish was developed for professional users in project studios, but is equally well suited for other recording environments and is tough enough for use on stage. It is also a microphone that is affordable for home recordists and musicians. “In the development of the MK 4, we invested every euro in getting the best possible sound,” explained Product Manager Sebastian Schmitz, “and we focused on the key elements of a good studio microphone to ensure that we can offer the MK 4 to our customers at an attractive price.” The finest sound structures are well resolved, and sound coming from the sides is picked up without coloration and so does not change the overall sound quality. The microphone has a very harmonious presence; it has vivid mids and is also very detailed in the bass range. At the same time, typical cardioid cancellation is relatively frequency-independent.

Sturdy large-diaphragm model
The MK 4 has a large 1-inch diaphragm precisely spattered with 24-carat gold. The sturdy metal housing and the elastically mounted capsule make the microphone tough enough for even the most energetic recording situations. The excellent suppression of handling noise offered by the internal capsule mount can be even further improved by the use of an elastic suspension, which is available as an accessory. The open front of the suspension mount enables the MK 4 to be positioned close to the sound source. The microphone has a maximum sound pressure level of 140 dB, and its self-noise of 10 dB(A) is extremely low. “The MK 4 is highly versatile for vocals, acoustic guitars and grand pianos as well as for strings and wind instruments,” Sebastian Schmitz explained. “What is more, in numerous field trials it has proven to be an excellent microphone with guitar amplifiers, drums and percussion. To sum up: it is an unpretentious microphone with outstanding sound.”

The MK 4 will be available after NAMM and comes complete with a microphone clip and a protective pouch. Optional accessories include an elastic suspension, a foam windshield and a popshield.

Technical data

Transducer principle:	externally polarized condenser microphone
Diaphragm diameter:	25.4 mm (1”)
Pick-up pattern:	cardioid
Frequency response:	20 – 20,000 Hz
Sensitivity:	25 mV/Pa
Maximum sound pressure level:	140 dB
Equivalent noise level:	10 dB(A) / 20 dB(CCIR)
Dynamic range:	130 dB
Power supply:	48 V phantom power (P48)
Current consumption:	3.1 mA
Diameter:	57 mm (maximum)
Length:	6.3 in. (160 mm)
Weight:	17.1 oz. (485 g)

Optional accessories: MKW 4 windshield MZP 40 popshield MKS 40 elastic suspension

This is interesting. Doesn't Sennheiser own Neumann? Will there be a MK series for voice studio? Or will they leave that to Neumann?

Microtech Gefell M1030

2010-12-16T17:54:00.000-05:00

The microphone is specifically designed to meet the needs of professional and semi-professional users who demand the highest performance. The microphones are ideally suited for universal miking applications in broadcast and sound studios. Applications include vocalists, announcers, dialog pickup and as spot microphones for recording guitars, keyboard, percussion, wind and string instruments.

The pick-up pattern is perpendicular to the direction of the microphone axis (side addressed). The model number and pick-up pattern symbol mark the front of the microphone. The green light emitting diode (LED) inside the protection grid operates as optical ready indicator.

The condenser capsule exhibits a smooth frequency response with a slight presence boost in the 8 to 14 kHz range. The polar response exhibits an exceptionally high degree of rejection for sounds impinging from the rear (cardioid) or sides (super-cardioid) of the microphone. The electronic impedance converter uses a newly perfected circuit topology. This design reduces the noise floor to an extremely low level while also raising the maximum output capability. As a result, this microphone has a clean, distortion free sound over an extremely wide dynamic range. RFI susceptibility is very low.

The microphone capsule and electronics are elastically suspended inside the compact metal housing. This reduces the sensitivity to mechanical impact and structure born noise.

The microphone is finished in satin matt.

(Looks like $1,800 to $2,000)

Click HERE for more details

Finally, Adobe Audition for Mac

2010-11-09T20:37:00.000-05:00

From Cool Edit to Sound Booth. If you come from the broadcast world, you probably used some form of what is best known as Adobe Audition. I am glad to be able to finally release the news:

Welcome to the public beta release of Adobe® Audition® for Mac. Adobe Audition for Mac brings modern audio post-production to the Mac platform. Familiar tools for audio editing, multitrack mixing and recording meet improved performance, greater workflow flexibility, and new features such as native 5.1 surround support and new effects. Plus, the best-of-breed audio sweetening and restoration tools in Audition make it easy to clean up production audio. With essential tools you can rely on for quick-completion projects, Audition for the Mac brings a fresh face to audio post-production.

Download and Discuss
Download Audition for Mac
Discuss Audition for Mac

Adobe Audition for Mac offers:

Fast start-up, high performance multi-threaded processing, and parallel workflows
Powerful audio editing and multitrack mixing views
Superior noise reduction capabilities
Native 5.1 Surround support and multi-channel effects, plus other new effects
Optimized audio post-production workflows

Download Here: http://labs.adobe.com/technologies/audition/

FUTURE TECH--"..Junior Pooted."

2010-10-23T16:04:00.001-04:00

On a local Kids TV show in the late Fifty's, several children stopped dancing and started laughing. "What's so funny?' the lady host asked. "Junior pooted," came the reply. Is this new cutting edge tech taking us over the line? I don't want to hear Junior poot on the basketball court. Willie

New microphone can hear any sound at outdoor sports venues
Oct 22, 2010 3:54 PM, By Michael Grotticelli
An operator uses the AudioScope control station to remotely zoom in on the sound.
The large yellow circle attached to the bottom of the Los Angeles Lakers Jumbotron is a new super microphone that can hear anyone on the basketball court with perfect clarity — even players chewing bubble gum.
The microphone is called an AudioScope and could radically transform sound for sporting events. Developed accidentally when two former University of Oslo physicists — Morgan Kjølerbakken and Vibeke Jahr — were working on sonar technology, the new device is a circular array of 315 microphones and a wide-angle camera that hangs above sporting venues.
It can be used to capture audio from any chosen sound source, like a zoom lens on a camera. With sophisticated signal processing algorithms and so many individual microphones, the AudioScope can isolate sounds and make them clear — even in a noisy environment.
Viewers can hear a player's voice as he scores during a football match on television. Or one could hear every question at a news conference without the use of handheld or shotgun microphones. Such a breakthrough in sound quality could intensify the action of the game and add an entire new dimension for the viewer.
Based on the same principle as sonar, the AudioScope microphone can be zoomed in to listen to any individual who happens to be playing, coaching or refereeing. Because the camera is also fixed, it can be calibrated to zoom in to any location within its range. In addition to the Lakers, the system is currently being tested out in some basketball and soccer arenas around the world.
The system's software determines where the desired sound is originating from and then calculates how long it should take that sound to reach each individual mic overhead. It then synchronizes the conversation, making any spot audible even in a crowded stadium.
"If we correct the audio arriving at three microphones then we have a signal that is three times as strong," Kjølerbakken said. Doing the same thing with 300 microphones can make a single conversation audible even in a stadium full of sports fans.
An operator uses the AudioScope control station to remotely zoom in on the sound. He monitors the picture on a screen and moves the cursor to any audio source. The trackball is used to follow moving objects, and the jog wheel is used to rewind the tape for replays. The system supports multiple output channels, and the operator can select up to five audio sources simultaneously.
Kjølerbakken and Jahr have now patented the device and founded a company, Squarehead Technology, based in Oslo, Norway, to develop their idea. The most obvious application is in televised sports, and the company has been working with basketball and soccer teams to test it out. The response has been good, Kjølerbakken said, although some players aren't pleased by the idea.
The new microphone is also envisioned as an addition to video teleconferencing equipment. Squarehead recently announced that a system is now installed in a 175-seat auditorium at the Max Planck Institute in Munich.
A video demo can be seen at www.squarehead.no/video.html.

Does Quality Equal Money?

2010-10-14T21:16:00.001-04:00

Pro Sound Review of large diaphragm condenser mics.

Excerpts from article. Read entire article HERE.

MICS Tested:

Neumann TLM 67 $3,858
Berliner U77 $3,495
Brauner VMA $9,719

JZ Black Hole BH-1 $2,295

Violet Flamingo ME $6,990

The "large-diaphragm condenser" class of 2008 was loaded with gorgeous and innovative contenders, and we here at PAR would like to revisit the top five "LDCs" we reviewed to compare them in close proximity. Note that this is the first installment of our new Session Review series —not a clinical "shootout," per se, but parallel testing and evaluation to seek the best applications for these proven winners and suggest their comparative strengths in the real world.

On VO Work

I did some commercial spots with male voiceover artist Charles Curcio and found something likable about all five of our mics. Ultimately, we chose the Neumann TLM 67 for its smooth, yet articulate top end, with minimized sibilance problems. Low frequencies were flattering without any undue girth while plosives were never an issue, even at really loud levels.

The Brauner VMA in classic mode was our second choice for this VO session; it was wonderfully detailed and natural, if ever so slightly strident on hard consonants. The Berliner U77 was nearly as likable as the TLM 67, except for a little missing "chestiness." I must say, however, that the U77 would be my "best-all-around" choice if I could buy only one mic for all VO work. The Flamingo ME was very warm and supple; I would prefer it with female voice artists. The Black Hole BH-1 had the most top end of any mic tested here — great for definition on deeper voices, but too sensitive to plosives in cardioid. Even with two pop screens employed, we had to switch to omni to get suitable results.

Unveiling "That's Voiceover"

2010-10-08T13:21:00.000-04:00

Prosoundnews Blogs
Ask engineers how to get the most out of a vocalist, and they’ll start talking gear and psychology. Ask them how to do the same with a voiceover artist, however, and they may come up blank. As a result, when Pro Sound Newswas invited by lead event sponsor Neumann USA to cover That’s Voiceover—a career symposium for voiceover talents—we sent Keith Cousin, an emerging voiceover artist, to capture the scene from the performer’s perspective. The result is a peek into the minds behind the mics.

By Keith Cousin.

Joan Baker

Voice talent from across the country gathered to discuss the industry from not only behind the microphone, but behind the scenes as well at That’s Voiceover. Held at The Times Center in New York City, the event was co-hosted by Alan Kalter (Late Show with David Letterman) and Joan Baker (voiceover artist and author of Secrets of Voiceover Success), whose message was loud and clear: Voiceovers are far much more than meets the eye—or ear for that matter.

The Three-Pronged Attack
The evening was divided into three important goals:
1. Raise awareness about Alzheimer’s Disease;
2. Have an informative discussion and Q&A with two distinguished panels about the voiceover industry;
3. Conduct an American Idol-style audition between six amateur finalists to see which would win the opportunity to be represented by voiceover agency TGMD Talent.

A Serious Topic
Kalter got the ball rolling by discussing a subject very close to his heart—Alzheimer’s disease, which has affected his mother, a long-time sufferer. Using his appearance to raise both awareness and funds for continued research, Kalter spoke movingly on the topic. Then, with the serious goal of educating complete, it was time for the fun stuff.

Panel 1: The Business Insiders
Panelists included Jeffrey Weinstock (VP & Creative Director, ABC Family); Liz Lewis, CSA (Founder, Liz Lewis Casting Partners); Tor Myhren (CCO, Grey Group and the original voice of the E-Trade Baby commercials--how cool is that?!); Vanessa Gilbert (President, TGMD Agency); Miranda Patterson (Creative Director, NBC News Marketing); and Rudy Gaskins (CCO, Push Creative Advertising).

Tor Myhren

All the experts provided unusual insights and intriguing tips. Gilbert explained that honesty is the most important quality of a good agent, while Myhren suggested that a good voice doesn’t mean an “announcer” type, but more of a conversational tone. Even an awkward pause, a strong sense of timing, and the capacity for improvisation may be more valuable than a typical voice to a creative director.

Lewis concurred, and added that she likes to hear new, fresh voices or “a voice no one has heard before, creative and natural.” She also emphasized that an artist should treat every audition like gold. Her biggest pet-peeve is seeing artists chit-chatting in the waiting room, as opposed to studying the lines of the script. “Read the copy and be prepared,” Lewis implored.

Weinstock suggested that every new talent take at least one acting class, thus training the talent to be malleable and receive instruction (whether you have acting aspirations or not). Patterson hinted that perhaps the era of the celebrity voiceover might be over thanks to the internet, and Gaskins agreed, stressing that celebrities can have a negative impact on a brand, and that scale talent in general is more flexible and coachable.

Panel 2: The Artists
The second panel, featuring noted voiceover artists included Tor Myhren; Joan Baker; Rodd Houston (voice of Verizon Wireless, NFL); Joe Cipriano (Deal or No Deal); Valerie Smaldone (Voice of Broadway on Broadway); Cedering Fox (Voiceover Actor / Artistic Director of WorldTheatre); and Bill Ratner (film trailers, Discovery Channel).

Smaldone stressed that an artist needs a strong and committed “internal pilot light.” She explained that rejection is sometimes difficult to swallow, but with a strong support system, a belief in one’s self and a passion to succeed, anything is possible.

Cedering Fox

Houston said, “Don’t be afraid; there’s no set way to do it, just be fearless.” Baker agreed, believing a performer should “be uninhibited…understand your barriers and try to push beyond them.” Fox believes it is the voice, not the eyes, that is the mirror to one’s soul and expressing yourself through voiceovers is the most challenging and Zen of any artform.

Cipriano compared voiceovers to a golf swing. He explained that a person can receive endless instruction, but eventually one must step up and swing the club: “Just swing, go with your instincts and just swing!”

Ratner offered that if you sit and listen to numerous ads and think, “Hey, I can do that”--and know it with confidence-- voiceovers just might be for you. Another useful piece of advice from Ratner: “Put yourself in what I like to call voiceover adjacent occupations. Work as an intern at a station. Sooner or later, you’ll have an opportunity to get on the air.”

A Tribute To The “Voice Of God”
At the conclusion of the second panel, there was a touching 5-minute video tribute of the life and career of legendary voiceover artist Don LaFontaine, aka “The King of Voiceovers”, who, among other things, coined the term “In a World” on a seemingly endless number of movie trailers. LaFontaine passed away on September 1, 2008 at the age of 68.

Joe Cirpriano (left) with
winner Rachel Logan.

The Big Gig
The final event of the day involved finding the winner of the voiceover contest from six finalists. After all competitors had two takes to read a script, Rachel Logan, who had flown all the way from Atlanta, GA to compete, came away with a voiceover job and a contract to be represented by TGMD Talent. Congratulations, Rachel.

Those on-stage auditions were heard by all through a TLM 102 microphone, provided for the contest by the evening’s lead sponsor, Neumann USA. Typically the mic streets for about US$700, but in light of the occasion, an on-site Dale Pro Audio booth offered the item at a notable discount. The six finalists who performed in front of the live audience also each received a gift bag from the microphone company.

Dale Pro Audio offered
voiceover-ready gear,
including a Neumann
TLM 102 mic.

The Big Takeaway
After listening and talking to the artists and insiders for over three hours, the event boiled down to time-worn truths and keen insights:
• The voiceover industry remains extremely difficult to break into, easily requiring two or more years of complete dedication as one hones skills, finds trustworthy and reliable representation, sends out CDs and links to work, and networks.
• You don’t necessarily need a great voice, but you do need something different or fresh in your delivery and pitch.
• Success comes with a strong support system, so make sure those closest to you are completely on board.
• Rejection comes much more often than success, but it’s the one piece of success that can take you where you want to go.
• Be fearless in your expression behind the mic.

Keith Cousin [http://voice123.com/keithcousin] is a freelance voiceover artist whose experience includes billboard reads for ESPN's FIFA World Cup; Smirnoff Ice radio ads; play-by-play sports announcing for PlayPusher.com; and more.

Name the Mic Contest

2010-09-23T15:41:00.000-04:00

South Windsor, CT (September 23, 2010)--Telefunken Elektroakustik is holding a contest to name a new microphone that will debut at AES 2010 in San Francisco.

The unnamed mic is the company’s newest large diaphragm condenser microphone. In development for 18 months, the newest product in the company's R-F-T line was designed by the company's in-house engineering team, with outside consultation from amplifier designers.

The microphone will be based around a circuit that features a New Old Stock (NOS) Telefunken vacuum tube, custom audio transformer and a fixed cardioid large diaphragm capsule. Sonically, the microphone is said to carry similar characteristics found in its R-F-T line counterparts, the AR-51 and the AK-47 MkII.

"We always like to be responsive to our friends and supporters," explained company founder Toni Fishman. "So for this very cool new mic design, we thought we'd reach out to our fans and have a contest to name the new microphone."

Traditionally, the microphones in Telefunken's R-F-T line have been based on famous powerful munitions, such as the AK-47 and the M16. "But we're not limited in that respect," added Fishman. "I thought of the 'Bolt,' which refers to the company's lightning bolt logo. Let's see what the public comes up with."

Featuring a custom antique copper finish, the new microphone is aimed for vocals, byt the company has tested it on other signal sources including acoustic guitars, amps and percussion.

Starting September 23, participants will be able to submit suggested names for the new microphone via the Telefunken website. Then, on October 11th the top ten names will be chosen and posted on an online voting pole. The contest ends at 18:00 (EDT) October 21. The winning name will be announced at Noon (EDT) on October 22nd. The person who suggested the winning name will be rewarded with a pair of the R-F-T mics in a custom flight case. The 2nd and 3rd place names will win an M80 Dynamic microphone.

Telefunken
www.telefunken-elektroakustik.com

Improper Mic Technique = Fringe Benefits

2010-09-22T08:08:00.000-04:00

Just to share a good "Down Home" recipe. It was a spur-of-the-moment opportunity and we didn't lav the speaker because she threatened to bring in others speakers. ....and she did.

Neumann Sponsors Voiceover Event

2010-09-17T16:38:00.000-04:00

New York (September 17, 2010)--Neumann will co-sponsor That’s Voiceover, a one-day voiceover seminar event in New York City, on September 22.

The event will feature presentations from voiceover pros Joan Baker, Joe Cipriano and Alan Kalter (voice of Late Show with David Letterman) and others. In addition to covering voiceover acting, the seminar will also cover associated careers in voiceover, including writing, producing, directing and other roles. A portion of proceeds from the event will be donated to The Alzheimer's Association.

That's Voiceover will be held Wednesday, September 22, 6:00 p.m., at The Times Center, 242 West 41st St., New York, NY 10018

The seminar will feature audience interaction, including targeted Q&As and 'real-life' audition scenarios. Additionally, Push Creative will present The Audition Spotlight, providing a chance for attendees to book an actual voiceover job. In conjunction with Dale Pro Audio, Neumann will be offering each person who attends the event a special discount on its latest studio microphone, the TLM 102.

That’s Voiceover
www.thatsvoiceover.com

Sennheiser
www.sennheiserusa.com

Voiceover - How it was done 10 years ago

2010-08-17T20:17:00.000-04:00

From MIX Magazine

To the uninitiated, recording an announcer or "voice-over" artist would seem to be relatively simple compared to other things audio. But for those who have done it, it's a creative/technical task not to be taken lightly. Speech sounds are harmonically and dynamically complicated because of the way vocals are produced-by the chest; lungs; diaphragm; larynx; the oral cavity, including the tongue, hard and soft palates, the teeth and lips, the nasal cavities; and by the dynamic interaction of all those elements through time. Explosions of air bursting from the mouth, the lips and tongue can sound wet, and "sss" sounds can overmodulate a track.

Voice-over artists understand these factors, and the best know how to use them to produce their own voice character. As professionals, they can be counted on to back off for louder passages, to suppress hard plosives like P and T, and to stay a consistent distance and angle from the business end of the mic. Nonetheless, the engineer on the other side of the glass has to have a keen ear, a good technical understanding of how to capture the voice cleanly and a well-developed sense of how to interact with both the Vo artist and the clients.

Mix interviewed five people (see "The Vo Panel" sidebar) who record voice-overs and who edit and mix radio, TV commercials and long-format programs, such as documentaries for The History Channel.

What are the defining characteristics of a good voice-over recording?
Michael Mason: Vos have to be very present, which starts with the acoustics of the room. You want an absolutely dead room, and you want it large enough so that any reflected sound has had a chance to travel out a way, and then return. You want it dead because, while it's always possible to make a sound more "live," as yet there's no "dereverb" box.

James von Buelow: We're looking for people who are good storytellers and who have a voice that's not too sibilant or too dull. Mouth noises and the like can be taken care of during editing, even little clicks in the middle of words. But you've go to start with a Vo artist who has a voice that possesses clarity and a pleasant quality.

James von Buelow

Joe Casalino: It's clean and quiet, with suppressed mouth noises, not overmodulated and not overly compressed.

Wouter van Herwerden: You want as little external interference as possible- just a clean feed from the mic, which lets you treat it however you want to in post. You don't want the talent to get too close and crowd the mic, for then you risk certain distortions. These include popping, mouth noise and too much modulation of the diaphragm of the mic.

Could you describe your announce studio?
Von Buelow: It has a floating floor and walls, so it's very quiet for a New York booth. It's a prefabricated, about 7 by 10 feet with an 8-foot ceiling, so it's fairly small. The air-conditioning piped in there can't be heard when it kicks in. Acoustically, the booth's pretty dead, with fabric-covered walls. It's so dead, in fact, that I'm often surprised when I go in there just how softly the talent is speaking, even when they appear to be loud when heard through the monitors.

Casalino: It's 8 by 12 feet with a 9-foot ceiling. It was custom-built, with 6- inch multilayered walls that float, and with a floating floor and acoustically sealed door. The window facing the control room has triple half-inch panes, so I can work at reasonably high levels. There's also a window in the studio looking uptown toward the Empire State Building.

Van Herwerden: The dimensions are about 10 feet by 25 feet with acoustic panels on the walls and ceilings, as well as carpet on the floor. There are also fixed diffusors to scatter sound and suppress standing waves.

What microphone and preamp combination do you use?
Butler: On the East Coast, a typical mic configuration is a [Neumann] U87 with a hunk of foam over it. I've found this to muffle the sound, so I tend to use as little pop filtering as possible. A nylon screen is about as far as I'll go. like U87s on females and thin-voiced guys. But I prefer a Sennheiser 416, which has a lot more punch to it. It's my primary Vo mic. I hate console mic pre's. I like Focusrite preamps, The Gold Channel from TC Electronic and the Millennia.

Mason: I use, on average, three different mics—a U87, a Sennheiser 416 and a Neumann U89. Basically you want a very quiet mic that allows you to get a lot of noise-free gain out of the mic preamp, which means a gain setting of no more than 45 dB while recording conversational-level speech. With an 87, I don't use the highpass filter, leaving that to the controls on the console. I don't use outboard preamps because the mic preamps in the Euphonix console are awesome. All the EQ and dynamics are just outstanding.

Mike Mason

Von Buelow: We do about 95% of our work with a Neumann 89, leaving it flat. I use a Millennia Media Model HV3, with the gain at about 12 o'clock and no filtering.

Casalino: It's a Neumann U87 in cardioid, to a Focusrite Green preamp and compressor, patched into the 02R console, where it's bused directly into the AudioFile.

Van Herwerden: The mic we use most of the time is the Sennheiser 416. We also have a Neumann 87 here. It's very sensitive and has a wide pickup in the cardioid field, so there's more likelihood of it picking up the room acoustic than if you use a short rifle, like the 416. It's not that sonically I prefer the 416 to the Neumann, but it'll give me a cleaner voice sound. We're trying to a get a specific vocal sound that will cut through whatever else is going on in the track without having to do a lot of extra processing. We're using a TC Electronic Gold Channel [for the mic pre's]. The Euphonix CS2000 consoles we employ also have preamps, but we prefer the TC Golds. They're pleasing sonically, they have more headroom, and they have some builtin features, which are nice.

How do you position the mic relative to the talent?
Butler: The mic's capsule is right on line with the talent's mouth and parallel to his or her face. I'd say from their lips to the actual capsule is about 4 inches. The pop screen is about 1.5 inches or so from the capsule, and then it's about 1.5 inches from the pop screen to their mouth. If "P pops" are a problem, which they can be with a U87, I'll put it into figure-eight or omni. The broader the pattern, the less popping. Sometimes I'll do that if it's relatively tight-miked, quiet Vo where I won't get too much bounce around the room. If the 87 is inverted and comes in from above on a boom, you'll get a slightly brighter pickup than if the mic is used upright.

Mason: On both a U87 and 416, I'll mount the mic on a boom coming in from above. They're generally about 6 inches away. I prefer to have the mic capsule's lower edge on line with their mouth but just above their upper lip. Using the 416, you've got to back up a little more, because it's a shotgun. I use a nylon pop filter to avoid pops. If that doesn't work, I'll angle the mic off to the side to suppress popping, though you have to be careful off-axis, because that does change the sound.

Von Buelow: In long-form work, because they're sitting down, it's maybe 6 to 8 inches from their mouth, and for commercial work, it varies. It will go from very close-3 to 4 inches-to maybe a foot for a very loud speaker. For the latter, I would tend to use the mic's pad to protect the front end of the mic.

Casalino: It's to the talent's side, turned toward the talent, at about a 40-degree angle from straight on to the mouth. They're not talking directly into it, which can help with "pops." Generally, it's about 6 inches away. I often use a nylon pop filter they work right up against.

Tim Butler

Van Herwerden: You try to come in from the side and get it reasonably close without intruding too much on their space. I angle it about 20 degrees from their mouth axis and place it 2 to 4 inches away. I get good presence that way, without excessive danger of pops. Since the acceptance angle of the 416 is probably about 20 to 30 degrees, the artist has to stay "on mic" to maintain consistent results, but that's not a problem with pros.

How do you set up the gain structure of your system when recording a Vo track and when doing the mix?
Butler: Because I want to preserve headroom, I record significantly lower-probably 10 dB lower-on recording a Vo than I do on the final mix. Voice actors tend to become popular because of a unique harmonic structure in their voice, and part of that package seems to be a fair amount of transient information. That stuff can get clipped off or distorted rather easily. So I tend to record relatively low, with peaks 15 dB below 0 VU, which I could never have done with tape because of noise.

Van Herwerden: During the first rehearsals, you'll get an idea of what kind of signal you're dealing with and adjust the headroom accordingly. The dynamic range isn't all that great: You're working with a 2, 4 or 5dB range. We operate here, like anywhere else, at a +8dB peak. We don't record Vos anywhere near that level, because we don't need to with digital systems. As long as we get it down cleanly into the system, we can deal with the odd peak or shout as long as it doesn't exceed that +8 level.

What kind of signal processing do you use during initial recording of a voice-over?
Butler: I tend to always record flat; if I record 60 people a month, I'd bet that 59 would be flat. In the mix, I may add just a sprinkling of EQ, but if you've got your mic placement and choice right, you shouldn't need much. once in a while, I'll go through a highpass if there's some kind of problem. And if the talent is sibilant, you've got to change the mic. I don't EQ that out, and I almost never use a de-esser. But sometimes the talent has such a wicked "s" that I'll apply some in post, though I never use it while recording. [For dynamics,] I might sometimes run just a stitch of limiting, just a smidgen. Down 2 or 3 dB, max. And I set attack and release times by ear, using theconsole compressors.

Mason: Overall, an 87 is a little too dull, and it needs some brightness generally in the 5k range, with some cut at 300 Hz or so. often, I'll use a highpass filter to get rid of some of that subharmonic stuff beginning at 80 Hz, because it just eats up headroom without being heard. Concerning compression, I find it's better to compress a Vo at 2-to-1, both when recording and when mixing, than to compress it once at 4-to-1. I prefer a fairly fast attack and a slower release, because I think a fast release tends to be heard. Regarding de-essing, during the mix I'll use the algorithms set up in my Euphonix con- sole dynamics. or if it's really nasty, I'll throw it into the Pro Tools and use some of the plug-ins to deal with it.

Von Buelow: I plug it into a channel on an 02R, which I use to boost 3 kHz and 10 kHz about +2 dB to brighten it.

Casino: On the 02R console, I'll dial in a very steep highpass filter at 94 or 105 Hz and below, so it just goes away. I don't use a whole lot of compression, 2 or 3 dB at the most. But I don't change it a lot and try to concentrate on consistency of microphone position and sound in the booth. I only EQ at the mix stage.

Wouter van Herwerden

Van Herwerden: In the normal day-to-day recording sessions, we don't apply any processing at all, for the simple reason that if we had to continue on another day, in another room, or with someone else, that the voice will sound the same from session to session. Later, during the mix we'll do processing and EQ, but during initial recording absolutely nothing gets added, other than maybe a little compression or limiting.

During the finished mix, how do you handle EQ and compression/limiting of the Vo track?
Butler: One of the ways that commercial clients judge the mix is how loud their spot is perceived to be compared to others on the air. I have several stages of compression to achieve this. There will be a small amount of console limiting on the Vo input of the mix. Then I might have an 1176 compressor/ limiter on an insert, as well. I'll also have just a little bit of bus compression. And last, I'll patch in a TC Electronic Finalizer Plus, which is a 3-band compressor. With that I can give 4 or 5 dB more level to the DAT. I'm trying to maintain levels that don't exceed -7 or -8 on the meter of a Sony 7030 DAT, while achieving an average mix level of +1 on a VU meter. If you can achieve both of those goals, you've got a pretty hot mix.

Von Buelow: You tend to end up with 3 to 5 dB of boost at 3.5 kHz, or that area, and then a little boost at 8 to 10 kHz. That midrange and high end really seems to do the trick on television.

Casalino: I only EQ at the mix stage. I'll start at 60 Hz and pull that back to avoid "tubbiness." I'll start lifting the top at 5 kHz maybe, on up to 8k. But I'll avoid 2 to 3 kHz; that can be a little nasty.

Van Herwerden: The talent have a particular kind of vocal quality you're trying to maintain in the mix. With Pro Tools, you can save EQ setups, so I can recall them for the artists they were created for. Specifically, I'd be using a TDM plug-in within the virtual mixing page input channels. The same thing goes for compression and de-essing. My processing is "virtual," not hardware, and the nice thing about that is if the mix has to go to another room, as long as it has the plug-ins, too, they can just load the entire session from our backup CD-R and re-create everything I've done in the original session.

CAN WE ALL AGREE?
Common Technique in Voice-Over Recording
Each panel member has his own distinct approach to VO recording, but there are a few fundamentals that all can agree upon.

The main difference between short-form (commercials) and long-form (documentaries, audio books, etc.) is the total amount of compression used. There’s much more in the case of commercials, so as to make them “loudness competitive” with adjacent spots. Long-form readings are usually done with the talent seated, but there are exceptions because of personal taste (and endurance). Commercial spot VO artists usually stand; the body English makes for a better performance. Generally, standing while reading results in better vocal control because the diaphragm is free to move. Headphones were used by everyone, although Tim Butler felt they contributed to the talent being too concerned with the sound of their own voices.

Scripts are almost always placed on a music stand that’s padded and angled to avoid reflections back into the microphone. Usually the goal is to place the active part of the script high enough to avoid the talent looking down at it and getting off mic.

There were several other areas of complete agreement between everyone interviewed.

All record to the hard drive of a digital workstation with a DAT backup.
• All have a console with digitally stored control settings to enable recall of session parameters.
All edit most of their own material, and all perform final mixing on projects.
All are of the opinion that women’s voices are more likely than men’s to offer sibilance problems.

All the participants had several monitoring options, using Tannoys or Genelecs for large monitors (especially useful for revealing low-end thumps, pops, etc.), NS-10s and Auratones as small speaker references, and some kind of 2- or 3-inch television speaker as the final test of what works on the air. Wouter van Herwerden had some illuminating comments about this last piece of equipment, which he calls “Mr. Crappy.”

“My driving force is narration, so I’ll use him to help establish an EQ for the VO that gives me the sound that I want out of a 2-inch speaker,” he says. “Once I’ve set that, I’ll go to the NS-10s or bigger speakers and start doing my first pass on the mix, referencing everything to my narration track. While doing this, I’ll keep referring back to Mr. Crappy because he’s the final arbitrator of all the stages of our work here, that is until 5.1 takes hold much more widely. At the end of the day, a 2-inch speaker is what it all comes down to.”

New Microtech Gefell Transistor LDC

2010-08-11T18:44:00.000-04:00

New from Microtech Gefell is the M 1030, a large diaphragm studio condenser microphone featuring a cardioid pattern and ultra-low noise performance. Designed for vocals or narration, as well as instrumental recording (solo or in stereo pairs) on guitars, piano, percussion, wind and string instruments, this side-address design exhibits a smooth frequency response with a slight presence boost in the 8k to 14k Hz range.

The M 1030's cardioid polar response exhibits a high degree of rejection for sounds impinging from the rear or sides of the microphone, providing excellent isolation from nearby instruments or noisy sound sources. The M 1030 operates on standard 48VDC phantom voltage and has a green LED on the mic’s front face that indicates the mic is powered up.

The studio condenser microphone M 1030 combines modern large diaphragm capsule technology with the latest in semiconductor circuit topology. The size of the microphone housing is optimized with regard to the expectations of a large diaphragm microphone for studio applications. The micro- phone is specifically designed to meet the needs of professional and semi-professional users who demand the highest performance.

The microphones are ideally suited for universal miking applications in broadcast and sound studios. Applications include vocalists, announcers, dialog pickup and as spot microphones for recording guitars, keyboard, percussion, wind and string instruments.

The pick-up pattern is perpendicular to the direction of the microphone axis (side addressed). The model number and pick-up pattern symbol mark the front of the microphone. The green light- emitting diode (LED) inside the protection grid operates as optical ready indicator.

Under the grille, the large-diameter capsule feeds an electronic impedance converter based on a newly designed circuit topology. This transformerless design reduces the noise floor to a low (7 dBA, DIN EN 60 651) while raising the maximum output capacity, resulting in a 135dB dynamic range. RFI susceptibility is very low. To reduce sensitivity to mechanical impact and structure-borne noise, the mic capsule and electronics are elastically suspended inside the compact metal housing.

M 1030 ships with a wooden case and swivel stand mount. An optional EA 92 elastic suspension (shown in photo) with A 93 adapter is available to further attenuate noise in extreme situations.

Shure Model 55- Still Cool After All These Years

2010-08-10T21:30:00.000-04:00

AFTER MORE THAN 70 YEARS IN PRODUCTION,Shure’s Unidyne 55 series easily takes the prize for the longest running, most successful product in audio history. The story begins in 1937 with Shure engineer Benjamin Bauer looking for a single-capsule approach to creating a unidirectional microphone.

He experimented with capsules having front and rear openings that allowed sound waves to reach the diaphragm. Partially blocking the rear openings created a short phase delay that effectively cancelled the sounds from the rear. Varying the rear port resistance created various directional patterns—cardioid, hypercardioid and supercardioid—and the Unidyne was born. In 1939, Shure announced its model Unidyne 55.

The model 55 was an immediate hit. With its clear sound, high feedback resistance and rugged dynamic capsule the 55 became accepted as a standard for decades to come. Numerous improvements followed, and with its popularity in the early days of rock, the 55 eventually took on the nickname “the Elvis mic,” even being immortalized on a portrait of The King on a U.S. postage stamp in 1994. With retro looks fully in vogue, Shure rechristened the mic as the 55SH Series II in 1996, bearing the model 55S body introduced in 1951, but with a modern SM48-style element. And like the 1939 version, the 55SH Series II was also a hit, with the showing up on stages, music videos, movies, TV shows—just about everywhere.

ENTER THE SUPER 55

Now, the 55 enters its latest generation as the Super 55, which keeps the cool chrome-plated, die-cast zinc body, but updates the mic with a new supercardioid capsule based on Shure’s successful Beta 58A. The Super 55 has a sensitivity of -53 dBV/Pa, resulting an output that’s approximately 5dB hotter than that of the 55SH II for increased gain-before-feedback. As another plus, the frequency response extends out to 17kHz, providing some extra air and articulation. At the other end, the Super 55’s bass response is smoother and seems more controlled, while the mic retains the 6k to 7 kHz presence boost that helps vocals cut through the mix. One change I appreciated was the omission of the on/off switch, which more often than not, would inadvertently get switched off, leaving vocalists starting a show with no audio. I’m definitely a fan of the “no switch/no problem” approach.

With its blue internal foam windscreen, the Super 55 retails at $311 ($249/street) and the original SH55 II remains in production at $199. And just last week, Shure announced the Special Edition Super 55 ($299 retail) a version with striking black body and red windscreen and offered exclusively through Guitar Center. But whichever model you pick, Shure is definitely making it easy to stay cool this summer.

(George Peterson"s Blog)

HOSA INTRODUCES TRACKLINK MICROPHONE TO USB INTERFACE

2010-08-08T12:11:00.001-04:00

Park, CA – July 2010… Hosa Technology announces the new TRACKLINK Microphone to USB Interface. Designed to provide easy, direct access to software-based audio applications, the TRACKLINK is a 10-foot, XLR3F to USB Type A interface cable that enables one to make a single point-to-point connection between the microphone (XLR output) and a USB port on a personal computer. Fully functional with both condenser and dynamic microphones, the TRACKLINK Microphone to USB Interface makes it easier than ever to record speech, vocals, sound effects, and more with today’s most popular software.

As a plug and play device, the TRACKLINK requires no drivers when used with one’s favorite application. The TRACKLINK is compatible with most Windows® and Apple Macintosh® audio software, including Cakewalk’s SONAR LE (for Windows PCs) and GarageBand™ on Macintosh computers. For those interested in podcasting who may not necessarily be musicians, the TRACKLINK is an exceptional tool as it simplifies the process of getting audio into the computer. TheTRACKLINK even provides visual confirmation of a secure connection and recording status via its onboard indicator lights.

The new Hosa TRACKLINK Microphone to USB Interface incorporates switchable 48 V phantom power for condenser microphones and adjustable gain for dynamic microphones. With its 16-bit/48 kHz sampling rate, this easy-to-use interface delivers CD Audio sound quality. It’s the perfect solution for home studio users looking for a convenient means of connecting a microphone to their computer.

System requirements for using the Hosa TRACKLINK Microphone to USB Interface are minimal. The TRACKLINK runs with most Digital Audio Workstation (DAW) or similar audio recording software on Windows PCs with Windows 98 SE, 2000, Me, XP, Vista (32-bit systems), or Windows 7. Macintosh computers must run OSX V10.3.9 or later. The TRACKLINK is a USB 2.0 device.

Build a Gorilla Sound Booth

2010-07-28T08:12:00.000-04:00

I know we have built and demonstrated several DIY sound booths on VO Mic Tests, (DIY Sound absorbing Panels) but you never know when one person's solution is perfect for someone else's problem.
I have done the moving blankets and PVC package before and it does knock down some noise. For me, the 703 panels did the trick best. But here's another idea:
Videomaker Gorilla Sound Booth
Let me know if you try it.

Portable VO Box Revisited

2010-07-25T10:34:00.000-04:00

I love the site. I was wondering if it is possible to get the blueprints for the Portable Voice-over Mic Box?
Thanks
Carter

Carter,

Thanks for your note. No blueprints. Just an accumulation of various low cost ingredients and a little testing to make it work for you.

Here is a link to the story and a list of links to get you started:

http://vomictest.blogspot.com/2007/12/its-in-bag.html

We have two mobile video trucks (Fish Wagon I and Fish wagon II) and the "Sound Box" is always with at least one. Don't leave home without it.

Thanks again,

Willie

SomeAudioGuy reviews New AKG C414LXS

2010-07-22T20:27:00.001-04:00

Good job. We would love to hear a comparison..

Can You Read Those Mic Specs?

2010-07-14T06:06:00.000-04:00

I know we keep telling you the best way to pick the perfect mic is to try as many as you can. Of course, that's not possible in all cases. So what do you do? Look at the "specifications."

Yeah--right. Pro sound web has an article on the basics of understanding what all the graphs and numbers mean:
How to read those mic specs.

ATH-M10 Professional Monitor Headphones

2010-07-05T22:47:00.000-04:00

Audio-Technica's ATH-M10 dynamic stereo headphones deliver exceptional clarity, comfortable lightweight design and a natural frequency response ideal for professional mixing and monitoring. The headphones’ closed-back padded circumaural (around-the-ear) ear cups provide acoustic isolation and long-wearing comfort. Features include: 40 mm drivers; lightweight, adjustable headband; dual-sided straight 3.0 m (10’) cable; stereo 3.5 mm (1/8") connector with snap-on 6.3 mm (1/4") adapter.

Closed-back circumaural cushioned ear cup design provides maximum isolation

Clear, accurate response for mixing and monitoring

40 mm drivers for a natural, balanced frequency response

Dual-sided straight cable terminates to mini-plug with snap-on 1/4” adapter

Adjustable headband for long-wearing comfort

SPECIFICATIONS
TYPE	Closed-back dynamic
DRIVER DIAMETER	40 mm
FREQUENCY RESPONSE	30 - 20,000 Hz
MAXIMUM INPUT POWER	500 mW at 1 kHz
SENSITIVITY	100 dB
IMPEDANCE	40 ohms
WEIGHT	210 g (7.4 oz), without cable
CABLE	3.0 m (10')
CONNECTOR	3.5 mm (1/8") stereo mini-plug
ACCESSORY INCLUDED	Snap-on 6.3 mm (1/4") adapter

I have been looking for a good set of "Field Phones" for decent monitoring on location. B&H has these listed for around $35. Let me know if you try them.

How's Your Headphones?

2010-07-01T18:29:00.001-04:00

You may treat your headphones like a favorite pair of old sneakers. They look bad but feel (sound) good. For me, my headphones and sneakers both also smell bad.

There are several new updates to studio headphone choices out and several good articles about tests and reviews. So far, I haven't seen one that relates to exactly what I look for--clean, clear and true sound that doesn't give me a false read on what I am doing.

I am old enough to have experienced "Clevite" or "brush" headphones. Talk about clear signal. They were the best and sometimes the only way to pick up the distorted signals of general radio communications. Broadcast Jockeys realized they were the cleanest way to sort through the narrow frequencies of AM Rock & Roll.

But they were painful to wear! I lost chunks of hair every time I pulled them off. And I am still not sure those piercing high frequencies didn't cause brain damage (although the AM R&R format did the most damage).

Next time, let's talk about KOSS PRO4AAs and how they were responsible for fusing my 5th & 6th vertebrae. (Have you ever done a break, turned off the mic and felt something warm and wet dripping off your ear?)

Anyway--here's a link to one of the articles:
http://www.proaudioreview .com/article/27920

And another that implies that we need to try headphones before we buy:
http://www.proaudioreview .com/article/29120

Let me hear your experiences.

Shure Introduces New KSM42, KSM44A Studio Microphones

2010-06-22T19:47:00.000-04:00

Shure Incorporated in Niles, Ill., announces the latest additions to its line of KSM microphones: the KSM42 ($999 MSRP) and KSM44A ($1,249 MSRP) .

Shure KSM42The KSM42 is a side-address, cardioid condenser microphone designed for vocal recording. With a tailored frequency response and extensive internal and external pop filtering, the single-pattern, dual-diaphragm design of the KSM42 is said to exhibit an ultra-wide dynamic range and exceptionally smooth proximity control for studio applications.

It promises a consistent cardioid polar pattern that creates a broad “sweet spot” and natural off-axis response. It has a dual-diaphragm design with an active front, ultra thin, 2.5 micron, 24-karat gold, low mass, one-inch Mylar diaphragm. Its integrated three-stage mesh grille is designed to guard against wind and breath noise. the KSM42 also has an open cage ShureLock rubber suspension shock-mount with a low-profile magnetic pop filter, and is manufactured from premium electronic components and gold-plated internal and external connectors. An internal shock-mount promises to reduce unwanted handling and stand noise.

The KSM44A is a large-diaphragm, side-address condenser microphone designed for a variety of live and studio applications. Shure has redefined the mic's dynamic range to capture every nuance with a minimum of self-noise. “We’ve lowered the self-noise while simultaneously increasing the max sound pressure level (SPL)," says Chad Wiggins, Shure’s Category Manager for Wired Products. "The result is 7 additional decibels of pure dynamic range.”

Shure KSM44A

The KSM44A offers multiple polar patterns—cardioid, omnidirectional and bidirectional—for maximum flexibility in a variety of recording applications. Its dual one-inch, externally biased, ultra-thin, 2.5 micron, 24-karat gold-layered, low mass diaphragms are designed to offer superior frequency response. The KSM44A is likewise comprised of premium electronic components and gold-plated internal and external connectors. It has a subsonic filter to eliminate rumble from mechanical vibration below 17 Hz (cycles per second). A three-position switchable low-frequency filter helps reduce unwanted stand vibration noise or counteract proximity effect, and an integrated three-stage “pop” protection grille reduces breath noise.

Shure states that the KSM42 and KSM44A microphones will be available in July, carry a two-year limited warranty, and can be purchased at select retail partners. For a complete list of authorized dealers, visit www.shure.com.

Don't Count Out a Good Dynamic for VO

2010-06-17T19:28:00.000-04:00

Ronan Chris Murphy gives excellent advice about mic choices. He really hits home in the second half of this video when he tells you to "try them all."
Do not discount the dynamics. You can transpose his advice from musicians to Voiceover.

RCM on Dynamic Mics for Musicians' Friend

Telefunken AK-47 MkII to Debut at Summer NAMM

2010-06-16T16:40:00.000-04:00

Nashville, TN (June 16, 2010)--Telefunken Elektroakustik is introducing the new MkII version of the R-F-T AK-47 at Summer NAMM 2010.

Featuring a dual-sided, gold-sputtered capsule and a NOS (New Old Stock) Telefunken EF-732 vacuum tube, the new AK-47 MkII includes a transformer upgrade to the BV8 found in the U-47 and U-48 microphone classics of the past.

Telefunken Elektroakustik has researched the historic design and transformer-manufacturing source for their BV8 output transformers. These BV8 transformers are then manufactured to the historic specifications dictated by Telefunken's library of historic technical documents.

Through continued research, the AK-47 MkII's new amplifier reportedly better employs the extended low frequency capabilities of the original 1950's transformer design. Additional modifications have introduced premium quality components into the circuit layout in an effort to take full advantage of the extended frequency response capabilities.

Telefunken Elektroakustik www.t-funk.com http://www.t-funk.com

Dr. Fritz Sennheiser, 1912-2010

2010-05-19T19:56:00.001-04:00

(Mix Magazine) Just a few days after his 98th birthday, Dr. Fritz Sennheiser, the founder of Sennheiser Electronics passed away. His years of innovation, combined with a warm sense of caring and creating a close-knit family atmosphere at work live on in the company he started 65 years ago.

The Beginnings

In the Karlshorst district of Berlin on May 9, 1912, a child named Fritz Sennheiser was born who would forever change the course and direction of the consumer and professional audio industries. It's ironic that at the time, neither industry existed at all, but fate would change all that. Fritz's father wanted him to study landscape architecture, but an event a half a world away on October 25, 1929, would intercede, as the Black Friday stock market crash affect the economics of the entire planet.

With that, the 17-year-old Fritz Sennheiser saw little future in landscaping during those perilous times and instead entered the electrical engineering/telecommunications program at Berlin's Technical University and focused his studies on speech and music. The career change wasn't entirely unexpected. Sennheiser already had a keen interest in technology "I built my own radio receiver in 1924 from a slide coil and a crystal," he once recalled. After attaining his Ph.D., World War II broke out and Dr. Sennheiser continued his research and headed the Institute for Radio Frequency Engineering and Electroacoustics in Hannover.

In 1945, post-war Germany was in shambles, and Sennheiser and seven other employees of the Institute were left with virtually nothing. In June of that year, Sennheiser founded his Laboratorium Wennebostel with a staff of just seven employees in an abandoned laboratory of Hannover's Technical University. German scientists were then prohibited from doing research in radio technology, so Sennheiser used his savings to create a business making millivoltmeters for Siemens.

"Then we had a stroke of luck," Sennheiser recalled. "Siemens asked if we could make microphones for them." After building mics for Siemens, the team began designing its own mic and in 1947 debuted the MD 2, a dynamic mic that found favor with radio stations. The company grew and expanded into other products, such as amps, intercoms, transformers, headphone capsules and the 1953 MD 21 mic, which is still in production. Based on a lab model developed in 1949, the company's 1956 MD 82 was the first shotgun mic. A move into wireless mic production followed a year later.

By 1958, the company had 450 employees and made the wise decision to change its name from the original "Labor W" (Laboratorium Wennebostel) to Sennheiser Electronic. During the 1950s, the company's sales grew tenfold, but Sennheiser always returned to the community, splitting his time between running the company and teaching at Hannover Technical University, a tradition continued by his son (and current chairman of the company's supervisory board), Prof. Dr. Jorg Sennheiser.

Innovations Abound

The innovations continued, with the 1960 MD-421 dynamic studio mic (which sold more than 500,000 units and is still a studio favorite today) and in 1964, the first RF condenser shotgun mic. In 1968 came the HD 414, the first open-air headphones, a definite hit that in 10 years provided more than half of the company's sales, establishing Sennheiser as a leader in the consumer market. In the `70s, the company merged its headphones with infrared technology, creating interference-free wireless headsets for home, tour guide and assistive listening systems. The `80s brought a major expansion into ultra-reliable UHF wireless mic systems that made Sennheiser a first choice on London and Broadway stages.

Neumann In...Neumann Out

2010-05-19T05:43:00.008-04:00

Neumann Expands Product Portfolio

At prolight+sound a logo on the Neumann stand, visible from afar, alerted visitors to the fact that Neumann, world-famous for professional microphones, is now applying its electroacoustic expertise to the other end of the audio chain.

A few months ago it was announced that Neumann would add studio monitors to its product portfolio. This range is based on the products of the well-known Klein + Hummel company. Their monitors have an excellent reputation in German-speaking countries and a few others, but are less familiar internationally.

“That will certainly change in the near future, because the Neumann brand is well-established in the international studio world. We anticipate a strong synergy effect here,” explains Wolfgang Fraissinet, President of Marketing/Sales at Neumann Berlin. “In the history of the company, Neumann stands for far more than microphone technology. Over the decades we have also produced record-cutting equipment and studio consoles, for example. Our expertise in transformer design – for the microphone – as well as in signal processing and digital audio technology, has already been demonstrated. In addition Neumann has a leading role in the area of high technology, which is successfully implemented, for instance, in the digital microphones of the Solution-D series.”

Existing studio monitors are being incorporated into the Neumann product portfolio as the “KH Line”. Over time, new products will be developed to fullfil the needs of the most discerning customers in the market. The core concept of excellence in audio reproduction will remain and cutting edge technologies will continue to set Neuman Studio Monitoring Systems apart from the masses. Later this year, the first new studio monitors carrying the Neumann label will be launched.

Most of the former Klein + Hummel engineers continue to work for the Sennheiser Group, in support of the markets Installed Sound at Sennheiser, and Studio Monitor Systems at Neumann. Thus, for the most part, the same people still stand behind the products. Service for present and future customers is also ensured, with the accustomed Neumann quality.

Klein + Hummel has been part of the Sennheiser Group since 2005. At the beginning of 2010 it was decided that the Studio products business would be further developed by Neumann, and that the Installed Sound area would be integrated into Sennheiser.

TV & Movies Make it SOUND So Easy.

2010-05-03T19:43:00.000-04:00

Sound for moving images is not easy. Well, let's just say if you don't notice anything un-natural when watching....it's a job well done.

Here's how one studio is handling it:

“Actors hate ADR, but they have to do it,”

Making a Neumann...Rerun.

2010-05-03T07:55:00.000-04:00

We thought you might like seeing this "How It's Made" rerun on mics.

Another Mic Factory Tour

2010-03-25T22:17:00.005-04:00

.
.
A look at the sE Electronics facility in Shanghai(click here)

"...and Junior said, You gonna put your mouth on that thing? You don't know where it's been."

Ribbon Mic Madness

2010-03-23T15:23:00.008-04:00

Yes, I have used ribbon mics at some time over the past 45 years of broadcast and voiceover work. Do I like how I sound on ribbon mics? Not really. I think they are great for long narration, blue grass and gospel music, and an image of nostalgic coolness.
I'm talking classics here--DX-77s, 44s and 44Rs. In the right instance, I loved how they sounded. Nice and even, steady and sure, but not really the correct frequency response for "my" voice.
I love the look and quality of the new ribbon mics out now. I would love to try a few to see if they (or me) have changed.
Here is an outstanding article from the recent B&H newsletter that may help. You can find the link and some great pictures here:

Five Reasons to Start Using Ribbon Microphones
By Sam Mallery

In the early 1920's a couple of German physicists were messing around with powerful magnets and thin strips of aluminum, and they managed to invent our beloved ribbon microphones. These ancient recording tools recently staged a formidable comeback in home and professional studios. Why? Because ribbon microphones deliver an uncanny smoothness that can mellow out brash sounds, and bring an old school vibe to recordings that you just can't deny. Audio fanatics are constantly chasing after "vintage tone" with valve microphones, tube preamps, and exotic compressors (in both hardware and software forms). Condenser microphones deliver a crisp reproduction of sound with lots of detail, although the higher frequencies sometimes sound brittle and too electronically enhanced. Dynamic microphones provide a rounder bass and present-sounding mid tone, even if they sometimes can't capture the detail of specific instruments and voices. Ribbon microphones bring a warmth to the mid frequencies and a softness to the highs that just can't be attained with other kinds of microphones. And they always look really, really cool. Here are 5 more reasons pick up a ribbon mic for your next session:

1. Because you should to use more colors in your recordings.

From 1901 to 1904, Pablo Picasso primarily painted with blue and blue-green colors. He proved that you can create beautiful works of art even when you impose strict limitations on yourself. Picasso eventually freed himself from these strict rules and started using more vibrant colors, and he continued to produce more beautiful pieces for decades to come. If you're only using dynamic and condenser microphones in your work, then you're limiting the amount of color you can add to a recording. Having more colors on your recording palate will add depth to your productions. Plus ribbon microphones look really, really cool.

2. Because you can exercise your preamps

Some modern ribbon microphones use phantom power to add electronics to enhance the tone of the mic, but like a typical dynamic microphone, the physical process of how the ribbon picks up sound happens without power. The output level of the mic tends to be lower, which means that you sometimes need to crank up your preamp a bit more to get a usable signal. Most modern day mixing consoles and computer audio interfaces can easily supply a ribbon mic with enough juice for proper recording. If you happen to own a higher end preamp, you can really hit a ribbon microphone with a lot of gain to bring out the character of the pre. Sure, the noise floor is a little higher, but thankfully this didn't stop musicians and producers in the 1950's and 1960's from making great sounding music anyway.

3. Because ribbon microphones are used on countless classic recordings

You may recognize the RCA 44A pictured above. That's because they were used heavily for several decades on countless classic recordings and broadcasts. At one time ribbon microphones offered the highest fidelity available. When studios and producers incorporated condenser and dynamic microphones into their recording schemes, they continued to use ribbon microphones as well because of their familiar and warm character. If you've ever listened to an old recording and wondered why your stuff doesn't sound as nice, then using a ribbon mic could put you one step closer to that sound. Until recently, ribbon microphones were prohibitively expensive, and easy to damage and destroy. Recent advances in manufacturing and ribbon design have brought their price down and made them more durable. So now there's no excuse to deny yourself the tone.

4. Because it feels good to take care of something

Like owning a plant or a poodle, owning a ribbon microphone requires a bit of care. Today's ribbon microphones are much more resilient to damage than their ancestors, but it's still a good idea to be a little more careful with your ribbon microphone than you are with your Shure SM57. In the past, if you accidentally hit a ribbon microphone with phantom power, you could damage the ribbon. Most of today's ribbon mics are designed to handle phantom power, and active ribbons like the Blue Woodpecker require phantom power; but you still want to be careful. Just like your pet iguana, you want to avoid dropping a ribbon mic. Instead of tapping and blowing on the grill to check if you're getting signal, jingle your keys in front of the mic to test if it's on. Never use unbalanced cables, try to only use XLR cables, and be very careful if you're using a patchbay. In some cases the ribbon can take a jolt if it's being hot-swapped in a patchbay or by a cable being plugged and unplugged while being fed phantom power.

5. Because ribbon microphones can tame harsh sounds

Have you ever had a recording session where you just couldn't get a good sound on an instrument that sounded great in the room? It's a really frustrating situation, especially if you've moved the instrument around and tried a battery of different microphones in different positions around the instrument. All ribbon microphones have a figure eight polar pattern, which allows the room to be introduced a little more into the sound. It's also a great polar pattern for rejecting other sounds coming in from the sides. Ribbons can be a lifesaver on sound sources that aren't translating naturally with other microphones. Vocals, strings, and woodwinds that might sound a bit too strident on condensers may shine on a ribbon microphone. Today's ribbon mics have a high SPL rating, so feel free to put them on drums and guitar cabinets. This is another area where they really excel, so expect impressive sounding results. Once you're mixing, the smooth high frequencies allow room for a little play with the EQ.

If you look at the frequency response of a ribbon microphone, you'll notice a lot more roll off toward the higher frequencies. This is partially why their highs sound so smooth. If you've only ever used condenser and dynamic mics, be prepared to hear a different response when you first plug in a ribbon. All of this talk about ribbon microphones is one thing, but actually using one is another. We are currently rounding up a bunch of ribbon microphones for a good, old fashioned microphone shoot out! Please stay tuned for the follow-up article on this topic, where we'll test drive the Blue Woodpecker, the Audio Technica 4081, the Shure KSM313, and more. Also, be sure to check out the nice monitor and ribbon mic kits we've created. And when you're in New York City stop by the B&H SuperStore where you can personally test drive ribbon microphones, and a slew of other mics, outboard preamps, and compressors.

We'll let you know when B&H post that shootout.

Equation F.20 Condenser Mic

2010-03-08T14:56:00.005-05:00

Just checking on latest mic announcements and came across the Equation Audio F.20 from Equation Audio. It appears to be made in China and similar to the CAD Equitek series.

Equation Audio F.20

Features:

• 4th Generation Advanced Solid State Electronics

• A Head Amplifier Technology Exclusive To Equation Audio

• Tested and approved on tour and in the studio for over 3 years.

• Designed to establish a new standard for studio/live multi-purpose microphones.

• A purpose driven project fanatically adhering to the two most important characteristics modern microphones have and ones that are typically mutually exclusive:

• High performance in all the essential and critical microphone attributes

• Economically responsible, affordable to amateurs and professionals alike.

Practical Uses:

From vocal tracks in a studio or on stage, kick drum, to concert grand piano, guitar amp stacks to upright bass, drum overheads to over the choir in arrays, this uniquely attractive microphone reproduces all these signal types and does them all well, better than any other single model microphone and better than anything we could find at or near its MSRP.

The F Series microphones are NOT made from parts off the shelf, won’t be found in various colors and finishes under other brands and can easily enhance your studio and live performance projects without compromising your total equipment budget.

A single F.20 microphone could competently provide all the recorded sources you require for the highest quality recording and a matched pair could very well become your favorite mic locker.

Now Available At Independent Music Stores and Distributors throughout North America, Europe and Asia.

Hi JoWillie
We saw that you had posted your blog site on the forum. This site is for microphone applications, so if you have something that you’d like to post about the use of microphones, we’d be happy to have it on our site.
Your post has been taken down, as there is an ad for Peluso mics at Warren Dent’s store.
If someone wanted to post about using those mics, that would also be acceptable...how they compared to others, pluses and minuses and the like, but not advertisements.
As it appears that you were interested in hearing a VO ap, we have one here that I believe Jonathan will post, but if not, we’ll try to get one up on line soon.
One other thing....Bruce Forbes, our CEO was the co-founder of CAD Professional Microphones. The F.20 was developed by Bruce and our team of engineers that have been together for almost 20 years.
To say that the F.20 is similar to the Equiteks might be light saying that 1975 Ford is related to a 2010. When we say 4th generation, it really is two to three generations removed from what was done at CAD, when we built the products in OH.
After being developed, all the way from clay model thru extensive testing, including 18 months on the road, the F.20 went into production in our factory in Taiwan.
If you’d like to talk more about what we’re doing, please feel free to contact us.
C.P. Pores
Director of Sales and Service
EQUATION AUDIO
Trans Dominion Corp.
425 Harding Industrial Dr.
Nashville, TN 37211http://equationaudio.com
cppores@equationaudio.com
615.627.1880 ph
615.627.1881 fax
615.275.6360 cell

Who's That Voice in Oscars Ads?

2010-03-05T14:37:00.002-05:00

Hyundai Replaces Jeff Bridges' Voice During Oscars

NEW YORK (AP), March 01, 2010, Emily Fredrix, Marketing Writer --- Having Jeff Bridges do a voiceover during the Oscars? The Academy of Motion Picture Arts and Sciences does not abide.
Hyundai has pulled the actor's voice from its ads airing during Sunday night's broadcast because of a rule limiting the use of nominees in Oscars ads.

Bridges, nominated for the best actor award for his role in "Crazy Heart," has voiced ads for the Korean automaker since 2007.

Hyundai, the only auto company advertising during the Oscars for a second straight year, will air seven ads during the show and one beforehand. Most will feature the company's Sonata and Genesis sedans.

The stars replacing Bridges Sunday on the ABC broadcast will be Catherine Keener, Kim Basinger, David Duchovny, Richard Dreyfuss, Michael Madsen, Mandy Patinkin and Martin Sheen.

Hyundai spent two weeks testing new voiceovers after deciding it was too hard to separate its ads during the show to satisfy Academy rules.

Joel Ewanick, marketing vice president for Hyundai's American arm, said the new voices will bring variety.
But Ewanick added in a statement: "We'll be happy to return to our normal casting after the show."

Oscars night is the year's biggest for movies - and the second-biggest for advertisers after the Super Bowl.
A 30-second ad during the awards show typically sells for about $1.7 million, according to Kantar Media. By comparison, a 30-second slot during the Super Bowl costs about $3 million.

Hyundai's sales have risen the past year as it positioned its cars as economical during the recession and offered buyers insurance in case they lose their jobs after buying a new Hyundai.

Are You Into Vintage (Old) MIcs?

2010-02-12T07:01:00.000-05:00

Is there a difference between Vintage, Classic and Old mics? Yes! Vintage is an old classic mic that still works. Classic is the one that was popular--and you can't afford. And old is......probably me and you because we recognize some of these old mics.

Want an V/C/O German mic: Madooma Vintage Mics

New mic test is up. John Weeks smooths through a Peluso 22 47 SE

Rycote Mic Suspension

2010-02-08T14:50:00.001-05:00

Have we seen this somewhere before?

REMOVE THE WEAK LINK
FROM YOUR RECORDING CHAIN

If you want a quality vocal sound, you need quality components all the way down the line.
You’ve invested in good mics and mic preamps; why let your sound down with a throwaway elasticated microphone suspension?
Most suspensions rely on the same basic elastic cat's-cradle concept, a design that has remained unchanged for nearly 60 years. The InVision™ USM, by contrast, makes use of 21st-century technology and materials.
The InVision™ USM is based on Rycote’s patented vibration- reducing Lyre mounts, and can accept round and flat-sided large-diaphragm instrument mics from 18 to 55mm in diameter.
Attenuation of unwanted vibrations, handling and stand- borne noise is up to 12dB better than traditional elasticated designs. That means it’s often twice as good across the frequency spectrum!
The InVision™ USM Lyres are ex- tremely durable; made from an unbreakable material, Hytrel™, they will never lose their tension or need re-threading.

From the Rycote website. No word on price.

A Shout-Out to My Mates in Australia

2010-01-31T19:05:00.001-05:00

I appreciate Australia. I particularly love the positive Australian attitude. It's kind of like our Southern "Git`er done" except the Aussies add, "and have fun doing it."
I also appreciate Australian microphones. And apparently Australians use a lot of mics. Not only do the major mic manufacturers ship a lot of mics down under, they modify and make some units specifically for Australian taste.
Australians also make some mighty fine mics. I would love to test one of Ben Sneesby's BeezNeez handmade mics on our VO Mic Test page. And I am shopping for a gang of shotgun mics for my expanding video company, so the Rode NTG-3 is a must-try.

Recently, I was doing research for a presentation to an Economic Development group and found an outstanding article on the positive outlook of a company in Sydney--RODE.

Here is their story. Enjoy and appreciate. And let me hear some of your stories and experiences with Australian Mics.

"Smoke & Laser" Mic Talk Still Lingering.

2010-01-23T12:50:00.001-05:00

When we first mentioned the research Dr. Schwartz is doing on the "perfect sound recording mic" there were a few test models that demonstrated the theory. The research and development continues, but we are still about 40 db away from the goals (120 db expected--40 db demonstrated).
Is there a conventional microphone manufacturer that will step in and help to bring this new technology to being? Or will it take a Ultra-high tech company with big bucks? To me, Ultra-High Tech Big Buck Company implies "Government Contract." That usually means use for the military.
We shall see.

ProSound ariticle on update of the "Smoke & Laser" mic.

Behind the Scenes Photo Tour of Making Mics

2010-01-16T08:17:00.000-05:00

As you hold your favorite trusted tool; feel the different textures, the heft, the different materials; notice the intricate way the parts are put together; wonder why they used a particular way to match everything; maybe you will have a little more understanding after you see what goes into making your mic.
Here is an example of the famous Schoeps process. Do notice the way the work flow is accomplished now to the way it was done in 1956.

Schoeps Tour Today

Schoeps Tour 1956

TELEFUNKEN Introduces New R-F-T AR-51 Tube Microphone

2010-01-11T14:34:00.000-05:00

Affordably Priced Version of the Renowned ELA M 251 E

Anaheim, CA, January 14, Winter NAMM — TELEFUNKEN Elektroakustik's Winter NAMM product introduction is the new AR-51 large diaphragm tube condenser microphone. The AR-51 is TELEFUNKEN's latest addition to its affordably priced R-F-T line of tube mics.
The AR-51 is designed in the tradition of the classic mics of the past, utilizing the same circuit design as the classic TELEFUNKEN ELA M 251E. The AR-51 employs new cost-efficient manufacturing methods to meet a price point suitable to any recording studio, from major World Class facilities to voiceover rooms and home project studios. The new R-F-T AR-51 utilizes only premium components, including a vintage New Old Stock (NOS) tube that has been rigidly tested for noise and microphonics, as in the ELA M 251E. The AR-51 also features a globally-sourced power supply and capsule, both rigorously tested prior to installation.
As with all products in the R-F-T range of TELEFUNKEN Elektroakustik microphones, the circuit board has been designed for superior current handling, permitting the amplifier to have full access to the necessary "power on demand" for handling low frequency and transient information. Modifications have been made to the amplifier circuit to optimize the performance of the capsule and a signal path that includes the same European manufactured output transformer found in every ELA M 251 E built since 1960.
At the TELEFUNKEN Elektroakustic studios in South Windsor, CT, audio engineers have successfully tested a wide range of applications for this new large diaphragm microphone. The microphone is especially suitable for recording acoustic and electric guitars, piano, percussion, for drum overheads and close miked drums, as well as for both male and female vocals. The perfect complement to the company's acclaimed AK-47, the AR-51 is a significant addition to any studio's microphone locker.
Hear the new AR-51 and the entire TELEFUNKEN Elektroakustik collection at Winter NAMM, Booth 1868, Hall E.

AKG establishes Perception 820 Tube as flagship mic

2009-12-27T11:44:00.000-05:00

From the AKG website:

Two back-to-back one-inch large diaphragms featuring True Condenser Technology

An ECC 83 dual-triode tube circuitry emphasizes even-order harmonics for rich, smooth and three-dimensional sound

The elegant remote control unit allows selection of 9 different pickup patterns from omnidirectional to cardioid to figure 8

The switchable bass cut filter (80 Hz, 12 dB/oct) reduces unwanted rumble or footfall noise

A 20 dB attenuation pad enables for high SPL applications up to 155 dB

Brush-finished, anodized Aluminium front plate and all-metal housing for maximum shielding

A ground lift switch prevents unwanted hum if necessary

Designed and engineered in Vienna, Austria

In 2005 AKG has launched the very first Perception models – a completely new series of microphones showing legendary AKG Sound & Quality at an outstanding price level.
The brand-new Perception 820 Tube delivers real tube sound quality. It is not only the new flagship model of the Perception Series but also raises the bar in its class of affordable tube microphones.

In contrast to many other affordable tube microphones, the Perception 820 Tube delivers real tube sound quality thanks to the dual one-inch large diaphragm capsule and the sophisticated ECC 83 dual-triode circuitry.

The elegant remote control unit allows selection of 9 different pickup patterns and controls the switchable bass-cut filter and the attenuation pad. Moreover, a ground lift switch prevents unwanted hum if necessary. It comes complete with a spider-type shock mount and a metal carrying case.

AKG’s industry–leading Perception Series of condenser microphones are recognized for their outstanding quality and versatile capabilities at an affordable price.

The Perception 820 Tube raises the bar in its class – It shows real tube sound, the highest dynamic range, the most comprehensive features and comes complete with useful accessories at an unbeatable price. ($700)

MXL MCA SP-1 for $39.99

2009-11-24T19:19:00.000-05:00

The most discussed condenser microphone on the VO Mic Test Page.
Listen to the before and after upgrade tests.
Check it out HERE at PSSL.

Will New Blue be True? USB

2009-11-10T21:40:00.000-05:00

Blue Microphones Announces World’s First THX Certified Microphone, the Yeti USB Condenser Mic Featuring Condenser Capsules in a Triple Array, Yeti is the Latest, Most Advanced Addition to Blue’s Line of Premium USB Microphones

WESTLAKE VILLAGE, Calif.--(BUSINESS WIRE)--Blue Microphones (www.bluemic.com), a leading innovator in microphone technology and design, announces Yeti, the first THX® Certified microphone. The latest addition to Blue’s new consumer line, the Yeti is the ultimate USB microphone for professional recording.

The Yeti features:
The first USB mic to offer Blue’s premium condenser capsules in a proprietary triple capsule array for the highest quality, most versatile audio recording capability

After rigorous lab testing, THX certification affirms the ultimate in recording and playback fidelity thanks to superior design and quality

Four patterns (Omni, Cardioid, Stereo, Bidirectional) for incredible versatility and superior results in any situation

Studio quality performance and features, with zero latency, amplified headphone monitoring, microphone mute, and hardware-based gain adjustment

Yeti is the first microphone to offer the quality and range of versatility to produce the best quality recordings in a wide range of situations, including podcasts, vocals, live or event recording, interviews, broadcasts, instruments, bands and more.

“Blue Microphones recognizes THX as a benchmark within the industry for professional audio production and playback. We are honored to be recognized as their first partner for audio input,” says John Maier, CEO of Blue Microphones.

“Blue strives to provide the highest quality sound for both professionals and consumers alike and we are proud to provide such recognized quality with the new Yeti, the world’s first THX Certified microphone.”

Building upon the technology foundation established by the award-winning Snowball USB microphone, Yeti adds four distinct pattern modes, a zero-latency headphone output with volume control for direct monitoring, adjustable microphone gain control and a mute button. The Yeti’s angle can be adjusted on its custom-designed desk stand. Following suit with the rest of Blue’s desktop products, the Yeti features driverless installation and works with both PC and Mac.

“The THX Certified Yeti from Blue Microphones provides aspiring artists a recording solution that combines quality, usability and convenience for a wide range of audio applications,” explains Matthew Chrispen, director of certification at THX. “THX testing and certification ensures the fidelity of the recording always remains true to its source, allowing artists to accurately capture voice-overs, interviews and other sound elements with confidence.”

The Yeti, MSRP $149.99, will be available beginning December 2009, at Apple, CompUSA, Fry’s Electronics, Guitar Center, other fine pro-audio and consumer electronics retailers and online at Amazon.com. For complete details, visit www.bluemic.com.

About Blue Microphones
Blue Microphones creates and markets award-winning microphones and accessories for audio professionals, musicians and consumers. Founded in 1995, with headquarters in Westlake Village, California, Blue continues to lead the way with cutting-edge design and technological innovation. Our complete line of audio innovation ranges from our flagship recording tool, the Bottle, to our stylish Snowflake, the first professional quality portable USB mic. View our complete product line-up at www.bluemic.com.

About THX Ltd.
From the big screen to your screen, THX ignites your passion for exciting entertainment experiences. Founded by George Lucas and recognized by audiences around the globe, THX is synonymous with the design and certification of world-class cinemas, premium audio systems, HDTVs, and blockbuster movies and games. Products featuring THX defy convention and define quality in their class, whether in the cinema, home or on the road.

THX and the THX Logo are trademarks of THX Ltd., which may be registered in some jurisdictions. All rights reserved.

"KILLS Deadly Lipstick Germs"

2009-10-27T21:37:00.001-04:00

I mentioned earlier about a product made for "sanitizing" microphones.
Here it is:

Video is 9 minutes long so let it load...it's a hoot.

Or you can see it on their website and get more info Here.

Marketing Mics...It's all about perception.

2009-10-27T15:40:00.000-04:00

Is it "product placement" for the old/new generation.
Life-like images of old microphones in a new video game....!

I kinda like it.
Someone explain it to me.

Does the "Cuteness Factor" Help Your Voiceovers?

2009-10-21T14:20:00.001-04:00

I admit. If I could work in front of a bright, shiny MXL Gold 35 mic everyday, it would probably improve my attitude and outlook of work and my presentation.

But how would these new mics LSM USB mics from Studio Projects affect your professional demeanor?

Microphone Basic Care & Theory

2009-10-18T09:24:00.000-04:00

Have you noticed all the questions on various forums about what to do about various spits and sputters in the performance of different mics. When you invest in what you believe to be a quality instrument and it does peculiar things that just don't seem right, how do you know if it means the mic is defective or it just not the right mic for you?
Or how do you take proper care of your mic to make sound its best for a long time?
How many of us old Radio people have seen somebody spray the control or production room mics with Lysol to kill germs? (I think someone makes a product just for that, by the way.)
Here's a couple very basic tips from some folks that know:

Care & Feeding of Condenser Mics (by JP Gerard at ADK mics)

General Mic Theory of Mostly Dynamic Mics (by Bob Heil)

How to Position a Mic for Best Sound (very basic from MXL)

General Mic Techniques (by Shure, mostly for musicians)

and How the Pro's did it 10 Years ago (from Mixonline)

These are not, by far, the ultimate "last word" on the technical subject of microphone basics, but they may be a start for the newbie or a refreshing reminder for the old pro.

If you have better suggestions for resources, or you want to write some tips yourself, don't hesitate to send them to us.

Schwartz Laser Mic and More Explained

2009-10-16T06:05:00.000-04:00

Ronans Chris Murphy gets the story directly from the AES Show.
Put on your nerd hat. It's deep.

Need a "Quiet Space?"

2009-10-11T17:57:00.000-04:00

WhisperRoom Showcases Design Innovations at AES Oct 5, 2009, 20:10

New York, NY -- About to celebrate their 20th anniversary, WhisperRoom™, Inc., returns to the Javits Center for AES 2009. A leader in sound isolation technology, WhisperRoom manufactures sound isolation booths for the recording and broadcasting industries. Since their showing at AES, they have made quite a few design changes and innovations. The most significant change enables clients to assemble the WhisperRoom completely from the interior. While older models were equipped with straps and required space around the WhisperRoom for assembly, the new models allow complete assembly to be accomplished from the interior with hinged brackets connecting the ceiling and floor to the walls. This eliminates the need for straps and additional space.

WhisperRoom™, Inc. offers 20 different sizes as well as two levels of sound isolation: a Standard (single wall) and an Enhanced (double wall). All models are upgradeable from a Standard to an Enhanced at any time, in order to accommodate clients’ ever-changing needs. Sizes range from a modest 3.5’ x 2.5’ one-person unit to a room-size 8.5’ x 15.5’ unit. Most models are also expandable in length in various increments depending on the model. There is a model of WhisperRoom to accommodate any clients’ needs – including television networks, radio stations, universities, government agencies, and home recording studios.

Included with all WhisperRooms are basic ventilation systems with a remote switch, a door window, Auralex® acoustic foam sheets, and an interior light. A variety of optional features are also available. At AES, the MDL 4848E (4’ x 4’) will be on exhibit, which features an optional Caster Plate, a 26” x 36” Wall Window, Ventilation Silencing System, and Exterior Fan Silencer.

In most cases, WhisperRooms can ship within 48 hours of purchase and they offer a 5-year manufacturer’s warranty, the best in the industry. Educational discounts, monthly specials and GSA pricing are available.

What's Up With a New Neumann TLM 102?

2009-10-09T22:33:00.000-04:00

Neumann TLM 102

(See the Video Here.)

The reduced overall size contributes to an exceptionally compact appearance, which unites all of the typical design components of a Neumann microphone. The harmonious proportions and gleaming grille ring ensure that even at first glance, the TLM 102 attracts attention and sympathy.

The TLM 102 is impressive in terms of sound: In the interior is a newly developed large-diaphragm capsule (cardioid) with a maximum sound pressure level of 144 dB, which permits the recording of percussion, drums, amps and other very loud sound sources, for example. Instruments that are not especially loud also benefit from the very fast transient response of the TLM 102. However its most important applications are in the realm of vocals and speech; a slight boost above 6 kHz provides for excellent presence of the voice in the overall mix. Up to 6 kHz the frequency response is extremely linear, ensuring minimal coloration and a clearly defined bass range. The capsule has an elastic suspension for the suppression of structure-borne noise. A pop screen integrated into the grille serves to suppress plosives in vocal and speech recording.

Due to its price and flexible field of application, the TLM 102 is ideal for the home recording and project studio sector, as well as for the broadcasting area, especially when clear lines of sight to the speakers are a priority.The TLM 102 is available in black and nickel; a stand mount is included. An elastic spider suspension mount will be available shortly.

The TLM 102 is available in black and nickel, with a standmount, at a price of around 600 euros (less than $900 U.S.).

(..even at first glance, the TLM 102 attracts attention and sympathy.) WHAT?

Here is a Video by Neumann's Pres at "Ramble On" (make that "Rock On)

So You Want a Mic That Captures the Real You--

2009-09-21T15:55:00.000-04:00

THE NEXT SOUND YOU HEAR: LASER-ACCURATE ® TECHNOLOGY -- THE NEXT EVOLUTIONARY LEAP IN MICROPHONE TECHNOLOGY -- DEBUTS AT THE AES CONVENTION IN NEW YORK

Laser-Accurate technology revolutionizes the very concept of the microphone, trading mechanical parts movement for the patented and incredibly precise measurement by a laser of the movement of particulates suspended in air
Proof-of-concept will be demonstrated by Laser-Accurate inventor and digital audio pioneer David Schwartz at the Schwartz Engineering & Design booth on the AES show floor

New York, New York (September 21, 2009) –- There have been several key milestones in the evolution of the microphone, from the development of the basic transducer in the 19th century, to the introduction of the condenser microphone in the 1920s, followed by FET microphones in the 1960s and the more recent multichannel microphones used for surround audio applications. The next step in this evolutionary procession will be introduced at the 127th Audio Engineering Society Show, Oct. 9-12, 2009, at the Javits Center in New York City. Laser-Accurate® technology, from Schwartz Engineering & Design (SED), the leader in optical microphone design, represents a revolution in microphone technology: instead of the conventional diaphragm whose resonance creates electrical impulses against a coil or a back plate, Laser-Accurate technology uses a laminar stream of air in a chamber in which microscopic particles are suspended. When excited by changes in air pressure, the movement of these particles is detected by a laser beam that continuously passes through the chamber aimed at a photoelectric cell opposite the laser source. As a result, Laser-Accurate will produce the most accurate and precise transduction of any sound. It is, in essence, the Perfect Microphone, capturing sound unadulterated by the mechanical motion of the diaphragm and the inevitable time lags caused by that movement. All that is eliminated by Laser- Accurate's design. All you get, for the first time ever, is pure sound.

Conventional microphone design has numerous inherent idiosyncrasies: the speed with which a traditional diaphragm can react is innately limited by its physical size and shape, and the variety of those mechanical elements inevitably adds tonal coloration – distortion -- to the sound it's recording. In the design of Laser-Accurate, the diaphragm or plate is replaced with microscopic particles dispersed in a gas-filled chamber in which the laminar flow of the gas is constant. Detection of the displacement of the airstream and particles by a laser and optical receiver creates a completely non-intrusive method by which to measure the movement of air. This arrangement means no significant mass stands between the source of the sound and the transduction of it to a recording media.

An entire professional audio culture has been built upon the colorations that various microphones bring to music. Laser-Accurate does not threaten that culture in any way; rather, in addition to providing an absolutely pristine transduction process, it also acts as the ultimate standard by which all microphones can be evaluated. David Schwartz, developer of Laser-Accurate technology and a holder of six critical digital audio patents, including one that is the basis for the MP3 file format, is himself an audiophile. "The color that certain microphones bring can be fantastic," he says. "The problem is, you can't have all of them, all of the time, meaning that all music recording is a compromise of some sort. With Laser-Accurate technology, all the tonal processing would take place after the sound is converted to a voltage, not during the act of recording it." A pristine signal offers a new world of possibilities, including the potential to create "plug-in"-type chip-based processors that mimic the characteristics of classic microphones and pre-amps, much as modeling guitar amplifiers routinely do now.

Laser-Accurate technology will be demonstrated throughout the four days of the AES Show. It will provide a completely new tool for microphone developers to create the next generation of how we capture music and sound.

Heil PR22 Tough Test

2009-08-14T15:13:00.000-04:00

Did I tell you the story about the "rattle" that developed in my Heil PR-22. I mentioned the problem to Bob Heil in conversation and he quiped, "That mic is not supposed to have that kind of problem, we designed it to be trouble free--send it to us now!" I did...and in typical Heilsound style, it came back in quick turn-a-round good as new.
The supreme test I thought I would share with you is this video of a Cable TV bit we did under extreme circumstances.
Make sure you watch (and listen) until the end. Yes, I have used it since and it sounds even better.

Anyone Tried an Advanced Audio Lately?

2009-08-11T22:30:00.000-04:00

Hi, Willie,

I came across the Advanced Audio's site listing for their CM-47 today and read the TapeOp review on it. Sounds like a mike worthy of further investigation.Has anyone done any testing of it to see how it sounds for VO use?

Thanks!
Graham Smith

Thanks for your note, Graham. Dave Thomas responded to an inquiry about which of his fine mics are most suited for VO. His very direct response was to recommend the CM-87 FET. He felt the simplicity of that design was most suited for voice work.
I have heard from a couple of VO users that tried his mics and all like them. Several had high praise. But I can't find any direct fanatics that brag about using any AA models.
Maybe we can take Dave up on his offer to test one soon.
Thanks again,
Willie

Finally Got Those Audio Technica Tests

2009-08-01T23:30:00.000-04:00

Once upon a time when I was juggling between different format radio stations, our production director arranged to produce our image liners at a nearby pro recording studio (I don't know why--he thought it was a cool thing to do and it got us out of the office). From that experience he decided that if you wanted to do "high end" voiceovers, you absolutely had to use Audio Technica mics.

I appreciated his opinion (the liners did sound great) but I forbade bringing any ATs into the stations because I felt LDC mics were way to sensitive for screaming or otherwise DJs to use for general production.

So, when we started the VO Mic Test page, the first requests were for AT mics.
Now, finally, we have a couple of excellent examples from Daniel Wright.
He really sounds great on both the 4040 and the 4047 SV. I really like the sound of his voice on the 4040. I can tell the 4047 may be more flexible in different situations. Is there $500 difference? There is if you can use the ultimate capabilities of each mic.

UPDATE: We still haven't received a replacement for the ADK Hamburg II test. Nor a suggested ADK VO mic. We'll keep you updated.

Shure Introduces Three New Professional Headphone Models

2009-07-24T06:50:00.000-04:00

The new SRH840, SRH440 and SRH240 are Shure's first over-the-ear headphones designed specifically for studio applications.

The SRH840, SRH440,and SRH240 each have a unique sound signature and offer home recordists, performing artists and studio engineers premium sound quality for a variety of uses, from active listening to critical monitoring.

Shure's Professional Headphones' closed-back, circumaural design is meant to maximize comfort during extended wear. Additional features include:

SRH840 Professional Monitoring Headphones: Optimized for studio recording and critical listening, the SRH840 features reference-quality frequency response, rich bass, clear midrange and extended highs. The model’s ergonomic fit and collapsible construction offer added comfort and portability.

SRH440 Professional Studio Headphones: Tuned to deliver accurate audio reproduction, the SRH440 is optimized for professional audio equipment, including DJ mixers, mixing consoles and headphone amplifiers. The adjustable headband and collapsible construction make the SRH440 a new option for recording and monitoring.

SRH240 Professional Quality Headphones: Calibrated for connection to consumer listening devices and professional equipment such as mixing consoles, the SRH240 reproduces full bass with detailed highs.

Pricing and Availability
SRH840: $199.99 retail
SRH440: $99.99 retail
SRH240: $59.99 retail

Shure Professional Headphones will be available this summer and will carry a two-year limited warranty.

ADK says, "Keep it Fair. Keep it Fair!"

2009-07-08T15:52:00.000-04:00

Willie -

To Keep it Fair in reference testing, All the Mics should be going thru the SAME PRE-AMPS.
You don't mind if I cry Foul when listening to the Vocal Test of the Hamburg II-Au. It sounds pinched and nasal! Was the mic out of phase ?? It sounds AWFUL (not typical H-2 Sound at all!!!)

Not just as the founder of ADK, but as a Microphone End-User going on 50 years, I am saying the H-2Au sounds WRONG. OFF BY A MILE from the Characteristic Tone.

1) How far were you from the mic?
2) Why the Manley?

Mic Placement is more important than Mic Selection.Pre-Amp / Mic INTERMIX is the Other Key to Great Audio. MARRY THE MIC TO THE RIGHT PRE IS THE KEY TO GREAT TONE.

So please - you're doing a great disservice to your fellow Engineers and V/O Artists.

You have a Defective Mic or a really wanky gainstaging issue on the H-2Au recording at your site. I would respectfully take the blame if it is because it's a defective (or wired out of phase unit).

Most of All - the Vienna is the Dream Mic for Voice-Talent. And the Cremona-251. The Hamburg is best left to Reeds and Guitar Cabs. Too Dark for Radio or MP3.

FOR V/O You want to Emphasize the Frequencies and first and second overtones the "Speech-Intelligibility" range of the spectrum. The Vienna-Au and Cremona-251 AND NOT THE Hamburg II-Au - would be our First-Call Voice-Talent Mics !!!But what do I know? My V/O Days were Live Radio in the 70's. (Eat the Mic for Chest-Tones . . . ) So I do have a background in broadcast.

The Berlin and Hamburg would be Dead Last in my Choices - in our Custom FET's - For Voice Talent - except in rare cases. The A6 / Both Vienna's and the Cremona get the Highest Marks from the V/O Field-Tests.

In case Voice-Over was the Top Priority in your Website, we'd like to get you the RIGHT Paintbrushes. All I'm asking is - Give us an opportunity for a Level-Field Test w. the Grace Pre and also making best use of microphone technique (finding the Sweet Spot).

Thx.
IOW..Voice of Disney / NBA / CSI - Frank Montenegro Swears by ADK for Voice-Overs.

So can we at least give our small company another shot at some representative sound-files????

Respectfully,
Larry J. Villella, Founder

P.S. Nothing Against Manley or Avalon or any of the cosmetically profound audio co's. . . A Design is the Best Value, Great River Simply among the Best Ever Built. (IMHO).

ADK Microphones - ADK Custom Shop - 3 Zigma Audio
ADK Web www.adkmic.com
3 Zigma Web www.hybridmic.com
Myspace www.myspace.com/adkmic
Myspace www.myspace.com/goldeneartest

TEL 1-503-296-9400
FAX 1-360-326-1602

ADK Microphones, Inc.
4130 SW 117th Ave #442
Beaverton OR 97005-4631 USA

Larry,

Thanks for your very important note. First of all--what can I say--I agree with you 100%--on all counts.

In a perfect world...yes, all mics should be tested in exactly the same conditions every time for truly fair comparison. The mics we personally test are recorded in as similar conditions as possible. Our goal was to try and achieve a common denominator sound, not try to make each mic sound the best that money can allow. (Maybe this is a disservice, but that is what most of the everyday VO artists asked for when we started.)

You are absolutely right about matching the best preamp with the correct mic if you want to obtain the highest and best use of the tools as a professional. Your comments about preamps are most appreciated.

Thankfully, some of our VO buds have helped out by sending us their tests of new gear when they find or have a potential winner. All I asked is to send a sound-file that is as "un-flavored" as possible. I prefer neutral preamps for testing, but I have not turned down submitted tests for being "too high-end."

John Weeks submitted the Hamburg II AU test and to be candidly honest, we both were very disappointed at the results. We are BIG fans of you and ADK and hoped that this test would point us in a great direction. (Hey, I used my trusty A-51 V for a regional radio ad this morning.) I agree that there most likely may have been a defect in that particular Hamburg. That test needs to be rectified.

We also realize that ADK is one of the most dedicated companies in the world, especially to the music industry. Like I said--We are big fans--we are just still looking for the right ADK product choices for VO.

Yes, we will take you up on your offer to test the ADK models you suggest would be best for various Voiceover Artists.

Now we are excited. To know that a company the calibre of you and ADK are willing to look at the needs of the everyday, work-a-day VO means a great deal.We look forward to the next steps in finding out more about the exciting ADK line.

Thanks again,
Willie

Microphones, Preamps and Impedance--Oh MY!

2009-06-29T12:17:00.000-04:00

Want to get technical? Why are there so many variations of sound between mics and different preamps? There's lots of reasons. Many of which we have mentioned on these pages.

But I've noticed that in talking with the master technicians, they may add a little "footnote" to discussions about matching mics and preamps--impedance matching. They mention it as an aside and almost under their breath at the very end of the talks.

I may have referred you to other papers and sources about this subject in the past, but in case you missed this one, I submit it again. It's from the Microphone-Data website in an article by Rob Jones. Check out the PDF Here.

Keep in mind that Mr. Jones worked for Focusrite and demonstrates with a preamp with adjustable impedance--one of his.

How do I feel about it? He sums it up pretty well in his last paragraph:

Most microphones can be used very satisfactorily with most preamplifiers and true “matching” is actually undesirable. However if you are seeking a particular quality, tone, colouration, character – the terms are not fixed – then picking the right combination of equipment can be very helpful.

CharterOak S700 for Voiceover?

2009-06-14T16:08:00.000-04:00

How did we miss this one?

(and who is that dude?)

The CharterOak Acoustic Devices S700 is a front address, cardioid, solid-state condenser microphone. The microphone is delivered in a fight case, with its shock mount and is extremely well suited for broadcast applications.

The CharterOak S 700 uses the side terminated 1.00" gold sputtered Mylar S-3 type capsule, pure class-A head amplifier and a custom made output transformer. Its rich and particularly non-sibilant eq, and cardioid pick up pattern make it a perfect choice for broadcast applications. The result is clean and rich sound on the voice without harshness or sibilance. The microphone is an excellent alternative to standard dynamic broadcast microphones, as it has a more detailed sound and higher output level.

Based on CharterOak’s unique S600, the S700 employs CharterOak’s series 700 type head amplifier with the S-3 type capsule used in the S600. The S700 was designed to meet the needs of broadcasters specifically, with its robust midrange, smooth and detailed top end and internal plosive filter.

“We’re responding to broadcasters who love the sound of the CharterOak E700, but find the E700, to be a bit too bulky, and would really prefer a front address microphone” says CharterOak VP Marketing.

I really would like to hear the S700 in action.

OK! Here's a temp video....

2009-05-28T20:42:00.000-04:00

The better quality one with the audio recorded on the Centrance Micport Pro is coming....along with a full report and the start of the mic tests.
But for now......

Again, here is the audio from this video recorded directly on the Centrance MicportPro:
(Warning! There is :10 lag on file before audio begins.)

MicPort Pro Video Test Coming...I promise.

2009-05-28T19:26:00.000-04:00

Actually, it's done and in the can. BUT...are you ready for this.... I can't seem to upload it.
Do you have any idea how embarrassing this is? I own a video production company, a group of Cable Access TV Channels... and I can't produce this simple on-camera demo of the Centrance MicPort Pro.
Oh believe me, it is GREAT! I mean I take it out of the box, plug it in to a Sennheiser MKH-416, turn on a video camera... and let it rip. No holds barred. If it is bad, we will see and hear it. Stupid me apparently did not match up the bit rate of the recorded video with the recorded audio through the Micport Pro. That means the video and audio are out of sync.

BUT SO WHAT!! Here is the actual audio as we recorded it on the video STRAIGHT THROUGH THE Centrance:

(It's a wav file so let it load)

I will stifle my pride and get a real video producer to straighten out my mess and YOU WILL SEE THE VIDEO TEST. And you will also get my opinion of this fine unit. (Here is a hint....It passed a supreme test by saving my butt in an audio emergency overnight.) And we will test various types of popular mics on the VO Mic Test Page.

Centrance Micport Pro..or Other Preamp in a Barrel?

2009-05-09T11:41:00.000-04:00

Well, we expected to have tested a couple of the new "preamp/digital interfaces in a barrel" or "in-line" products by now....BUT--none of them have arrived.

We were excited about head-to-head test with some of our existing VO Mic Tests to compare the quality.

There is no doubt that the convenience and economy factor is a powerful plus for these types of units. I plan to switch to this work-flow for on-site client VO's.

There are lots of units to choose from reputable companies:
MXL
Centrance
Shure
Blue
..several others.

But my question is.... Is anyone using any of these devices for their day-to-day in-studio use. Have you replaced your "preamp to USB or FW to DAW" chain? And how does it compare to your old set-up?

You can remain anonymous if you like. I understand that "gear image" is very important to some clients. Your secret is completely safe with me.

Email me now. We all will appreciate it. Our future depends on it.

Oh, and the mailing address is still:
Vocal Impact Media
220 N. Main St.
Lexington, NC 27292

No Lawson Test...Yet.

2009-05-07T23:18:00.000-04:00

Hi Willie,

Came across a test of a Lawson LM47 on Don Capone's website. Good grief! The guy on it was someone in Dallas. Great voice, but this mike really filled it out! Has anyone thought about running a vo-mic test on one of those?I saw the one post you had a year or so back about someone who had one.What a sound!

Thanks
Graham Smith

Thanks for the note, Graham.

I asked permission from Lawson some time ago to post those test from Dallas that are on the Lawson website on our VO Mic Test page. Gene Lawson replied and apparently did not see the need to allow us to do that.

We are dissapointed not to have a chance to compare the Lawson's in the same context as our other mics.

Our friends that have or had Lawsons spoke very highly of them.

WE

P.S. I think I used to work with "that guy in Dallas."

Digital microphone technologies on the rise

2009-05-06T06:38:00.000-04:00

Press Release 05/04/09

At the 126th AES 2009 convention Neumann Berlin focuses on special microphone technologies developed for professional systems. Besides the well-known wide product range, visitors are invited to try and compare analog microphones with digital microphone technologies.

Experience shows that Neumann digital microphones offer decisive advantages in many fields of application. Neumann will offer valuable seminars held directly at the booth providing an interesting insight on digital workflows. In collaboration with experts from Optocore, Camelot, and Sennheiser visitors will be shown the added value of digital microphone technologies based on practical examples.

As digital microphones are being put to use in numerous practical applications, the specific advantages are becoming increasingly apparent. Many production workflows are being redefined, permitting enhanced effectiveness and reliability.

With their own peripheral products, more and more companies are providing for the seamless integration of digital microphones into large networks. In workshops with our partners at the AES, we would like to share and discuss these experiences.

Kind Regards from Berlin
Georg Neumann GmbH
http://www.neumann.com

We shall see.... WE

Need to Really Quiet a Room?

2009-05-02T22:38:00.000-04:00

Do you have really noisy neighbors? Your air-conditioner is louder than you? Just can't get your room to "sound right?"

You may need MUTE MIC.

It Blow'd Up!!

2009-04-28T22:17:00.000-04:00

I feel so stupid. My heart is broken. I am lost. let me share what happened.
I was in the old sound booth recording a movie trailer like spot for local radio and TV. I broke out the Sennheiser MKH-416 and WOW--it felt like the good old days. I was cooking. It really sounded good.
Then disaster struck. As I turned to make an adjustment on levels, I pulled a cord and WHAM-- I pulled my favorite testing preamp off the shelf.
Boom! Loud pop and lots of flash and sparks. My heavy duty surge protector not only shut everything down, the circuit breaker clicked off.

Shock and dismay. I felt like part of my soul had been ripped out. I really liked that little preamp. I had planned to write a detailed description and review of the Rane MS-1b preamp and why we used that particular unit.

Many of you have been asking lately about what preamp we used on most of our tests and why. I did not think it would be fair to test our wide variety and diversity of microphones on something like a John Hardy M1 (unless I actually had one) and after much consultation with many experts and technicians, we decided the little plain Rane would be the most appropriate for unbiased testing on a "lowest common denominator" basis.

Still, my feelings are hurt. Should I try to send the unit back to Rane for repairs? Just buy another? Or do you suggest another brand replacement to better serve our purpose.

Console me. Let me hear what you think. I am still too much in shock, literally, to make a sane decision.

Thanks
Fumbles

New Mic Tech..Is it coming?

2009-04-22T19:18:00.000-04:00

Microphone diaphram moved by light bounced off sound waves!!

Is it time for new technology to get the most from the golden tones? This new Sennheiser mic is NOT going to make anyone sound like the ultimate voice.
But, isn't the idea interesting.

Is Apple Distorting the Term "VoiceOver?"

2009-04-11T13:14:00.000-04:00

Ah! We showed you the Apple "how to record voiceover" with Joe Cipriano. (or was that Microsoft?) Anyway... Apple has adopted the term for a device that pronounces the name of the song and artist as you listen on your iPod. And it seems they intentionally used a very robotic voice to convey the information. Will that be a future trend we will need to emulate?
Check it out HERE.

What MXL do You Want to Hear?

2009-03-22T13:51:00.000-04:00

Remember the most recognizable opening line to one of the most requested Rock'n Roll songs of all time? "What song is it you want to hear...?"

Well, Roy Harper of Marshall Electronics' and MXL has thrown out the question, "What mic is it you want to hear?"

You wouldn't believe the number of questions we get about the various MXL mics, particularly the ones on the Mic Test Page. We tell them about our experience with those mics or refer them to someone we know is using a model they are asking about or relay their impressions.

To summerize most answers--A lot of Mic for the Money.

Now MXL has kicked the bar up several notches and the questions are coming in.
"Which new MXL is best for voiceover?"

For review look back at George Whittam's talk with Roy at NAMM. Or his on-site tests of a few of those mics.

Most of you have asked about the new "flagship" Genesis tube. Duh! Yeah, I would think it would sound great for voiceover, but like you, I would like to hear it for myself.

To be more specific to our goals of finding the right mic for voiceover, I believe we need to hear the new V87 and the V89 to compare to the fabulous V88 we already tested.
I would be crazy not to suggest the New Gold 35 as a deal maker. I am a firm believer that if you look good while talking--you will sound good.

All of the above mics except the V89 have the "broadcast use" icon that usually means great for the spoken word.

There's more. Many of you have asked for a while about the new MXL shotgun mics. Yes, I have selfish reasons to wonder about the high end shotgun but let's concentrate on the most likely highest and best use mics for now.
Also, many questions about the MXL Mic Mate Pro. I am a big believer in this type of product and I think we will see more of this type of interface used.

Now it's up to you. Tell Roy what you would like to hear tested and compared. Make your requests and maybe give us a reason for asking about a particular MXL mic. What have you heard. What do you want to hear?
Email or use our comment section below.

Remember, I may be an old CHEAP Turkey.... But I am not a FREEBIRD!

"Won't you fly high...Oh Freebird." Lynyrd Skynyrd

Let Me Hear From You NOW.

Want to Build Some Headphones?

2009-03-17T07:09:00.000-04:00

So how hard can it be to put headphones together?

Sennheiser Headphone Assembly

We're Back. Thanks for your calls.

2009-03-12T19:12:00.000-04:00

Isn't that just like it? You go out of town; get a little flu bug; and all heck breaks loose. An account conflict knocked the VO Mic Tests page off Dotster for a while. It's back!
Thanks to everyone that called and left messages and emailed me.

To update...(and not to make excuses 'cause there are none) My partners and I have taken over the Cable Leased-Access Channels we were working with and are getting lots of inquiries to expand to other markets. Be on the look-out for cheap and cheezy local-access programming coming to a small town near you.
Plus, my audio production services are back in demand (I must be too cheap) and we have contracts to produce radio ads for several new clients.

Enough about me! Let talk about what's really important--THE MICS!
No matter how busy we get, there will be time to update news and information about finding the right sound or the right deal on the right sound.

What's Coming:

I got a letter from Bob Heil of Heilsound Microphones yesterday. Look for info on Heil Service and some news on possible new discoveries and products that may blow some minds.

Micheal Joly of Oktavamod is spilling his brains about how to improve very obtainable mics to super-studio quality (remember my killer SP-1). He is even giving out FREE tips on how to do it yourself.

Our buddy Roy at MXL has gone crazy with new product. I mean MXL is SERIOUS. I think they now have too many choices. About the time we narrow in on a particular group that sounds great for voiceover, they come out with another group that specs out even better. MXL has up'ped the boogie factor in quality control.

And that promised letter from KEL mics about breakthrough new mics.

Plus, your letters, comments and tests. You guys are the real cutting edge on finding true quality at the best deals. KEEP SENDING IT...WE'RE LISTENING.

Now....Get your butt back to work!

Get a MXL-909 instead of MKH-416!!!

2009-02-27T11:10:00.000-05:00

Will,
Hi! I really enjoy your mic tests and I have learned a lot from them. I am sending along an mp3 of a mic test I did of the MXL 909 after reading a passage in Voice Actors Guide to Recording at Home... and on the Road, in which Harlan Hogan compared the 909 to the Sennheiser 416. Picked it up out of sheer curiosity and it was only 70 bucks. I like it. Think it sounds pretty good.
Be well,
Daniel Wright
http://gravelthroat.com

Wow! Thanks DW.

You do sound great on the 909. It is a good example of knowing how to use the tools we have. Using the Sennheiser MKH-416 for voice over work requires full use and knowledge of Voiceover technique. Things like mic placement, proximity, level control, intensity, modulated inflection and much more makes getting the most out of any mic a study in style.

CHECK OUT DANIEL'S TEST HERE

Some Audio Guy Gets a New 414!

2009-02-24T12:47:00.000-05:00

You know that feeling when you get a new mic that you like and respect? Ohh, that new mic smell; How good it feels; the weight and heft; all the things that say, "It's new and it's MINE!"

Check out The Ramblings of Some Audio Guy's Unboxing of his new AKG C414B-XLS.

Look Over My Shoulder at Some Mail....

2009-02-19T18:30:00.000-05:00

Kelly,
Ever since you sent us the Spoken Word samples of the HM-2D and the HM-7U we've been getting inquiries and praises from voiceover artists on Kel Audio products.
Now, there are rumblings you may have another outstanding product coming soon.

All we ask is don't forget to send your Voiceover Fans a sample file of the new mics

---------------------

We won't forget. Just finishing up the final prototypes then we will announce the mic over the next few days.

Sincerely,

Kelly Dueck
Kel Audio Inc.
www. kelaudio.com

George's NAMM Video Mic Tour Continues.

2009-01-30T17:57:00.000-05:00

Roy tells us what is hot with MXL

Neumann for Voiceover

How it's Made...Neumann U87.

2009-01-29T23:34:00.000-05:00

Shure has new DIGITAL mics?

2009-01-28T07:29:00.000-05:00

From SportsVideo.org

Shure Mics Make Move to Digital

Jan 27, 2009 - 2:17:44 PM
Shure microphones are moving into the digital realm with the debut of three products: the PG27USB and PG42USB side-address condenser microphones and the X2U XLR-to-USB signal adapter. In addition, Shure introduced XLR models of the new microphones, the PG27 and PG42. “Over the past several years, more and more musicians, both professional and amateur, have taken recording into their own hands at home, on the road, in their bedroom, basement, tour bus, wherever,” says Chad Wiggins, category manager, Wired Microphones. “With these new products, we’re bringing the legendary heritage of Shure microphones to every level of performer and home recording artist as the proliferation of digital recording continues.” The PG27USB and PG42USB microphones connect professional-caliber Shure microphones to any USB computer port with “plug-and-play” performance. The cardioid condenser mics feature built-in headphone monitoring with zero latency and monitor mix control, enabling users to instantly hear what they’re recording through headphones and make adjustments on the fly, which makes them excellent tools for multitrack recording. Both microphones are durable enough for everyday use and practice but sophisticated enough for advanced recording by the most discerning artists. “Now anyone can connect a Shure microphone to their computer to create their music,” says Scott Sullivan, senior director of product marketing and development. “We realized that musicians who create digital recordings are looking for three things: superior equipment to translate their sound; the ability to hear themselves ... monitoring; and the ability to accurately adjust their monitor mix. We’re delivering all of this with our new USB microphones and the X2U adapter.” The PG27 and PG42 are XLR counterparts of the USB models. The PG27 and PG27USB feature a flat, neutral frequency response for natural reproduction of a wide variety of instrument and vocal sound sources. The PG42 and PG42USB were specifically engineered to reproduce the subtle nuances of lead vocals. The large diaphragm allows for higher sensitivity to clearly reproduce refined performances. The low-cut filter and external shock-mount further optimize performance for vocals.

GW Gets Hands-on Test on Popular ADK's

2009-01-20T21:15:00.000-05:00

George Whittam of ElDorado Recording Services took his very impressive CEntrance Micport Pro to the Winter NAMM 2009.

Listen as George tests the ADK A-51, S-51, A-6, A-7. Scroll down past the video. (I'll try to post the test here later.)

Personally, I think the S-51 and A-7 sound best with George's test. It would really sound good if he had done it in one of his fantastically designed rooms.

Oh, Here's the Larry Villella video. When are you manufacturers going to realize that we want to HEAR HOW THE MICS SOUND as well as how they look?

What the Heck is This All About?

2009-01-08T21:01:00.000-05:00

What kind of new realm of flexibility is ADK trying to cover now?
A sound for every situation in one box? Hmmm. Let me know what you think.

Lollipops & Lipstick

You Think Our Mic Tests are Wild.......

2009-01-03T12:01:00.000-05:00

Hey, in our efforts to present every opportnity to hear mic comparisons in spoken word, we have included a page from HowAutoTV.com. Here's a quote from the page:

This hybrid video is a shoot-out between four microphones used for voice-over work and podcasting. Secondly, the tutorial demonstrates how to get a "good" sound out of the mic for your final project. This is great video for podcasters, voice-over artists, sound engineers and video editors.

The mics used in this tutorial: Neumann U87, Sennheiser ME66 Shotgun, Sennheiser 421, Rode Podcaster and the MXL UBS .009.

Click on "watch in high quality."

I STILL Don't get a Dime...but you may get a deal.

2008-12-22T09:09:00.000-05:00

A couple of good guys down in Carolina are trying to make things a little easier for you to write off some good gear for this year. (I am not an accountant and recommend you consult yours to take the most advantage of any tax benefits.)

Front End Audio's Last Chance Christmas Deals. Keeping It Simple and Focused
At Front End Audio, we value our relationship with you and want to offer you deals but keep them focused without a bunch of jumbled up misleading discounts. All deals are effective now until December 31st.

Peluso Microphones: 10% Off All Peluso Items + free Peluso XL t-shirt with microphone purchases! Hand assembled in the USA, Peluso is a stand out line with a unique offering. Use coupon code: Peluso10%.

Heil Microphones: 10% off all Heil mics! Bob Heil brings his mind into the microphone arena, and comes up a winner. Use coupon code: Heil10%

BLUE Microphones: 15% Off All BLUE Microphones and Accessories! BLUE has a wide variety of mics to cover all sources, rich sound and USA built. Use coupon code: Blue15%

Samson: 10% off across the board...! Patchbays, live sound, wireless solutions, mics & more. Use coupon code: Samson10%

Safe Sound Audio: Experience 20% Savings Due to US Dollar's Rise! British designed and built, the P1 and Dynamics Toolbox offer a "finished" sound. Use coupon code: SSA20%

AEA Microphones: 15% Off All AEA Items + free AEA XL t-shirt per order! Premier ribbon microphones and now, a maker of excellent preamps. Use coupon code: AEA15%

Chameleon Labs: $100 instant savings + $50 "Add to Cart" savings on mics, channel strips and compressors! Preamp / EQ, plus microphones and compressor offerings that deliver long on short money.

Audeum: 10% off PC's custom built for audio, plus duplicators and storage! Optimize your studio, let Audeum build a solid machine that well, just works right. Use coupon code: Audeum10%

Daking: Buy a MIC PRE / EQ channel, $1299 thru Dec 24th. Based on the Trident A Range strip, let Daking take your tracks to the next level. Use coupon code: Daking A Designs Audio: Buy (2) two 500 series modules, receive the HR500 power supply free! Superior 500 series preamps, transformer in and out, high gain goodness.

Universal Audio: "ADD TO CART" pricing on in stock items, real savings! UA products bring you back to the old school, with full warranty and solid build.

Want to Sound Good...It's in the Mix.

2008-12-21T17:26:00.000-05:00

How many times have you tried to mix down a spot and just couldn't get the VO track to stand out like you think it should? You figure you need a new mic. Or maybe for now you can just bump up the 3,000 to 6,000 khz range or something. Well, it may be what you can subtract to make what you have stand out.
Steve Murphy addresses some examples in his recent Opinion Column in Pro Audio Review Magazine.

Ironically, the VO track – usually the focal point of the ad and the only of the sources recorded in a “controlled environment”—can be the most problematic. Instead of a decent recording of a voice that can be evaluated in the full mix and then treated appropriately, I’ve spent quite a bit of precious mix time digging out of the overuse of “radioready” voice processing (over-excited, overcompressed, over-sibilant and/or over-modulated) printed on the takes.

The first step is to pre-process the music tracks on the timeline by manually evening out dynamic changes in musical sections, turnarounds, hits etc. I do this by splitting the sections, adjusting the clip levels and applying generous x-fades to smooth the changes. I also insert a Waves L2 (or similar smooth-leveling limiter) to aid in the dynamic consistency of the bed.

Second, carve out a healthy EQ scoop across the music tracks centered around the VO range (typically spanning 700 to 1500 Hz and down about 3 or 4 dB)—this does wonders to free up space for the voice elements while retaining a good perceived music level.

Third, very gently duck the music (2 or 3 dB) with a sidechain from the voice subgroup. Subtly is the key—this duck is a building block, not the means to an end. Lastly, some automation of the music track will always be necessary, but by employing the above (with all plug-ins, EQ and the side-chain already set up in the template, of course), an effective voice-tomusic mix can be reached quickly and the amount of time spent on automation can be drastically reduced.

Read Steve's full article here.

Have You Sent Santa Your List Yet?

2008-12-16T19:54:00.001-05:00

I've been looking for this:

Mar antz PMD661 Field Recorder
A svelte new portable recorder from D&M Professional, the PMD661 ($599) improves on its PMD660, offering a streamlined form factor, new feature set, built-in stereo mics, 44.1/48/96kHz recording and SD card media.
Measuring just 6.5x3.7x1.4 inches, the PMD661 has switchable XLR mic/line inputs; a secondary unbalanced, 1/8-inch mini-jack line input; S/PDIF digital input; and stereo RCA analog line outs.
The PMD661 is compatible with SDHC cards (currently up to 32GB capacity), offering up to five-plus hours of recording time from four AA alkaline or NiMH batteries (not included).
The USB 2 port supports simple drag-and-drop file transfers, and the included Mark Editor software allows marker points on the recorded file to be adjusted post-recording, creating a new file so that basic editing can be carried out on a PC or Mac if desired.
For more information, visit www.d-mpro.com.
More Info Here

Need an Expert? New VO Tech Blog.

2008-12-15T16:36:00.000-05:00

When it comes to putting together your "room" or "booth" you have thousands of factors and influences to consider. That's why we always ask each other, "how'd you do that, Man?"

Well, now we have a new resource from my go-to guy himself. George Whittam's new blog will answer some questions you didn't even know you had.

Be on the look out for a coming video and explantion on Joe Cipriano's new room. There's a story behind the story that will benifit us all. (George built it.)
El Dorado Blog

Hey, I'm Not Making a Nickel on This Deal!!

2008-12-02T18:29:00.000-05:00

Hey Willie,
I wanted to let you know about a great deal we're running in conjunction with BLUE microphones. We have just received a limited supply of factory refurbished Baby Bottle condenser mics. They are in mint condition and still carry Sweetwater's exlusive 2 year warranty (parts andlabor). These mics normally sell for $499.97 on our site but we can offer these B-stock models at $349.97 and still include FREE shipping. Alsoincluded with the mic are a pop filter, shockmount, and cherry wood storage box.
I've had a Baby Bottle in my mic collection for quite a while now and go back to it again and again for acoustic guitar, and also on vocals. It also works very well on percussion instruments and drumkits. It has a very natural sound with an extremely smooth mid range. This is just a great all around mic to have, with a very friendly price point right now. This is easily one of the best mics for under $500, and now it's under $350! You can check it out at the following link:http://www.sweetwater.com/store/detail/BabyBottleB/
Also, on any B-stock Baby Bottle that you order I'll offer the Blueberry mic cable for 25% off (offer available via phone only): http://www.sweetwater.com/store/detail/BlueberryCab/
I offered this same deal in December of last year and I sold out extremely fast so please get in touch with me as soon as possible if you're interested.
Thanks again Willie!
Luke Herian
1-800-222-4700 ext. 1236
luke_herian@sweetwater.com

NOT Necessarily Your Next Portable VO Rig.

2008-11-30T14:28:00.000-05:00

Karaoke for the masses? Maybe. I don't think so.

But if you really want to be in constant touch with a portable rig in case the big client calls while you are away from a studio, give George a call about the latest updates on his VO2GO packages.

We will try to get George to tell us the cold hard specs and get some examples soon.

Some Industry News

2008-11-29T07:17:00.000-05:00

You and I may not be directly involved with this information.... Wait, we still use cell-phones and other micro-mics. Some of us techy heads may find it interesting.

Industry News
Microphone makers ready for cheaper, smarter MEMS line

China (mainland) – Microphone makers in the region, spurred on by a huge market demand, are up and ready to ramp up production of silicon microphones with microelectromechanical systems (MEMS) processing technology. Worldwide shipment is forecast to reach nearly 1.6 billion units in 2011, growing by a compound annual growth rate of 43 percent from 600 million units in 2008, according to France-based market research company Yole Developpement. The growth is attributed to the booming portable consumer electronics market that includes mobile phones, digital still cameras, laptops, personal navigation devices, Bluetooth headsets and other portable recording devices.
The MEMS microphones market is estimated to have reached nearly $300 million in 2008. The mobile phone segment, with sales nearing 1.4 billion handsets annually, accounts for the lion’s share of this market. In close second is the digital still camera/digital video camera segment, which is expected to seize a major share leading to 2011.

Microfabrication increase yield of smarter products
MEMS, sometimes referred to as micromachines or microsystems technology, integrates mechanical elements, sensors, actuators and electronics on a conventional silicon substrate. Using microfabrication technology, its electronics components are assembled via IC process sequences while the micromechanical components are made by etching away parts of the silicon wafer or adding new structural layers.
MEMS devices are relatively cheaper to produce since it employs batch fabrication techniques. The technology to produce the device further allows the integration of new levels of functionality, reliability and sophistication on a small silicon chip. The technology enables the creation of complete systems-on-a-chip, which in turn leads to the development of smarter products.
MEMS silicon microphones offer the same acoustic performance as that of electret condenser microphones (ECMs) but without the cumbersome size of the latter. Unlike ECMs, silicon microphones with MEMS can withstand higher temperatures during surface mounting processes in consumer electronic products. It also exhibits a better performance in terms of reliability, uniformity, flexibility and power consumption.

Suppliers up capacities for likely demand swell
The significant penetration of MEMS microphones in consumer electronics is expected to begin next year, as pioneers Knowles, Wolfson, Analog Devices, Freescale, ST, Infineon and Omron look to add more solutions incorporating the technology.
China suppliers are closely monitoring movements from these developers. Some makers have begun production of sample batches while others are expanding production lines to meet the surge in demand. For instance, Shangdong Goer Acoustics Technology Co. Ltd has invested $12 million into a new production line with a planned capacity of about 500,000 MEMS microphones per month. Products from this factory are designedmainly for use with laptops and mobile phones. The microelectroacoustics maker has also developed technologies that address performance problems such as stress and conglutination.
Meanwhile, Suzhou MEMSensing Microsystems Co. Ltd will begin mass production of its proprietary MEMS microphones. The company holds six chips and encapsulation design patents for MEMS microphones.
AAC Acoustic Technologies (Shenzhen) Co. Ltd, which mass-produced its first line of MEMS microphones in 2007, has announced plans to increase investments in MEMS microphones R&D. To ensure further innovation, it has inked a cross-licensing agreement with Knowles and established technological ties with US-based Stanford University.

Could the New V87 be Next Sleeper VO Mic?

2008-11-26T23:31:00.000-05:00

MXL has started shipping the new V87 "Studio" mic. If it has the same strong dynamic punch as the V88, it could be the new secret weapon for Voiceover.
If you have access to one and can test it out....let us know what you think.

The MXL V87 is an essential microphone for recording both vocal and instrument
performances. Designed with 8.5 dB low-noise circuitry for critical recording
applications, the MXL V87 combines a large gold diaphragm, FET preamp, and
transformer-balanced output to create a punchy midrange and full round low-end.

Telefunken | USA U 48 Tube Mic

2008-11-25T22:21:00.000-05:00

Telefunken | USA's new U 48 tube mic combines precision vintage expertise with modern technology.
In 1957, Telefunken began distributing the U 48, which offered identical specifications as the famous U 47, with one notable difference: the U 48 featured cardioid and bidirectional patterns, rather than the U47's cardioid/omnidirectional combination. This feature let engineers make use of the M-S and Blumlein stereo techniques, that were popular with classical recording engineers.

The U 47 is exceptional in stereo miking applications and a U 47/U 48 set of mics offers engineers stereo recording options that are not otherwise available. When used in cardioid, the U 48 sonic response is identical to that of the U 47, and is often the microphone of choice for vocal recording.

The Telefunken | USA U 48 microphone system is available in both Platinum and Professional editions.

For more information about Telefunken | USA, visit www.telefunkenusa.com or call 860/882-5919.

Slack VOa Hacks Get Whack!!

2008-11-21T18:53:00.000-05:00

Find more videos like this on voiceover universe presents...

(Only 3 microphones were injured in the making of this video)
Find more videos like this on voiceover universe presents...
Trailer Narrators Hip Hop Nightmare, shared by Beau Weaver of Paul Wintner Artist Management