home studio

[1976]

The home 'studio' works in a pinch, until I can get to the station. I need a major upgrade from the mic on up. For a grand or less, how would YOU outfit it for voice work?

 

[NHRadio]

If all you need is to cut some tracks or simple production I'd get an RE-20 or Shure SM-7 into a DBX 286A into a good quality USB audio interface.
For software, Audition if you have the $$, Audacity if you don't.

 

[Emmett1057]

Do you want a VoiceOver studio or a radio production studio? Dramatically different.

 

[whit979]

into a DBX 286A into a good quality USB audio interface.

Let me also recommend the Shure x2u if you're in a budget pinch. I'm doing voiceovers for three small market stations and a mid-major university using an Electro-Voice RE320 plugged directly into a Shure x2u, recording into Adobe Audition 3.0. You have to be much more careful with levels since there's no EQ/compression before your mic audio hits the computer, but they sound clean and can be purchased for $100 or less. More importantly, my clients are happy, so I'm happy.

 

[1976]

Thanks guys. Currently, at the house, I'm running an AT3035 thru an M-audio usb box, into Cool Edit Pro on an XP machine. Obviously, MANY years old. New system will be for voice over production using Audition and Windows 7. Looking to upgrade the mic, with a preamp like the DBX286A, into a USB.

If Im going to upgrade, the money's going into the mic. RE20's are a radio station standard, but the Shure SM7 is looking good with the reviews I've seen. And it's less than the RE20. Thoughts?

 

[whit979]

If Im going to upgrade, the money's going into the mic. RE20's are a radio station standard, but the Shure SM7 is looking good with the reviews I've seen. And it's less than the RE20. Thoughts?

I used Shure SM7Bs for years at a station where I used to direct programming. They are one of the best broadcast microphones money can buy. RE20s are great for broadcast as well and an industry standard.

Mark Jensen has some great YouTube videos testing both microphones in his studio:
Shure SM7B - https://www.youtube.com/watch?v=7uQUy1SgN8c
Electro-Voice RE20 (and RE27) - https://www.youtube.com/watch?v=pvlzN59SM2A

See if there's a store near you that carries these mics and could let you test them before making a purchase. I tested the RE320 at a Guitar Center before buying it from BSW. Good luck!

 

[Emmett1057]

You're really moving in the wrong direction here. Neither the RE-20, nor the SM7B sound as good as the AT you already have. For VO, it's all about sound quality. You'd be better or to get a quality preamp with no processing and a better condenser mic. What you're looking at is great for podcasting, but not for professional VO.

 

[NHRadio]

While Emmett is right, I disagree about the SM7. I think it's as good or better than mics that cost more than double. Great sound.

 

[Goat Rodeo Cowboy]

While Emmett is right, I disagree about the SM7. I think it's as good or better than mics that cost more than double. Great sound.

The shirt or blazer that looks good on you, may make me look like an overstuffed baboon. I've been following threads like these for years, including some by VO people who do most of their business somewhere OTHER than radio... and like buying clothes, you "need to acquire the mic that sounds good on you".

And if your recording space is a make-do studio, that may make a difference in what mic you need. The mic and the whatever-you-decide-on to turn analog into digital are key. A processor/EQ device may be something you want to picture on your website to impress people. You may or may not need it for your daily recording output. Get the mic that is best for you, your space, and you purposes/market, get the digital interface that is sturdy/robust/honest. Then add the trinkets as needed.

 

[Emmett1057]

The SM7 (which I have sitting next to me at this moment) is good for screamers and good in noisy environments. It has a slow, heavy diaphragm that misses a lot of details, but also doesn't exacerbate room noise. That slow, heavy diaphragm also makes for a high SPL rating, so you can shout into it without it distorting. It does well in radio production rooms, but just doesn't cut it for VO. In a similar price range, the AT4040, Rode NT1000, Blue Baby Bottle, Rode NT1-A, SE2200A, Studio Projects C1, and AKG 214 are all going to provide truer, more detailed and present audio. Additionally, the SM7 needs 60dB+ to function well at all, which means an investment in a solid pre (a good idea anyway).

 

[NHRadio]

Cool Edit Pro on an XP machine. Obviously, MANY years old.

I also use an older 3Ghz Pentium 4 Win XP PC to record to (albeit with upgraded RAM and M-Audio delta 44 card). Anyone think a new PC would give me better sound? I can't see how but curious what others think.

 

[Emmett1057]

Better sound? No. I mean, potentially the option to upgrade to a better interface than the Delta, but assuming all equipment stays the same, the sound should also stay exactly the same. Two potential factors. One, if there are tiny jumps in your audio because of the PC not keeping up. I have seen this, where a few samples get lost. Not common. Second, if the PC is in the room with you, a new machine would have the potential to have a quieter cooling system. So, in all likelihood, a new PC would offer you some POTENTIAL ways to improve your audio, but not an improvement, in and of itself.

 

[1976]

Thanks for the insight everyone. Yep, on getting the preamp, and keeping the mic... for now. Emmett, you're right, that AT picks up the slightest noise: computer fan, ac, ceiling fan, etc. So, yes, a quieter cooling fan would be a big plus. Moving to Audition from CEP is a must, so that dictates a new computer. 'Have a new Windows 7 machine in one studio at work that's configured to thinks its xp-- so it can run CEP. OMG it sucks. Y'all have been a great help, and I appreciate it.

 

[whit979]

You're really moving in the wrong direction here. Neither the RE-20, nor the SM7B sound as good as the AT you already have. For VO, it's all about sound quality. You'd be better or to get a quality preamp with no processing and a better condenser mic. What you're looking at is great for podcasting, but not for professional VO.

It really depends on what kind of voiceover work you're doing in my opinion. Are you creating content for radio, television, movies, narration, etc.? If you're primarily doing radio spots then the SM7 or RE20 would work well! My radio content improved dramatically after changing from an Audio-Technica condenser to an Electro-Voice dynamic mic. It's certainly possible to make your existing condenser mic sound good, but be prepared to do some room treatment in addition to sinking money into the other parts of your audio chain. As Goat Rodeo Cowboy already mentioned, it's about what sounds best on you, so do try them out beforehand.

 

[The King Bee]

If you've got an extra couple of hundred bucks, I'd also consider a small (4-6 ch) Mackie or Behringer mixer with USB in/outs. This gives you all the functionality of a mixer with several analog as well as digital inputs and outputs, mike preamps on some models, 2 or 3 bands of basic EQ, a couple of auxillary buses...in other words, everything for both simple VO and more involved production tasks.

Both brands will allow insertion of all processors, outboard EQ, compressors and any other specialty gear at several points in the signal flow.

Posters: Haven't seen the Sennheiser 421 or 441 microphones mentioned (the Black Bullet). I still see several of these in use to this day, and they sound rich and mellow. Your opinions?

 

[Emmett1057]

The problem with a mixer is that it adds noise, the preamps are not good and, if USB, the converters are not good. A mixer doesn't really belong in a VO studio in that capacity. Same goes for the Sennheiser 421 and 441. These are all radio and radio production staples and concepts. If you're competing for agency quality audio, you need to not sound like a local radio station. Not that people haven't made all of these things work, but it creates an unnecessary hurdle.

 

[NHRadio]

Agreed as to the board. I bought a Behringer USB and immediately regretted it. Noisy as hell. I use a very old Gemini mixer I bought in the mid 80's to feed my audio card...dead quiet believe it or not. 2 Mics, 4 line ins and as a bonus 2 phono inputs.

 

[The King Bee]

From my personal experience, gentlemen, I must respectfully disagree. My Mackie USB mixers are not at all noisy, and the on-board mic preamps impart no noise. I learned this when I had to take one of the mixers alone to a sports remote at Churchill Downs during Kentucky Derby week and left home the outboard pre-amps. In this high-RF environment from all kinds of wireless signals, the Mackie Pro FX 12 was absolutely quiet, even when the varied multi-mic distribution box feeds were used.

There was nothing but good, clean signal through my E-V RE-20s, the USB output was super-clean to my digital recorder, and the analog was sharp and clean to my backup deck. In fact, the national sports network producer I fed the audio to asked me "what rig did you use? It's some of the best field audio I've heard in a while!" And this lady hears a lot of audio from many sources.

And I've heard more good than bad about the Sennheisers...in fact, I used to see more of them and the Shure SM-7 until the E-V RE-20/27s took over (I rely on the E-Vs myself). I'm not discounting your experiences, but adding a small-format mixer has really increased my flexibility-and billing! In fact, several area VO folks come over and use my home studio quite often.

Again, just my personal experience...your mileage may vary.

 

[Emmett1057]

King Bee, it's not that the signal is necessarily noisy, it's just noisier than it needs to be. Certainly there is a drastic difference between field audio and pro VO. They're not remotely similar. Mackie pres aren't noisy, they're just not so good. When Mackie started making mixers, it was amazing that they could produce pres that performed that well at that price point. That was also a long time ago and Mackie pres are great if you need a lot of pres. They simply cannot compete with a good standalone pre. There's a fair amount of less than pleasant distortion happening and then you're sending your signal through a series of active inexpensive electronics. If going USB, the ADC leaves a lot to be desired. Any one of these things may be small, but they affect the sound cumulatively. Best to avoid anything that can get in the way.

 

[JustPastBuffalo]

An enlightening thread. Thanks.