Picking a Voice over Mic
 

Looking to get input on a good voice over mic. Currently I am using a Shure SM48 in the studio and the field. I would like better quality with richer sound and be able to use it in the studio and in the field.

Thoughts?

The Heil Sound PR20 might be the perfect upgrade for studio and field:
http://www.heilsound.com/pro/products/

This mic has a great sound, is a dynamic so it holds up really well, and is a favorite for radio broadcasters on remote. It can be mounted in the Heil spider shock mount in the studio, or it can be handheld in the field.

The PR40 will give you the absolute best sound of the Heil mics because of its bass pickup. The PR40 is considered by some radio broadcasters to be the best mic for their purpose (the nicest and richest sounding) of any mic ever made.

The PR20 also has a great sound, has built in pop screens, and as I mentioned is at home in the studio or on the road in the hand.

If you call Heil you can talk to a very knowledgeable person and get recommendations for your exact use:
http://www.heilsound.com/pro/index.htm
Number at the bottom of the home page: 1-618-257-3000

Traditionally, you want to go w/ a nice large diaphragm mic for studio work. Since you want durable field & studio mic, almost anything would be an upgrade. :-)

At the low end...you could consider a RODE NT3 mounted on a stand or handheld.

At the midrange...you could consider a Audio-Technica AT4053a or Audix SCX1/HC to use handheld or on a boom for interiors.

At the higher end...you could consider the Schoeps Colette Series Microphone Set - Includes: CMC6 Microphone Amplifier, MK41 Super-Cardioid Capsule, B5 Pop-Filter

Here's a short professional review of the PR20:
http://www.performingsongwriter.com/...ws/97_heil.pdf

Here are a couple of reviews on the PR30 and PR40 and some info on Bob Heil:
http://www.proaudioreview.com/june05/heil_sound.shtml
http://www.performingsongwriter.com/...ws/93_heil.pdf

After more than 30 years doing professional voiceovers (porobably 2000 paid gigs and counting) here's my 2 cents.

"Better quality with richer sound" is more a function of your pre-amp and signal chain (not to mention the TALENT of course!) than it is the microphone.

Over my career, I've probably worked in 40 different sound booths, and stood in front of perhaps 100 different microphone models - and ALL of them sounded just fine when properly recorded and processed.

Yes, some mics are more accurate - others are more "colored" - but at that point you're asking for which mic best captures the tonalities and idiosyncrasies of YOUR voice - and there's simply no way to tell that but trial and error.

So I'd take ANY advice you get here with a grain of salt.

IIRC, the great Ernie Anderson (of ABC daybook and "Love Boat" VO fame) used a Sennheiser long shotgun for a lot of VO work - an approach hardly ANY studio engineer would suggest as the "first choice" for VO work - but it "clicked" with his voice.

I'll also note that with all the mics I've owned and used over the years in my own studio, Shure SM5b to Senn 451 to AKG 414 to Neumann TLM 103 etc, as I've settled in with each, I've found myself subtly adapting my delivery to get the best sound out of each. It's not a conscious thing, it's just learning that with some early dynamic mics, a pushed "announcer style" got the best results - with others I could use the sensitivity or crispness or whatever that mic's charachteristics to get clean recordings if a LESS energetic delivery was called for.

You see, that's the problem. Not only are mics different, but each JOB is different.

So my bottom line advice is buy as good a mic as you can currently afford. Reserve some money for the recording chain it will feed.

Then forget about all the hardware and concentrate on COMMUNICATING.

Cuz in truth, a great performance on a lesser mic will sell more widgets than a crappy performance on the best mic on the planet.

FWIW

Very high on my shopping list, like budgeted for purchase right after the holidays, is an Electro-Voice RE-27 N/D cardioid dynamic. The RE-27 and its predecessor cousin the RE-20 are standard go-to mics for radio broadcast work and there's probably not a radio station or commercial production house in North America that doesn't own at least one of them. If you want to audition their sound, rent the movie "A Prairie Home Companion" - the RE-27 is featured prominantly as the mics on stage during the performance scenes and they were the live mics used for the shoot, not props. They're not really field mics but still an excellent choice for the studio. Now I'll admit I'm prejudiced because it is a good match to MY voice, a sort of baritone, and I like the sound I got when I used it during my days as on-air talent in radio. It also was a good mic for the female talent in the station as well, all of whom happened to have relatively strong voices. But it's not necessarily a mic for all voices - no mic is - and as Bill says, matching the voice and the mood of the scene to the qualities of the mic is the most important consideration. He's dead on when he says focus on the performance, not the gear. Get the best tools for the job that you can afford, certainly, but in the end the mic you choose is only a tool.

I'm going to exercise my right to vote a third time. I suggest the PR20... for the probable uses in this case... at home, on the high seas, driving down the freeway, and so forth.

Since a mic is being replaced who's greatest claim to fame is that it "offers many of the same qualities as the famous SM58 but at a lower price," it's not necessary to go to a $600 and way up mic to get an improvement probably.

As far as Heil is concerned, the PR series (20, 30 and 40) has been highly proclaimed to be better sounding than the old standbys. In any given situation and any given voice, a different mic may be perfect. (For example, since the RE20 is a bit muddy compared to the PR40, the old RE20 might be a better general purpose mic since it covers up more problems in a situation where everybody off the street is going to be coming as guests and going on air.)

The shotgun voiceover thing has been widely popular in L.A. But that's not really a suitable solution handheld leaning out on a sailboat.

Of course I agree with the posters of the professionals above regarding voiceover mics in general. But in the given case, considering price, performance and likely situations of use, I suggest the Heil PR20. (Or perhaps the PR40 for that little extra smooth on the highs and substance on the lows... but not necessarily the best while in action and hand holding by the barrel.)

(And it just occurs to me that Leo Laporte loves his Heil PR40.)]

One final note. Of course post processing has a huge effect on the sound. But the PR20 has one of the best sounds for doing minimal processing in a variety of recording situations.

for strict VO work, besides what the other guys said, once you spend about $250+ I don't think there are any bad mics, just a matter of preference, and what works best for a particular voice. Under $200 and I think you start to hear various problems.

just to back up what some one else said, I had a Joe Meek Mic pre amp which was a very nice unit. gentle compression and nice eq can even a lot out. recording with some compression can be a big help.

I have also used a shotgun to record a VO... ONCE ! I had the VO person stand back about 3ft and they yelled the VO. worked for the spot which was very high energy + compression and it sounded great, spot is on my reel BTW :) but that is really the exception to the rule. OktavaMod is one consideration, as well as the dozens of other mics once you get into the $500 or so range.

You might want to checkout the M-Audio Sputnik. It's a large diaphram tube mic for only $600, and the reviews have been very impressive. I bought one but haven't used it much as of yet.

VO Mic
 

Traditionally what is going to work the Best in a studio scenario (RE20,27, Shure Sm7, Neumann U87, and its copies) are not going to do very well in the field due to their size ,weight and stand/shock mounts required, although they could, depending on what exactly your situation is. as others have stated once you go beyond a certain price point, you're pretty much just choosing different flavors, and the quality is for the most part workable. To really properly answer your question, your budget and "Field" use description would help out a lot. There are a bunch of great mics out there that could fit your situation nicely, but why recommend something that might be out of your price range.

Like Bill Davis, I have been doing VO since slightly after dirt was invented. I review mics (and other gear) for a living.

The thing that's special about your request is you want to use the same mic in both places.

Here's a dark horse candidate for you. The Audio Technica AE5400. It's a live vocal mic that uses some of the parts of the Audio Techinca AT 4050.

I have also used my Sennheiser MHK 416 for VO. While I use my Schoeps cmc641 in the field and in the studio as a VO mic, it's a bit expensive. But worth it.

Regards,

Ty Ford

Wow loads of great information. This site is the best.

I will test some mics and see how it works with my voice and two others who will be doing the VO.

A few had questions on where the mic will be used. Jack made his suggestions based on the fact he knows where I shoot. I am on and around the water for all of my shooting. Most of the time there is wind and some times a lot of wind. The mic can get wet unless I build a custom cover which I do for most of my gear. Also most of the time I am a one man show so I record into the camera (Sony XDCAM EX1) and not a field recorder. Try climbing a mast with a camera much less a recorder.

In the studio it would be into a Firepod hooked up to my Macpro. I use FCS2 and Adobe Production so a few options. I do have a sound proof 7'x14' Auralux designed custom built room that is VERY dry so that helps.

As for my budget I can spend up to $600 this sounds like a good budget from the suggestions.

Thank you again and once I purchase the new mic I will post the direction I went and why.

Well like a few others here, I have been doing voice work for most of my life.
Voicing everything from National TV spots for Stratos Boats, to cutting billboards for many ESPN TV shows, as well as a few screaming car spots thrown in for good measure. And my favorite microphone is......... Sorry I don't have one!
Thats because there's not a single best microphone for VO's!
Because everyones voice is different.
For example, I can't use the EV RE-27 that Steve mentioned because I get weird sibilance, while I sound just fine through the RE-20.

As far as a VO mic for both studio and field?
Well I will have to say that microphones are like hammers.
Choose the right hammer for the job.
What may sound great in the studio, might sound like stink in the field.
If you are looking for an inexpensive microphone that you can cut VO's with, while being able to stand up to the rigors of field work, you might look at getting a used Sennheiser MD421 off ebay, if you have a Pre with enough gain to drive it. They are relatively inexpensive, and pretty bullet proof.

That being said...
Remember, a talented voice artist and a great engineer can get a fabulous voice over from an Electrovoice 635a hung from a coat hanger.
While someone with the most expensive microphone known to man can achieve less than stellar results.
A good set of ears, and talent that can take direction, goes a long way.

One mic for the studio you might try is the Audio-Technica AT4047

For outside I still like the possibilites of the Heil PR20. I think it would be worth calling Heil and asking about your particular rugged, wet and windy recording situation and ask what they think.

When you mentioned climbing the mast and getting wet, it occurred to me that a theater lavalier might be something to try if you had the chance. You could tape it down, use a mini rycote and it would be bothered by splashes.

Hi Jack,

I do have two wireless Lavaliers and they work great. But there are a few clients that want to hold a mic. Keep the client happy. I have looked into testing a few mics but the only one I was able to test today was a AKG-C5. The mic sounded nice but it was not my studio. They did not have Heil mics. But yes I will give them a call.

I also understand it is the talent and engineer who can make or break the sound. But I also need a decent piece of gear to get started.

With all the input it sounds like I should buy two mics and that might work with my budget. The search goes on.

To Bill Davis:
That was so well said, I don't think there is anything to add!

A few had questions on where the mic will be used. Jack made his suggestions based on the fact he knows where I shoot. I am on and around the water for all of my shooting. Most of the time there is wind and some times a lot of wind.
SNIP
As for my budget I can spend up to $600 this sounds like a good budget from the suggestions.



At that budget and with that specific need - you want a really "out there" suggestion? Look up the Coles "lip" mic.

It's one of the weirdest mics ever made - designed to press against your upper lip when you use it - but that very design makes it INCREDIBLE for noisy or windy locations.

Then again, never having had the occasion to own one, I'm not sure how moisture proof it is.

Anyone have direct experience with that?

Not directly, but its a ribbon mic and those I've known who have used it say it's a "last resort" mic, so the fidelity is not that great.

Interesting though,

Regards,

Ty Ford

VO Mic
 

Considering the possibly rough terrain it will be subjected to, you might want to look into an AKG C1000s, it is like a rugged-ized small diaphragm condenser that can operate from a 9v battery, and comes with an adapter that can change the pick up pattern from cardioid to hyper-cardioid. and you can hammer nails with it if necessary. not to mention that it sounds pretty good as well, and should give you what you're looking for both in the booth and the field.

Thanks for adding more info. If I can restate your requirements:

1) You would like to upgrade your existing mic to get a better product for your clients. You are currently using a dynamic mic that is more suited for a live sound vocal.

2) You have a budget of $600.00 to find a single mic that would fit all your invironments or a combination of two mics that could work in the studio and the field.

3) Your stated "in the field" invironment is wet & windy...and sometimes your talent wants to use the mic as a hand held unit.

4) You're a one man operation recording directly to camera (no mixer?, no limiters, no EQ roll-off).

A final question... Is the VO work "on camera" or "off camera" or both?

Jim from the input and research it looks like i will go with two mics since I am cutting my self short with just one. So let me edit your stated requirements.

1) I would like to upgrade my existing mics to get a better product for my clients. I am currently using (Sure SM48 in Studio for VO, Audio Technica AT897 shot gun, two Samson T32 Lav, Zoom H4, plus camera mic).

2) Since audio is just as important as the video I will up my budget to $2000. Yes this is a huge increase but with this I expect to purchase a nice VO studio mic and upgrade my field mics.

3) You stated "in the field" invironment is wet & windy...and sometimes your talent wants to use the mic as a hand held unit. YES, but I can talk them into the Lav if the quality was there currently it seem too low quality most of the time.

4) You're a one man operation recording directly to camera (no mixer?, no limiters, no EQ roll-off). YES, it is tough for me to have extra gear on me since I am on the move. Currently I have 24 lbs on me when hand holding the camera (two KS-8 gyros, custom shoulder brace, Sony XDCAM and cover, Gyro battery, Lav, shot gun). So I don't know how I could use additional gear.

A final question... Is the VO work "on camera" or "off camera" or both? Both most of it up till now has been taken from the field except a few jobs. But two upcoming jobs the client has asked for studio VO with their talent. This is the spark plug that has started this search since they are excellent long term clients.

Thanks for helping to dial this in. I could go higher with funds but it really must be worth the extra dollar.

Paul,

Thanks for sharing your experience. If I may, you have hit the wall many shooters hit. Some keep hitting it and never get that their craft has ascended past the point where one person operation is feasible.

Adding another person to your crew and having the right gear would allow you to get the job done better. I know the concept of working with other people can be off putting to some, but it really is the only solution to getting to the next level.

I work for others as an audio person. I know how to shoot. I have an XL2. I have lights. I don't know everything about lighting, but I do OK for the kinds of shoots I get hired to do.

I get hired to do audio because I remove the responsibility and pure burden of making sure the audio is done right. I am their insurance policy and I also help them grip. light and hump their gear. That's the sort of person you need to partner with.

Yes, your client will pay more, but face it; we all run out of resources at some point. I think you have reached that point. To get to the next level you need good mics and a mixer and someone to operate them. Congratulations, you are growing!
Regards,

Ty Ford

Chirping in from left field... Ty's point about having a sound person is so on-point. As primarily a shooter, while I will probably add some better mics to my package, if audio is really important, I hire a sound person. They not only have great mics, but they are familiar with them, a big plus.

But most importantly to me, once Tape/HDD/Card is rolling, so to speak, as camera op I find my attention to framing and observing talent puts my attention to audio monitoring in a distant second. Plus, as Ty mentioned about sound people willing to grip a bit, setups go faster, giving your client(s) possibly more/better video for the extra money as well as better audio.

A good test for me has been if I have to ask myself; "I'm hearing the (plane, air conditioner, elevator motor, background voices, etc.) in the shot now, but how long have they been there before I've noticed them?" If you can't accurately answer...

Ty and Eric,

I appreciate what you are saying but the extra cost is not in the budget for this coming year. After say 30-50 more jobs yes that would be one of the next steps but this year I am still going to be a one man show. Yes I am growing but trying to keep control of that and not just add staff or subs. So for now I will upgrade my mics and try and do more interviews on site so I can concentrate on audio and also more studio VO. Maybe a field recorder when so I can take the time to do interviews with camera on tripod in the field? And then when I shoot I can concentrate on the money shots.

Any more mic input based on my current set up?

If I can add my 2 cents, since you say that so much of what you do is in high moisture level environments, I'd strongly suggest you look at dynamic mics for your field recording work. Condensor mics are moisture sensitive and can get very noisy or die altogther when in a condensing humidity environment or get splashed with water. Dynamic stick mics like the EV-635 or RE-50 will keep on chugging when a high-quality condensor is dead as a dodo due to moisture on the diaphram.

Paul,

I'll give you one thing; you're hard headed. :)
And I mean that in the most fun way possible.

To write off getting help for an entire year (or 30-50 jobs). How do you come up with those sorts of figures?

You don't want a mixer, but now you're talking field recorder! Dude, we're giving you the stright dope and you just don't want to hear it.

Up your rate and get some help or you will hit the wall; something you don't see or don't hear. If you are very, very lucky, you can cover your butt when you screw up. Or you'll break your gear because you're running on pure adrenaline and when the blood sugar drops, so does an expensive piece of gear.

Step away from the high octane caffeine beverage stand for a moment.

YOU CAN'T DO IT ALL AT A HIGH LEVEL OF QUALITY. That's all I'm sayin' on the matter.

The mic to get for hand-held field use is the EV RE50, btw.

Regards,

Ty Ford

Yes Ty I can be hard headed and don't worry I have thick skin.

I came up with that number since half of those jobs are booked and the price is set. So I cannot go back and increase by 40% now. And with a year more under my belt I will be able to take on a full time person.

I understand what all of you are saying and I agree a sound person would be excellent. Also an office manager when I am on the road would be great. But having run multiple very successful businesses since 1985 I have to trust my gut and experience. That said if the new clients will pay the increase fee for a sound person I will hire a sub and get my feet wet. Given the chance it will also let me hunt for an employee better yet a sub who I can build a long term relationship.

I do listen but I also always trust my gut when it comes to my business. And I value the input from DVinfo.net.

Paul,

Gotcha. I understand your business plan and thanks for sharing. Be sure and take your vitamins. Sounds like it could be a long year.

Should the renegotiation offer itself, and they frequently do, hopefully you'll have someone to plug in to help you.

Regards,

Ty Ford

With the new information, I will make more suggestions:

Outdoor:
-----------------------------------------------
1. Get a good sounding dynamic handheld mic. I have also suggested the Heil PR20. I think this may well be the best sounding. However, there are several others that are commonly used by broadcasters, several in stormy weather (perhaps the most popular being the EV RE50, though I don't care for the sound of this one as much. The EV RE50N/D-B has better output which might be better with the weaker pre-amps on the camera:
http://www.bhphotovideo.com/bnh/cont...arch&Q=*&bhs=t
(Call the local TV station as ask what mics they like for their reporters for the coastal storm stories. Maybe they'll let you try one in real life conditions.)

2. Get a windjammer that will fit the mic. The one for the RE-50 is at the above link.

3. Get a Samson plug-on transmitter for the handheld that will transmit to one of your existing Samson receivers. They are in the last half of this list:
http://www.bhphotovideo.com/bnh/cont...arch&Q=*&bhs=t

Indoor:
-----------------------------------------------
1. First, I would go at this with the advice above of looking at the entire signal chain. A. Mic-> B. Pre-Amp-> C. Recording Device-> D. Post Processing.

A. Microphone: I don't believe it's necessary to spend $1000 for a mic for your use. I think there are several good choices between $300 and $600, with maybe one you might try at $99.

I have already suggested the dynamic Heil PR40 (which should match nicely with the Heil PR20). I also mentioned the Audio-Technica AT4047SV, which is used by some TV networks in location voiceover booths. I think the Audio Technica mics are frequently used by the networks, because of the price/performance issue as they need to by many mics for some one-time events:
http://www.bhphotovideo.com/c/produc...tudio_Mic.html
This mic is worth trying.

There are a lot of other suggerstions in the posts above. In my opinion, rather than using one of the expensive dynamic studio mics, I would pick the Heil PR40 for its much lower price and its equal or better sound in the dynamic studio selection. A dynamic studio mic could also be used on location without worriying about damaging it in travel, etc... though not as convenient as a handhelf for on boat use.

If there is an Audito Technica dealer around, you also might try the AT4050 (multi-pattern):
http://www.bhphotovideo.com/c/produc...tudio_Mic.html
This is also a location studio voiceover mic used by some TV networks.
(The AT40470 abd 4050 both come with a studio shock mount.)

And I would be remiss if I didn't suggest trying the AT2020, fairly recent large condenser from Audio Technica at $99:
http://www.bhphotovideo.com/c/produc...icrophone.html

B. Preamp: Whether this is a standalone unit, in a mixer, in a USB or Firewire input box make sure you have something that is clean sounding with absolutely as little noise as possible.

The signal has go get into the recording device, be it computer, camera or digital recorder. The preamp will be a part of this. It will be worth it to improve on the camera pre-amp.

If you are going to increase your crew in near future, it might be worth it to invest in a Sound Devices 302 mixer. You could use it in the studio or in the field.

If you are going to record into the computer, you need a good audio interface. E-mu makes the 1616m that can be used with a laptop and has good preamps. There are a lot of other choices, some fairly new on the market. If you only need one or two channels there are some high quality units that will get you pro mic into a computer for a low few hundred dollars.

C. Recorder: I touch on this above. The first decision is how you will record. The options seem to be

(1) Camera--Add a good mixer or pre-amp and record in DV mode to get uncompressed PCM audio (in other words, don't do the studio recording in HDV mode--though I don't know what camera you're using, but the point still applies)

(2) Computer--you need a quiet laptop or a computer in another room to avoid noise.

You need an interface to plug your mic into that will take the signal into the computer via USB or Firewire. Or you may have a sound card that supplies this interface.

You need a program to record into, anything from an NLE (not my recommendation) or an audio program such as Adobe Audition or even the free Audacity.

(3) Digital Recorder--there are some great little choices that could be used in the studio or on location. I have a Microtrack, which just came out in a new versions vor $299. It accepts balanced inputs, records high quality wav as well as mp3, etc. (The Microtrack has a built in rechargable [not removable battery] or AC power.)

There are a lot of other options as well, with the choice constantly improving.

D. Post Processing--you will want at least want to apply a little EQ and compression to make the recordings sound good. This can be done in some NLEs, in the free Audacity, in Adobe Audition, in the program that comes bundled with your Firewire or USB audio interface.

A multi-track program (like most are) will also allow you to add some on-scene ambience, add effects, or whatever.

==================================================

So my bottomline plan is:

1. Make an overall outline or plan of what and how you will capture and record for each situation you envision.

2. Spend the money for things that make the biggest difference. Don't spend money for negligible quality increase.

3. Get microphones that can continue to be used in the future. That is, even if you upgrade audio, the stuff you get now should continue to have a use, even if specialized, in the future. (One exception might be the AT202... it might be a great choice now, but be replaced later.)

Ty,

If the clients will go for the extra funds that would be great but most are set so it will have to be new jobs.

If I get a job in the Annapolis area which happens in spring and fall and need an audio person for a job I will send you a email.

Thank you for the input.

Nice job on the guitar I enjoyed it.

Great stuff Jack thank you!

With your revised requirements, I'd probably take a look at these selections...

1) Studio mic/ large diaphragm for male & female vocal... Audio Technica AT4050 (3 polar patterns)

2) Field mic / handheld... Sennheiser MD46 (Cardioid dynamic)

3) Lavs / Sanken COS 11, Countryman B6


They all would be a serious upgrade and help you continue to build for the future. Next I would look to add a good portable mixer...like an SD 302.

Sennheiser MD46:
http://www.bhphotovideo.com/c/produc...namic_ENG.html

The AT large condenser mics are nice. You might also check out Rode's large diaphragm mics. I've found them to be clean and relatively uncolored. The NT-1A is a good place to start, and they only get better from there. Much of the choice depends on if you want a variable pattern, pad, cutoff and/or tube front end.

Some people pitch Studio Projects' stuff to be "as good as a Neumann." Right. I find them to be too scooped. That can sound "pretty", but not accurate, and it won't be consistent across many voices.

If you get a chance, go you your local music store and check out a number of large diaphragm condenser mics. You might even bring your own headphones/mixer, so you know how it sounds through equipment that you know. Try each mic at various distances and volumes. Try jangling your keys in front to test high-frequency clarity. You'll be amazed at how different the responses are. Get something that sounds natural and compliments the target voice and that is clean across the spectrum. It should also have reasonable gain. Lean towards natural, rather than "pretty". "Pretty" mics are often overly scooped. Leave drastic EQ measures for post - especially for a vocal mic. (Bass drum mics are another story - they're scooped to death! "SMACK-Booooom")

Record with a pop filter. I like to position the mic in front of the nose or eyes, rather than in front of the mouth. You avoid plosives that way. Play with the distance. You get more bass the closer you are to the speaker. And don't be afraid to EQ in post. Focus on getting a natural, problem free recording from the mic. Making it "pretty" can be left for later.

There's a very flattering user review of the Rode NT-1A at B&H:
http://www.bhphotovideo.com/bnh/cont...rToReadReviews

Here are a couple of reviews of the Rode NT1-A:
http://www.digitalplayroom.com/rode/.../nt1review.htm


http://www.soundonsound.com/sos/may0...les/rodent.htm
This review also discusses characteristics of this type of mic and the different patterns, and thus may be of interest.

My solution
 

I don't have the experience level of most folks here and I've learned a lot reading whats been posted.

I was trying to do VO with an inexpensive small diaphragm dynamic direct into the sound card input on my PC. OK but not what I wanted. So I ordered a Studio Projects VTB1 preamp with both solid state and tube stages with a control to "blend" the two.

I purchased a Sennheiser e935 to use with it and found more control. But the kicker was when I tried an old Radio Shack dual pattern condenser mic (I almost threw out 25 years ago!) with the preamp and it made it sound great for my voice.

I'm 69 and my voice has lost some of the "timbre" it used to have 15 years ago. It has gotten softer and a condenser mic works better for me because of the clarity, a dynamic like the Shure's or Sennheiser allow some "fuzz" from my voice to creep in. The tube stage in the preamp lets me blend in a bit of warmth and "weight" to add to the crisp clarity of a condenser mic.

That's my solution, but it works for my voice.

There's been a lot of great advice here.

Good reviews. If anybody heard harshness with the NT1-A, they were probably running their signal path too hot. (Been there, done that.)

Overall, I find that the NT1-A has a moderate scoop, a smooth presence peak and no sharp resonances or bad behaviors. Get up close and you can get good power from a bass voice. The highs are crisp and clean (unless overdriven, of course.) It passes the key jangling test well without sounding harsh or crunchy. (I compared it to one MXL mic, not sure the model, that sounded like gravel in a cement mixer by comparison.)

But don't take my word for it. Listen to as many mics as you can, and choose the one that best suits your needs. You should have no regrets after you bring your new mic home.

Geez this is getting complicated.

Let me see if I can make it easier.

Go online and buy the following.

A Shure SM7 mic for your studio. It's a studio dynamic that sounds great. It's forgiving and you can "eat it" for maximum proximity effect to sound more "radio-like" until you actually learn how to perform VOs properly - whereupon you can back up and get better recordings. It's easy to get parts, replacement windscreens, and anything else you need so that it will still be working in 20 years. That'll take up no more than $500 inc. tax and shipping.

Next get a Symetrix 528 Voice Processor. It's a mid-range professional pre-amp and voice processor. Do your absolute best to LEAVE THE CONTROLS ALONE. Well, let's be realistic. Go ahead and play around with all the knobs for a day or two, then go back and re-set them at the detents and DON'T TOUCH THEM for at least a month. Then if you think you need to use something like reverb or compression - add one click to one control and live with that for another month. The point is not to make you sound like someone ELSE - but to capture you sounding like YOU. Natural YOU. Un-futzed with YOU. Not the YOU you hear in your head from bone conduction and sinus resonance - but what YOU sound like to everyone else. THAT's your natural voice. Your REAL voice. That's why you need to leave the knobs alone for a LONG time. So you get to know what YOU actually sound like. That's another $500.

Finally, get a decent dynamic stick mic. I like the Beyer M-58, but the AT RE-50 is just fine as well. That'll be another $250 or so.

That's it. Put away the other $750 bucks. You don't need to spend it. You'll have enough gear to do all the VO your voice is prepared to handle right now.

If you decide to take voiceovers seriously and want to get to the point where you can really benefit from spending more on gear here's how you do it...

5 out of 7 days for the next few YEARS - spend between 5 and 15 minutes ONCE A DAY reading copy out loud. Doesn't matter what you read. Read the phone book - or the want ads - or trashy novels. Why? Because your voice is MUSCLES. Diaphram, larynx, jaw, tongue, etc, etc, etc.

Want to succeed as a runner what MUST you do? RUN EVERY DAY. Train your muscles.

Want to train your voice? DO VO'S EVERY DAY!!!!

This won't necessarily make you great - any more than hitting baseballs in your back yard will make you as good as Hank Aaron. Some people are simply born with superior talent for some things.

But to think you can announce simply because you can talk - is a lot like thinking you can win a 10k simply because you know how to physically run.

Not the way it works.

Good luck.

Paul, it's been a few days since your exchange with Ty over the need to hire a dedicated sound person, but I just came across this thread and thought I'd add my two cents. I have a business partner that I'm shooting a documentary with. There have been a couple of times when we've had to split up and I've had to cover the doc shooting dates on my own, running the camera and doing the audio, and guess what -- I completely botched the audio. Twice! Keep in mind that audio is my thing. Fortunately it happend on our project, because if these had been paying jobs I'd have been fired.

So here's a nice write-up on the Shure SM7:
http://www.buzzle.com/editorials/11-7-2005-80787.asp

It appears the mic is $350:
http://www.bhphotovideo.com/bnh/cont...arch&Q=*&bhs=t