Jacob Ekstroem
Club 300
Joined: 28 Oct 2007
Posts: 317
Location: A padded room with no windows somewhere in Scandinavia
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 Posted: Tue Jul 20, 2010 3:49 pm Post subject: |
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| Hestoft wrote: | Is there something about the 416 sound in a home studio that makes it work, or is it the noise reduction that a well-aimed shotgun provides?
With all the talk of them here, I feel that I should have one and should master it, but is that really the case? Will I ever encounter one in the wilds of Chicago? Is the sound of a 416 the "special sauce" that gets a lot of home studio guys (and gals) gigs? What is it about the 416? |
I can tell you, a lot of VO newbies have made a very bad $2000 investment thinking exactly like you: "Oh... all the big guys in LA uses it, so I guess I need one, too!"
Big mistake. Huge.
First of all, yes they DO use them in Chicago. They use them for nearly all voice-overs produced for TV and theatre promos and trailers. Why? Because that's the sound they want - the crisp, "cut-through-it-all" kinda sound. So, if every VO talent got one, they would all sound exactly like "that movie-trailer guy", right? Of course not. Movie-trailers are done by talents who are perfect for, well movie-trailers. The 416 is a tool, not the solution.
And trust me - it's NOT a solution for masking a bad recording room - on the contrary! Yes, it does have good off-axis rejection, because it was designed for something completely different than VO. It's also extremely sensitive on-axis. So if your room (or mouth!) has issues, the 416 will make them worse.
Working a 416 well takes exceptionally good mic technique skills. It's NOT for everyone to play with.
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Regards,
Jacob - Danish Voice Overs (try it... it sounds really funny, too!) |
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