VO-BB - 20 YEARS OLD!

Frank F · Posted: Wed Feb 22, 2012 4:45 pm Post subject:

Let's all take a good look at the mics listed:

AKG C-414 (ULS- cool

: I like this mic for women, but it can be muddy on Alto voices and lacks some body in the upper mids when used as a VO mic.

EV PL-20/EV RE20: These are essentially the same microphone - one is just the updated version of the other. Great mics for broadcast. Dynamic. Works well for "larger" female voice. Limited frequency response in high end, but good body - for a dynamic mic.

ADK A-51TL: I have limited experience with this mic but have found the lower frequencies lacking body leading to a muddy sound on Soprano voices. In my opinion is lacking something for VO; something which I cannot put my finger on --- yet. This is a multi-pattern mic which as a VO you will likely be using it only in omni or uni-directional. Can be bassy/muddy when used in proximity for Baritone, Tenor, and Alto voices. Best used at approximately 10 inches from the mic --- and with a high end pre-amp.

I use different mics for different voices in my studios. Based on your demos, I would start you out on a C12 - but this mic is pricy . There are some knock-offs which are not bad at fair prices, and this might be something I would consider for your voice.

Again, choosing a microphone is subjective. Don't listen to other peoples opinions - even mine - without a great big grain of salt.

Frank F
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Rob Ellis · M&M Joined: 01 Aug 2006 Posts: 2385 Location: Detroit

I went back to a TLM 103 recently ....it's pretty nice with the RIGHT pre-amp.

With the wrong pre, not so much. Very pre-dependent.
They can be had in good shape (if you know how to shop ebay)
on ebay for around $600-700.

Kelly Brennan · Contributor Joined: 07 Dec 2011 Posts: 31

@Frank, I just picked my jaw up off the floor - yes, the c12 at $5 grand is not currently in my price range. Thanks for picking apart the others suggested. I'm going to head to a shop and do some tests. I wish they would just let me bring a bunch home but I don't see that happening!

@Rob - the TLM103 has certainly gotten some votes!

Thank you!

Rob Ellis · M&M Joined: 01 Aug 2006 Posts: 2385 Location: Detroit

there are purists on the web who bash the TLM 103---mostly cuz it gets compared to the U87.

But it's a matter of record that a number of VO folks do quite well with a TLM 103. I had one in 2008, and then listened to the critics, sold it, and spent 3 years trying other mics.

In late 2011 I went back to it, and it has more than earned it's keep since then.
Laugh

Frank F · Posted: Wed Feb 22, 2012 8:23 pm Post subject:

Kelly,

Just want you to know what is what and why.

The TLM 103 has proponents and opponents for the female voice. As Rob mentioned, it is very pre-amp dependent. In many cases the pre will cost as much as the mic, but then again, you will or might have a great recording set-up at that point.

Frank F
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sounddguy · Posted: Wed Feb 22, 2012 8:52 pm Post subject:

Frank F · Posted: Wed Feb 22, 2012 10:03 pm Post subject:

I to ask, but I thought you would know. I will put together a list in a moderate price range, then post here.

F2
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Philip Banks · Posted: Thu Feb 23, 2012 1:13 am Post subject:

I suppose if we're going down the pedantic road it's about .

1 - The voice (ability)
2 - The room
3 - AOB

I know a number of FVOs who in the AOB category use the TLM103.
Elisa Canas and Jenny Dunbar are poles apart in terms of tone yet the mic works just fine for them.

In over 20 years of being a voiceoverist I have never attended a studio session during which the sound engineer listened to my voice or that of my female co-performer and then went to a cupboard and changed one or both of the mics. A great deal of the subtleties in the performance of a mic and to some degree a pre are only relevant to female or male singers
when in a studio producing their latest album.

Darren Altman · Posted: Thu Feb 23, 2012 1:45 am Post subject:

I'll agree with you Philip. Audio (music) producers are the ones who obsess about microphones and will jump at the chance to try out different mics given half the chance. When voicing in studios, I have found that the vast majority of the time, the mics up are either the U87 or the TLM 103 and on very rare ocassions, something else. I, like Philip said, have never seen the producer either comment on or change the mic when a female is in the booth.
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ricevoice · Posted: Thu Feb 23, 2012 7:22 am Post subject:

Re: my earlier suggestion of swapping out the tube of your NTK... I'm not the least bit engineeringly inclined and it really is a breeze... a good tube will run $50-100, much cheaper than a new mic. I actually prefered my NTK (even with the stock tube) over the TLM-103 (though I never tried the 103 with a boutique pre-amp).

Another option to throw out there: I believe a number of ladies on the board are now using the Sennheiser MKH416... I've heard they can be pretty hit-or-miss on females voices, but when they "hit" they really work well. New on e-bay they're just under $1000, and there's a factory refurb right now listed for $850 (I bought one from that seller a few months back and it's good-as-new). Really, that's about the only mic I ever see anymore when I go out to studios here in Sac and SF... even the venerable U-87 seems to be stashed in the corner lately.
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Kelly Brennan · Contributor Joined: 07 Dec 2011 Posts: 31

I currently go from my Rode to an Apoggee One to my Macbook Pro. While it may be a modest set up, it has been working (last two months have been my best two months ever - could also have to do with the fact that I've been marketing more and more).

I think I may test drive the TLM and then post here for a few opinions. Look for it in the next few weeks.

Thank you!!

Diane Maggipinto · Posted: Thu Feb 23, 2012 8:37 am Post subject:

kelly, are you hooked in with other vo talent in your area (buffalo? jamestown? erie county? where you be at? [as they say in utah...]) that may be one place to start--find other talent, determine what they have, try out their mics?

i've used an re-20 for years, first in radio, now in voiceover, but only for telephony, whereby the files are converted to a low sample. i wouldn't use it for narration, billboards, ads ... the other projects for which i do voiceover. however, for rote production work such as telephony, it's great!

btw i have an at 3035 which is generally a good go-to mic for me. still, i dream about one with a less brittle sound but just as full. it's quite sensitive, but i've learned how to work it (and recently re-learned. thanks, frank!)

i also have a shure sm 7b. while fantastic sometimes, other times it is extremely sensitive (if i'm standing a bit off from where i should be, for example) and hence, resultant hard consonants and blends make for tricky editing Frown

but i persevere ...
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KaraEdwards · Posted: Thu Feb 23, 2012 9:43 am Post subject:

The only way to truly know if you are suited for a mic is to put it in your environment and take it for a test drive. After using a Senn416 for a while in other studios, I bought one and put it in my booth. Blech, ick, and ew. I traded it for a TLM103 and have been happy ever since. I also use a Lawson L47FET and love the bright, crisp, clinical sound.

Keep in mind that during the creation process, there are subtle nuances inherent between mics- so one TLM103 could sound ever so slightly different from another. I do believe Sweetwater lets you purchase a mic and return it if it doesn't sound 100% the way you want it to in your studio. That could be a good way to test drive several different choices.
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Frank F · Posted: Thu Feb 23, 2012 10:44 am Post subject:

As I stated earlier, mic purchases are a subjective thing. Although personally I would never use a 416 on a female voice (unless in ENG or EFP - field recording) as you have heard - for some of the Ladies it works.

Rather than make a long and detailed list of pre-amps; I will simply explain the requirements for a good match with the TLM 103 for female voices:
High gain - many pre's only have a 45 db gain - for this mic a 60 db gain is a must,
little or NO coloration,
very little EQ capability,
Preferably a tube pre - preferably not a channel strip. (Although I am leaning to some of the top end channel strips lately - see below.)

Think Avalon 737, Universal Audio 710, True Systems P-SOLO, Cloud Microphones CL-Z (although this IS a channel strip style), Burl Audio B1D, and my favorite - if you have an ATI Lunchbox - Maag Audio PreQ4 with Airband.

As Lady Diane Mggipinto has mentioned, sometimes it's just a matter of placement and knowing how to work the mic - which makes a difference. Before a recent theft I had a huge microphone closet in my studios, and would select the mic for the talent from a few "goto" mics. But, unlike many studio engineers - I listened to the talent before choosing a mic. Reason: I like to make it right the first time and I do VO. VO is not a throwaway project in my book.

Work your mic, don't let it work you.

Hope that helps.

Frank F
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Rob Ellis · M&M Joined: 01 Aug 2006 Posts: 2385 Location: Detroit

I would add that with the 103 not only is the right pre-amp critical but mic technique and positioning is critical---esp mic position...much moreso than with most mics

Surprisingly, I just tried my 103 directly into my Apogee Duet and it sounds quite good (usually run it through a Universal Audio LA 610 MKII)

So your Apogee One MAY also pair well with the TLM 103