VO-BB - 20 YEARS OLD!

[whalewtchr]

Just received the TM-1 back from Dave Pearlman. Turns out there was a bad resistor which he replaced, wow I'm blown away by not only Dave's personal attentiveness to the issue but also to the sound of this fine microphone.

Thought I would share three samples for you to listen to. Each file has three samples at six, ten and three inch distances. Preamp Symetrix 528e with light EQ. The Shure may not be a fair representation as it was not tested in the same area of the recording environment (so it is a little more "live" at six and ten) at three though the proximity effect of this dynamic really kicks in.

Behringer B-1

Shure SM7B

Pearlman TM-1
_________________
jonahcummings

[Frank F]

Quick notes (and my personal opinion, other opinions may vary):

Forget the EQ. Never, never, never get into proximity again! Your voice will cut through the din when the proper settings are used on a good pre-amp, which better brings out your vocal characteristics and the microphones inherent qualities,

I am not speaking against your current pre-amp, I feel you need one which matches your voice qualities with the microphone better. And, my comment does not mean it should cost more (or less) just be better matched.

SM7B: Best self noise level of the three mics, bright, more realistic sound of the three, but little body or depth. A bit brittle, best at six inches. DO NOT get into proximity with this mic, muddy, fake sound. The best for noise floor.

Pearlman TM-1: Whoa Nellie. Too much bass, unrealistic, would be very fatiguing on long form projects. Ten or six inches OK, although it is a bit deep for your voice. Lots of self noise (normal for a tube mic, but still excessive) - revise your settings with a bit less gain and more output. No EQ from now on.

A better pre might also be advised if this is to be your "Go To" mic. Although this is the most expensive of the three choices, you might be better advised to spend less (or more) and find a mic which matches the natural resonance of your voice and is cleaner throughout the frequency range when paired with your personal sound.

Behringer B-1: Mic needs to be re-voiced (new condenser capsule) and capacitor changes. Better overall sound of the three choices at six and ten inches. Still a lot of noise, revise settings on pre-amp, no EQ from now on. This mic could be tweaked for better, cleaner, less harsh high end reproduction.

Sorry, good luck.

And remember: Forget the EQ. Never, never, never get into proximity again!

Frank F
_________________
Be thankful for the bad things in life. They opened your eyes to the good things you weren't paying attention to before. email: thevoice@usa.com

[Scolaidhe]

[whalewtchr]

Frank thanks for the input it is much appreciated. The TM-1 mic does not really need any EQ at all. Agree on less gain and that the preamp might not be best for this particular mic. You are also correct about proximity. Those EQ settings were for the 99 dollar Behringer which for the money is not a bad microphone.

Yes, there is noise on the tube and yes I still need to dial it in. Everybody has a different ear and Frank your feedback is very valuable. The pre suggested for this mic is an A-Designs Pacifica. The 528e was originally paired with the Shure SM7B.

I've done two audiobooks with the Shure, a lot of narrators and publishers prefer a condenser mic as it tends to be a bit more articulate than the dynamic at lower volume, but as you pointed out, what I do not like about the Shure is the proximity effect, plus it is a direct mic and allows for little movement, doing matching audiobook pick-ups with the Shure can be challenging The plus side is the low noise floor and the rejection of ambient noise.
_________________
jonahcummings

[Jacob Ekstroem]

[Frank F]

Finding a mic to match your voice can be tedious. As suggested, keep listening and playing with as many microphones as possible.

As for pre-amps this is where the needs of the few outweigh the needs of the many. True phantom power is a must. Many power supplies advertise -48 volts, but deliver closer to 28 volts which makes a really hungry microphone and often a phat bottom end as the mic is underpowered. Included in this equation is the pre-amo's main feature: amplifying a signal which when combined with lower power creates many unwanted sounds (there is too much detail to list what this really does, so I am keeping this simple).

Test BOTH mic and pre-amp in YOUR environment. You may find a the pre-amp in your sound card is enough to power the mic properly.

I think I have said this before: DO NOT EQ. Make your signal as clean as possible when testing and USING a microphone. Thinking the "proximity effect" will make you sound more manly or stronger is not correct. Unless one knows how to work a microphone in proximity the result will be ugly mud and over modulation.

The best microphone for VO is one which is clean and flat through the spectrum,has a nice sweet-spot, and does not add any internal color to a voice. Most microphones available today were designed for vocalists (singers) not VOists (despite the marketing hype). This means it will take time and effort to find a mic which suits your particular style and needs.

Audiobook mics are another area of contention. This arena requires a mic (and pre-amp) which does not add color or darkness - which easily adds fatigue to the listeners ears, one which is also not too bright or sibilant, and one which creates a feeling of comfort within the heads of listeners.

I often suggest a microphone/pre-amp combination for each area of the VO business. A "go to" combo for audiobooks, another for radio and TV commercials, and another for narrations and performance based projects would be ideal. However this can be costly. Find a combination which works well in at least two areas and then work out the kinks for the venues you do not do often enough to justify another equipment chain. This is where experience comes into play. We each should find the area of expertise for our own personal VO style. Don't be a Jack of All Trades, Master of None. More on that subject at another time.

One more quick comment: Whalewatcher wrote: "...a lot of narrators and publishers prefer a condenser mic..." Most audio publishers do not know a condenser microphone from a Barbie microphone (which may be a condenser mic bye the way). Do not fall into the trap of doing what the crowd or anyone else does. Find the mic combo which fits YOU and your style - period.

Jen: are you hearing what I hear?

Good luck.

Frank F
_________________
Be thankful for the bad things in life. They opened your eyes to the good things you weren't paying attention to before. email: thevoice@usa.com

[JTVG]

I'm actually playing with a Pearlman TM-1 right now. It came with a slight ringing sound, which Dave attributed to the tube possibly receiving damage during shipping. He quickly sent replacement tubes (on the very evening before his wedding no less) and one of them still exhibited the ringing. The other cleared that up quite a bit, aside from an occasional, barely noticeable ring on transients when the mic is close. Dave has already promised to address this as soon as he gets back from his honeymoon. Stand up guy.

I need to speak with Dave before deciding what to do, but I'm finding myself having to EQ to bring out more of the high end I want, and cut back on that upper mid section that has a tendency to make me sound a tad bit nasally. The sibilance that sometimes troubles me on the Sennheiser 416 is mainly gone, with S's that are now a bit more chalky, but I'm finding a lack of that high end glossiness that really reaches out there and brings clarity. In your samples on your voice, you can hear a bit of that in the Behringer but it gets lost with the TM-1. That, of course, doesn't say anything about the quality of either mic, which obviously is worlds apart. And there's also something special about looking at the inside of a custom built microphone.
_________________
Joe Szymanski
http://www.joethevoiceguy.com

[Frank F]

Dave is one of the best out there. The ringing is probably not the tube, per se, but oftentimes how the capsule, tube, and transformer work together. Make sure you have "burned in" the tube before rushing to judgement. Dave knows exactly what to do and will re-voice the mic if needed. He is a good man.

The TM-1 sounds a little dark for most VO work but works great for vocals, ask Dave what it would take to make this a VO mic not a vocal mic.

Good talking on microphone choices.

Frank F
_________________
Be thankful for the bad things in life. They opened your eyes to the good things you weren't paying attention to before. email: thevoice@usa.com