VO-BB - 20 YEARS OLD!

Tom Test · DC Joined: 23 Jan 2007 Posts: 629 Location: Chicago, IL

I have been running with ISDN for about a year and have had enough sessions to pay it off many times over - but more importantly, feel confident enough with it to offer my services to some of the big production houses that require ISDN.

I'm Chicago-based, and my go to mic in my studio is the Gefell M930 (very similar in sound to the TLM-103 that many studios use). But a lot of studios here and in LA use the Senn 416. What I am asking is, should I invest in a -416 in order to do business them these productions houses (ProComm, Voice Hunter, SunSpots, etc)? Wouldn't it be an advantage to be using the "industry standard" mic that they use?

Or not?
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Lizden · Posted: Fri Apr 20, 2012 4:15 pm Post subject:

IMHO: No.

I booked a gig with a large company last week that will be recorded in the next week or so.

My contact sent me the technical specs that they got from their engineer which included the audio format they wanted and the words "a Neumann U-87 microphone would be ideal" Laugh

I sent them a test file from my space and told them that although I didn't have the U-87, I had its "little brother the TLM103"

The engineer came back after I sent my test file with the comment "no issues"
Laugh

It's all about how well treated your space is, how clean your audio files are & how YOU sound.

YMMV Wink

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Bruce · Posted: Fri Apr 20, 2012 4:33 pm Post subject:

I'm with one of those houses, do quite a few spots and narrations a year through them, and never once have they asked me what mic I use. As long as it sounds good it doesn't matter.

I use a standard side address condenser mic (GrooveTube). I've got a 416 hooked up if they ever want it, but in over five years now they haven't said a thing.

From my readings here and my personal experience 416's are only a plus for people who do promo and trailer work. I save mine for only my most "announcery" stuff.

B
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Chuck Davis · Posted: Sun Apr 22, 2012 4:06 am Post subject:

It still comes down to what sounds right on you. Shotguns work for me. I discovered that after trying/owning a number of LD condensers in both fet and tube flavors.
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Ed Gambill · Posted: Sun Apr 22, 2012 8:05 am Post subject:

And I thought I was the only one who has a Grove Tube Microphone.
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Rob Ellis · M&M Joined: 01 Aug 2006 Posts: 2385 Location: Detroit

Tom,

Count me as one of those who didn't immediately bond with the 416...

HOWEVER

It can do some things that many other mics simply can't do.

To me it's worth it to have one. I only own two mics---and one is a 416.

If you get one, give yourself some time to learn how to work it, and to get comfortable with it. For some VOs it is definitely an acquired taste.

Worth having? I say yes.

samowry · Posted: Sun Apr 22, 2012 4:42 pm Post subject:

I have a Groove Tube too!

Philip Banks · Posted: Sun Apr 22, 2012 11:06 pm Post subject:

Indeed a 416 can do things other mics can't do and looking awful and sounding yeuk never did Arrowsmith any harm.

Dayo · Cinquecento Joined: 10 Jan 2008 Posts: 544 Location: UK

A timely post this one. I've had a 416 in my locker for about 12 years and I've many times blown hot and cold on it - not literally, of course
I'm back in a hot phase now. Here's why:

There is something unique about the way this mic reaches into your throat and pulls the words right out of you.

It has extremely low self noise so I can work at volumes hardly above a whisper without a ton of hiss to deal with.

It's nicely articulate. By which I mean, it doesn't smash and mangle my consonants into horrid peaky approximations of how human speech actually sounds in real life.

And with the right pre it's bigger than life.

But I didn't always know how to use it - maybe that's why I've been hot and cold.

Firstly, although it is forgiving of less than perfect rooms, it's sounds absolutely stellar in a room that's really well treated.

Secondly, we all know that good mic technique is vital to get the best from the mic. There is actually quite a wide sweet spot, but when you really get to know it, you'll find an extremely narrow "super-sweet" spot. I guess that's where the presence peak is at it's greatest. It takes some careful positioning to ensure you stay in the zone. Then of course there's mic distance; I used to work it too close and get bass overload.

Lastly, I think this mic really shines on reduced volume reads - 98% of what I do these days. Having said that, Emma did a high energy read on it this morning that sounds quite fab - even with a kitchen sink-load of post processing. (Happy to share if anyone wants to hear).

So, all in all, the 416 not the easiest mic to get along with, but this month it's absolutely killing my vintage U87 in every department.
Smile

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

If you're a savvy e-bayer you can pick up a 416 for around $700 and should be able to re-sell it for about the same if you don't like it.

They re-sell quite well on ebay

Chuck Davis · Posted: Mon Apr 23, 2012 7:10 am Post subject:

...and as is often said here when these mic's come up, the MHK-415T can be had for even slightly less. $500 or so. They're a touch warmer than the 416
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Dayo · Cinquecento Joined: 10 Jan 2008 Posts: 544 Location: UK

Donna · Posted: Mon Apr 23, 2012 12:29 pm Post subject:

416 has been my fave for almost two decades.
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Dan-O · The Gates of Troy Joined: 17 Jan 2005 Posts: 1638

georgethetech · Posted: Mon Apr 23, 2012 6:38 pm Post subject:

+1 what Dayo and Dan-o said, saved me a lot of typing.
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