VO-BB - 19 YEARS OLD!

tokyofan · Posted: Fri Nov 17, 2006 6:15 pm Post subject: mic choice for close proximity?

I have a small treated vocal booth and am using a TLM103 with a Stedman pop guard. The sound is crisp and bright but very sensitive to pops, clicks, and mouth noises---especially in a tight space. I usually don't have any problems in regular studios...so I think it's the mic and close proximity. Would there be a better mic choice? Spending too much time editing.
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brianforrester · Posted: Fri Nov 17, 2006 8:03 pm Post subject:

Hey Chris,

Regarding the noise etc, I'd go so far as to say that there's propbably not a problem with the mic.. you've got one of the betters ones in my opinion! However the TLM103 is VERY sensitive to pops and clicks etc...!

The first thing that I think of as causing the issues is possibly your technique... sorry to be critical, but in most cases when you're getting a lot of mouth noise and hot p's and b's, you're not using proper technique and/or warm-up methods. There's a wealth of info in the archives for reducing both of those nasty little buggers, however there are a few things that you could try on the hardware side of things... one, is to back off the mic and increase the mic gain... in most cases you want to be 4 to 6 inches off of the mic and in some cases even farther. For my personal uses, the only time that I'm closer than 4 inches to the mic is when I'm trying to get a bit of proximity effect into the sound or want a very very rich and rumbly bass sound. Two, move the pop filter off of the mic, so that it's about 3 inches away from the screen of the 103. I've found that with my 103, if I have the pop filter too close to the capsule, I might as well not even have it at all... I don't understand why, I just know that's the case with my setup. Of course my technique and the nuances of my voice will be different from yours and the use of the pop filter may therefore be different as well.

Hope this is helpful! Good luck with it!

Cheers,

Brian
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marko · Guest

I'd reply, but Brian said it beautifully!

Best of luck.

CWToo · Guest

Mouth noise? Try this little secret: A quick swish of Listerene! It'll clear up that mucous that causes a lot of the clicking and popping. And it's one hell of a lot cheaper than a new microphone.

tokyofan · Posted: Sat Nov 18, 2006 8:07 am Post subject: re:

Thanks for your thoughts. I've been doing this for a while and it's not a problem I normally encounter recording anywhere else other than my booth. I'm guessing it's the close quarters and very sensitive mic. It's not so much popping as it is audible clicks, breaths, minor mouth noise (on occasion). I thought perhaps another mic might play down the extraneous noise. I'll try adjusting the pop shield. Maybe mic placement as well.
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Chuck Davis · Posted: Sat Nov 18, 2006 11:47 am Post subject:

I use a 103 at my radio gig and notice the same sensitivity issues you've encountered. One solution I encountered is the use of a foam windscreen rather than a popper-stopper type. This was by accident of sorts. I started using the foam as the stocking type windscreens don't last long in an abusive radio station atmosphere. The main downside is the loss of some of the "airy" highs that the 103 is so good for.

Just an idea.

I use an NTK in my regular studio. No problems with clicks as pops with 4-6" of distance on that mic.
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Frank F · Posted: Sat Nov 18, 2006 1:51 pm Post subject:

So far the focus has been on equipment with some minor comments (which are very acropo') about technique and mic position.

Buying another microphone is not the problem - you already have a good one. Ask youself this question: "...What is the difference between my home studio and how I work the microphone - and the "big room" of someone else's studio?"

It is NOT the room, it is NOT the microphone or any other peice of equipment (although it may be in the settings of the equipment). It is in you. Some things which may play a part in this scenario are items such as 'gain' on your pre-amp, how close you are to the audio when editing and recording... meaning the volume; not the proximity, and how you feel when working in your home studio vs. the 'big room'.

Every time you get in front of your personal microphone, imagine the character which you are portraying in that narration or commercial or whatever... and where that audio will be heard, NOT where you are recording. Each script you read has a different character and 'voice' - and it will be heard by different people in different locations at different times with different environments.

"HEAR" that location and character - then you will be able to hear how you need to 'feel' and present the audio. You might also find that lowering the gain, headphone volume, and compression/limiting will also effect your pops, clicks, and other mouth noise.

Sometimes I get lazy when working in my personal studio. I am too comfortable. I feel closed in and my sound changes beacuse I am feeling that way.

When in your personal studio - you are hearing things you would NOT hear when in other enviroments, because it is your perception of these noises which encourage you to hear them. Change the venue in your mind and change how they effect your "presense" in the here and now when recording.

VO work is a "theatre of the mind', and how you perceive your environment will change what you hear.

Toodles

Frank F
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