I am in need of a good (for the price) voice over mic for my home studio. I want to use it in connection with a documentary I am finishing, and anticipate using it with a short I am about to start. My budget is about $400 (give or take a $100). I am looking for clean sound (with a bit of warmth). I know opinions will vary, but I want to know which mic YOU think is best for the money. Obviously I value actual experience with a particular mic over speculation. Thanks.

If you do a search, you can find several threads on this:
http://www.dvinfo.net/conf/showthread.php?t=40194&highlight=voice+microphone
http://www.dvinfo.net/conf/showthread.php?t=40194&highlight=voice-over+microphone

"Microphone for Voice-over"
http://www.dvinfo.net/conf/showthread.php?t=35080

There are two different approaches to a VO mic:
A- accuracy. It records exactly what the person's voice sounds like.
B- It makes the talent's voice sound good. This is subjective, but generally certain mics add warmth that would be appropriate for your piece.

Generally mics along the lines of B are used since most people go for the "voice of god" sound, the narrator sound, etc.

If you want a good VO, the most important elements are (in roughly this order, in my opinion):
A- The copy
B- The talent's delivery/tone

C/D- The talent's voice
C/D- Room acoustics (background noise, amount of reverb)
E/F- Signal chain quality (from a technical standpoint); I assume you are using relatively modern equipment, which is so much better than professional equipment decades ago.
E/F- The coloration the microphone imparts.

The best investment you can probably make is buying Jay Rose's book Audio Postproduction for Digital Video (see dplay.com for how to get it for $30). It's help you with the technical stuff (i.e. how to build your own panels to reduce room reverb, and how to position the mic to reduce reverb) and give you a little information on A/B (not that much though).

---
2- Alternate viewpoint:
If you own a decent microphone, forget getting a microphone specifically for voice-over. Your money is probably spent elsewhere. Buying a better microphone won't improve voice-over quality that much. Proper application of the tools can improve quality a lot more.

I used to intern at a studio that did lots of voice over, and microphone selection wasn't a big deal there. They had like 7 microphones (with one Neumann that costs around $1,500) and most of the time they used a pair of large diaphragm Audio Technicas (a few hundred). The pair was so they could record two talent. They use that mic for everything except for the one time when they used the Neumann.

Before buying a new microphone, I would try these things first:
Get Jay's book. (And/or read online resources.)
Find good talent, or train someone.
Get a quiet room with very low reverb (find a closet and/or build sound absorption tiles; or rent a studio).
If your recordings are hissy, fix your signal chain. May or may not require buying equipment.
Do some recordings and if you notice something wrong with them technically, then you may be justified in buying equipment (once you figure out where the problem comes from).

Whilst I agree with a lot of what has been said in the previous part of the thread, I was in the same boat several months ago, and decided to purchase a good quality VO mic. I haven't regretted the decision and feel that I have improved the quality enormously. I purchased a Rode NT1000 which I think is a superb mic, but I matched it with a DBX mini-pre - which is a small valve pre-amp - just giving it the right amount of warmth. I also send through a compressor (just a cheap Behringer COmposer Pro) - which improves things even further in keeping the voice levels consistent and makes the mix simpler and the sound much better.

Overall - I have to say the Rode is great for VO - particularly with the valve pre-amp.

All up these would just fit into your budget.

Hope this helps,

Graeme

I agree with both replies, and I'll add that I feel even more strongly about the potential influence of the room you record in. The Rode NT1000 is an excellent VO mic that I use and recommend, but only if your recording space works to that mic's strengths. If after reading Jay Rose's book it seems unrealistic that you'll have a good recording space to work in, a mic that's generally less capable may give better results. Obviously I recommend finding a great space and using a great mic, along with all the other important things that have been mentioned, but we all work in the real world.
Let us know what mics you already have and what kind of space you can work in. Are you able to isolate yourself from equipment with fans or harddrives, etc?

A superior microphone can be delightful, but it is useless unless all the other elements which Glenn has outlined for us are handled.

To me, after controlling the content (A - the copy, B - the delivery/tone, C/D - the voice), managing the acoustics is Job 1. Take a critical listen for ambient noise, reverberation and general "room tone" by recording a segment of "silence" (dead air) and discover how un-silent it may be. Then the challenge is to isolate your recording environment from things like the drone of HVAC, traffic and dogs barking outside, etc. This can take some effort and cash. In a pinch, I have used the interior of a car as a recording booth, parked inside a garage (in a quiet neighborhood). Bring the mic, on a baby boom, in the car with you, roll up the windows and leave the recording system out in the garage (in case of fan noise).

As for the quietness of the signal chain, I plug the mic into a Mackie mixer (you won't find quieter mic preamps) directly into an Apple PowerBook...no noise generated there!

For the mic, take your pick! It's pretty hard to find a "bad" one.

Just for the record, I use the same ol' mic I have been using for many years for VOG (voice of god) and everything else, a simple $99 Shure SM58. It is indestructible, and can be used for anything from lead vocals in a band (live sound) to videotaping interviews, and its sound characteristics are well-known industrywide due to its popularity. I use the lo-cut on the Mackie so it won't be bassy (due to proximity effect of a cardioid mic); of course you can EQ to your heart's delight.

Just in case I get the urge to play with a large-diaphragm condenser, the Mackie has phantom power, and there are a lot of those mics out there at attractive prices.

Oh yes, and read Jay's book.

I've used a Rode NT1a (got it from B&H for ~$160) and used it a couple of times for VO work. I don't have a lot of experience, but the mic sounded great to my ears and the price is right, especially since it comes with a shockmount. It does require phantom power. I used it with a yamaha mg10/2 mixer (i think $99) which has ok mic preamps, phantom power, and a switchable highpass filter on the inputs. Mark

I've bragged up the nt1000 and nt1a so many times now that I didn't want to sound like a broken record... even though when I read your initial post I felt compelled to bring these two mics up again.

I'm glad to see some other people did it first. I've been really happy with those Rode mics and I think they're perfect for VO. You'll be surprised at how well they hear though... you gotta' get your house quiet. REALLY quiet.

True, Matt. A potential owner of this mic needs to be ready to think about spending more than the price of the mic on room acoustics. (of course, you can get a dozen of these mics for the cost of one Neumann!)

I bought a sh*t-load of super-thick wool blankets... directly from the manufacturer which supplies the US Armed Services with wool blankets. People told me to go to military surplus stores for a great deal... what I found is blankets that are about 1/3 as heavy... and NOT actual military surplus. These blankets cost about $50 each normally and I got "seconds" for about $18 each... My intention was to have a portable VO box... and I use these a lot on interview shoots where I'm stuck in a somewhat live room... I've got enough to have blankets an inch deep across a hardwood floor... or else I'll hang 3 or 4 layers over a window. It helps but it takes a TON of material to create a studio-like space... forget the notion of making your own anechoic chamber... you'll be lucky if you can get the room acoustics to point that's acceptable.

The other option that nobody's mentioned is that you MIGHT want to consider a mic that doesn't HEAR the room... I had a Shure SM86 and you had to EAT that mic... so there was NO chance of room interaction... of course it sounded like crap compared to these Rodes.

I just thought I'd give you a little junk-food for thought.

Well, the Rode NT1000 seem to be the front runner in this category. Does anyone use VO mics from Sure or AT? I will of course go into a sound store and demo the mic before buying, but this conversation is very helpful in assisting me in narrowing the mics I demo.

[QUOTE=Matt Gettemeier]I've bragged up the nt1000 and nt1a so many times now that I didn't want to sound like a broken record... even though when I read your initial post I felt compelled to bring these two mics up again.

Hey, Matt. Just put my order in today to a DVInfo-Net
sponsor for the NT1000, partly based upon your
recommendation. I wanted to go with the Rode tube
amp but all my recordings are in the field so ...
Anyways, you probably don't remember but a long
time ago I helped you out with some mics ... and
now you have helped me out. Thanks, Matt.

What about the AKG 414, any takers? Dave, which dvinfo sponsor was that, and if you don't mind me asking, what was the price?

What about the AKG 414, any takers? Dave, which dvinfo sponsor was that, and if you don't mind me asking, what was the price?

Hi Dwight,
It was B&H. They have a real good price on it
of $254. They have a special shock mount for
it but I didn't get that because I don't really
know yet that I will be needing it. Wait and
see on that one.

P.S. I was originally looking at the NT1A but
I heard a sample of it and it didn't sound too
impressive -- a little raspy. I was considering, too,
the NT2A but got the feeling from one of Matt's
posts that it might not sound as good as the
NT1000. He had mentioned an NT2000 he heard
which is, I guess, simitlar to the NT2A. But listen
to both and decide for yourself. Unfortunately,
there are no pro audio shops near me to compare.

Thanks Dave... I'll be the first to say that I'm not an audio professional, but I do know what I like when I hear it... and yes, it was you and Beas that sent me running away from EVERY mic I had when I first heard your clips. I don't have a single one of those original mics after you guys opened my ears to better choices. Obviously I went insane in my audio pursuit shortly thereafter.

The guys who ARE audio pros on this board like the sound of the newer Rodes... so I don't think you could go wrong with the NT2a or maybe even the NT2000 either... it's just that when I got the 2000 and put it up against the 1000 there was no comparison to my ears... the 2000 sounded super-neutral (probably a good quality) and the 1000 sounded super-intimate (which is more important to me).

I had that Shure SM86 for only about 3 weeks and I could never decide if I liked it or not... but that mic also sounded totally neutral. I tried to get Beas to give me a breakdown on some clips I sent to him... he said it didn't really do anything for him but it sounded like a good mic... maybe even a great mic... but no excitement. I knew exactly what he was talking about and I returned it.

So as you guys said from the beginning... the mic's SOUND has got to grab you first... then consider the other stuff... and as always, this is all subjective.

From what I gather, the NT2a and the 2000 sounded
kind of flat.
And I remember reading here from one audio pro that
even if they prefer the 2000 now, at one point
they really did like the sound of the 1000, too.

It doesn't seem like Beas has been very active on
this forum lately, or maybe I just missed it?

Last month's Post Magazine had an article on the subject:

http://www.postmagazine.com/post/article/articleDetail.jsp?id=87847

I do a fair amount of voice-over recording here, and my feelings echo much of what Glenn Chan suggested. It's more about the talent and the recording space than about the microphone, and for the budget you've got, you should be able to do just fine.

The material on the voice-over reel on my web site (http://www.singleflamestudio.com/audio.htm) was all recorded through the same mic -- a CAD Equitek E-300. You can't buy it new anymore, but you can get 'em used. (There's one on E-bay (http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=41466&item=7315382867&rd=1&ssPageName=WDVW) right now.)

It's a fairly versatile large diaphragm condenser. I've used it on vocals (spoken and signing), acoustic guitar, djembe, trumpet, and a couple of other things. It's a bit bright, though not as transparent-sounding as, say, a Neumann U87 -- but it's been a good friend to the studio here. It's got plenty of switchable options, too. A pad, a LF cut, and switchable omni, cardioid, and figure-8. It requires phantom power. I wouldn't describe it as the 'ultimate' voice-over mic, but until recently, it was the best option we had in the cabinet.

Good luck with your purchase!

Dave, I called B&H, they do not know what you are talking about (ie AKG 414 for $254). Is there a link you could give, or is there a particular model number or a particular version of the 414 (and must I reference this forum????)

Even the low-end AKG C 414 B-XLS typically goes for about $900. Perhaps Dave was thinking of the AKG C2000B (~$200) or C3000B (~$300)? (Or maybe a used B-ULS?)

The 414 is a nice general purpose mic, but if you're going to spend that much, you might be better served going with Neumann BCM 104 (~$825).

He was talking about the NT1000 for $254.

Well, it's the voice first, then the mic/preamp.

THE NT2000 and NT2-a are fine for the job. They are much better than the earlier RODES.

The AT2020 at $99 is also quite acceptable. You can see and hear what it sounds like by looking in the quickies folder in my online archives. I have an mp4 file recorded on an XL2 with the at2020.

Regards,

Ty Ford

Wow Ty.. the sample sounds good. Do you own an AT2020?
Any thoughts about it?

Hi H,

Thanks, I do have one here. The issue was a price limit of $400. I don't really know of many mics in the up to $400 range that sound a lot better than the AT2020. I'm not saying they don't exist. There are a lot of mics in that range that sound a lot worse.

I normally use more expensive mics and preamps for my narration work. Schoeps, Sennheiser, Neumann with GML, Aphex or Millennia Media preamps.

Samples of my VO work are on my main page.

Regards,

Ty

I just received the mic and one of the screens was
not even connected to the mic -- it had
fallen off. Has anyone had this, where the
screens fall off?
It was broken away when I first unwrapped it.
It looks like it had been glued.
Any thoughts?

Dave,

My Rode is built like a tank. I know that you can take them apart, but I have never had the need.

The screen seems to be held in behind the body of the mike. I understand that Rode has very good QC - so I might send it back - as I assume that it has had a belting in the post. See if B&H will send another.

Graeme

I've had my NT1000 for close to a year now and I just love it, of course I'd spring for a Neumann in a heartbeat if I had the cash but the Rode has kept me happy for the most part!

This is a little bit older thread but I just wanted
to say I have gotten rid of my NT1000. It just
really wasn't what I wanted. It wasn't what
I would call "warm". There was nothing really
wrong with it, but it was just a touch tending
toward the harsh side. For a VO mic, I think
I'd prefer something more neutral. I don't
know what the current pricing is but I'e heard
good things about the Shure SM7. I know the
Electrovoice RE20 is very popular as well.
I've heard that the RE27 has a bit more
presence to it, but maybe that means it's
more tending toward harsh which may not
be a good thing. Another one I'd consider
is the Rode NT2-A, but have not
actually heard this one.

I still have recordd sample of the NT2-a and some othe miccs in a folder called
RAP on my server. Help Yourself.

Ty Ford

I own 4 AKG C414s, IIULS series. At $900 a piece... Mostly because they are my drum overheads for live sound. But for VO - with the right accessories, it'll be great. The shouckmount is made for AKG mics, but can hold others - you can use universal clip mic holders or anything small enough to hold the XLR shaft at the bottom of the mic. I like the switchable patterns, I use the cardiod @ Odb, no cut, most of the time. But in the $400 range, this is probably out of your reach.

The 57' is a great mic. $80...and sounds great, but it is a performance mic, not a recording mic, and it isnt the best. I like the stuff from CAD - it looks good, but I've only heard vocals on it. The EV RE20 has been the standard for radio for years, but I prefer the Shure SM7. If you are a pureist for natural sounding output, boom the person. Use a Sennheiser 66' and an large boom stand, large enough to go over a standing subject. Is the $400 just for the mic, or for the entire setup. Are you factoring a good music stand, mic stands, cables, pop-filters, spare parts, recording equipment, etc? An imporatant, but overlooked part is the music stand. Manhasset and Wenger make great stands, you cant get away with some $10 folding stand from a garage sale. Would you be able to pad the feet somehow? I would go with a $100-200 mic, and set the room up well.

30% mic - 70% where it is and what's around it.

I am in need of a good (for the price) voice over mic for my home studio. I want to use it in connection with a documentary I am finishing, and anticipate using it with a short I am about to start. My budget is about $400 (give or take a $100). I am looking for clean sound (with a bit of warmth). I know opinions will vary, but I want to know which mic YOU think is best for the money. Obviously I value actual experience with a particular mic over speculation. Thanks.

Hello. My experience has taught me that it is often necessary to match the different voice characteristics of a particular speaker with a compatible response characteristic of a given mic. I own a lot of mics - and my most expensive $1700 hasn't always been the solution in every circumstance I have heard one of my $200 mics sound better in a particular setting.

But to answer your question, IMHO, an often over-looked gem of a mic in that budget range is the AKG C-3000 series.

Another low cost v/o mic that sounds a lot better than I expected it to is the AT 2020. Just mixed a piece with vocals done thru this mic, and boy, was I surprised.

Is there a Preamp out there that can make a good number of condensers sound even better for VO work or is it really a mix and match thing? For example what pre would go best with a Rode NT1000 and/or a Senn 416?

Well, all I know about it is I used the NT1000 with
a Sound Devices Pre and the mic was too
harsh for my taste.

There are several "dark" sounding mic pres that can help, but more to the point, there are a LOT of crappy mics out there. They are there because the makers are competing on price wit products imported from China.

Not even Superman's preamp can save these mics.

Ty Ford

I just read through this thread and noticed people pointing out room acoustics as being important. They absolutely are. You need the room to be as quiet as possible but you have a home studio and there are dogs, birds, cars, lawnmowers, etc. outside.

I have the simplest and cheapest fix for all of that and am surprised no one mentioned it already. It's a method I use here in my home studio for V/O work.

RECORD LATE AT NIGHT!

That's right, instead of hanging out here on the board at 2am, you should be taking advantage of the quiet world outside. I did this on a recent project and recorded ambient room tone using an Oktava MK219 into the XL-2 preamps (surprisingly quiet). Ambient room level was at -54db and I set voice level to peak at -12 to -9 on the XL-2 audio meters. I monitored the audio with a nice set of headphones out the XL-2 headphone jack to make sure there was no audio distortion (meters won't tell you that).

That -54 db was easy to get rid of by batch processing the audio files through a noise gate set at -50db threshold. The result is absolute silence between phrases.

-gb-

I just wanted to throw this out there. Sometimes while recording vocalists, a large diaphragm dynamic mic is perfect. The vocal mic doesn't always have to be a condenser. If you're trying mics out with your voice, check out a Shure Sm7 or an EV RE-20. Different mics work for different voices.

There is no one size fits all when it comes to mics. As has been discussed here are are a lot of factors involved, including room acoustics, recording environment, etc. Not to mention the individual voice being recorded. (Why do you think recording studios have a mic closet, filled with various makes and types of mics?)VO talent spend a lot of time and research in finding what works on their voice in their space.

Condensors are great, I have a Rode NT2, but I also use an SM58 at times. Both sound good on my voice but the 58 rejects background noise better. I used an RE20 in my radio days and loved that (one of these days the budget will allow another tool) Sometimes I swear I can hear the sound of my toenails growing on the Rode. LOL.

Best advice I can give is to see if you can trial some mics in your recording space and see what works best on your voice.

I have a montage sample up on my site, some with the Rode some with the SM58.

FWIW I bought my NT2 2nd hand, the windscreen was broken in shipping(the connection to the body tube) I emailed Rode, the president responded, I sent the mic to their US office, they repaired the screen and even replaced the capsule, at no charge (even though if I had purchased it new the warranty would NOT have covered the shipping damage). They recently send me several packs of replacement bands for the shock mount as well.

Gotta love a company that knows how to treat customers well.

I mentioned here that I had received a new NT1000
from B&H which had the screen broken off from the
body.

I mentioned here that I had received a new NT1000
from B&H which had the screen broken off from the
body.
Dave if you still have it I would suggest contacting Rode directly. It worked for me.

I got rid of it ... too bright for my tastes.

...........

I may have missed it but have you checked in to the EV RE50? ENG standard excellent isolation, you can use it both in the studio and the field. Another for in ~house might be the Shure SM-58...Both of these mics are price in the under or around the $200 range new and will last a lifetime.

I have the Sure SM58B which has a newer diaphram design and is able to limit proximity effect very well. Haven't used it as a v/o mic yet, just for vocals when performing with our band.

-gb-

I like my sure KSM27 ~$300

Although everything said about proper room set up is true, microphones make a huge difference. I did a professional VO session yesterday for a show on TLC (as talent) and the production company had a short AT shotgun set up because earlier they were picking up some lines to match field footage already shot.

But it sounded too crisp and forward for the narration -- it's a mic colored toward clarity rather than a rounded, warm VO mic colored toward gravitas. Needed to change it out to match the previous week's session.

Even the most informal style of VO needs to have a certain voice-inside-your-head quality and a warm mic is usually best. Your typical ENG mic or shotgun is too unforgiving.

One good cheap solution is the AT3035. Last year I listened to the whole AT large diaphram line at NAB in a small booth. Very lively and warm for the money. Worth the few dollars more over the 2020. I bought one and like it better than the Shure SM7 dynamic, a radio & VO standard costing about twice as much.

There are lots of other choices. You might also check out some of the mic shootouts below.

www.transom.org/tools/recordi..._shootout.html

www.digitalprosound.com/2002/...c_shootout.htm

www.dvestore.com/theatre/mics_guide.html

Proper VO processing -- compression, noise gate, de-essing, etc -- is a whole other topic, but is also part of what separates professional from so-so VO sound.