I'm doing some VO work and for the first time will be recording to a Zoom H4. Will be working in a talents home recording studio but bringing my gear. Normally I would use my wireless Senn G2, into my XLH1 and roll tape with the lens cap on. But this time will try the H4. Also was wondering if the Senn Me66 may be a better option. It's not absolutely critical work to nail flawlessly, but was wondering which mic would others 'go to'.

you are correct to try the H4. It should offer better mic preamps with a higher signal to noise ratio than the XL-H1. The ME 66 should yield fine results. For best results, place it on a stand (preferably in a shockmount) with the front of the microphone about a foot in front of the talent.

The talent's home studio may have better options, however. A Shure SM58 or any large-diaphragm condenser microphone would probably give you a better frequency response, due to the ME 66's directionality. With cardioid microphones, you're going to want to move the mic closer, to about 6 inches, but definitely experiment a little.

My personal favorites for voice over work are the Electro-Voice RE20 and the Neumann U87, but you certainly don't need mics in that range to get a good result.

I've read, more than a few pro VO folks use a 416. I have not worked directly with any of them nor would a 416 or other shotgun be my logical first choice, having access to the usual LD studio mics.
For US radio b'cast, the RE20 is by far the most common... some U87s here and there and a few 421s.

Based on the budget range you're inferring, an Oktava MK-012 with a cardioid or hypercardioid capsule would might be a good choice. It's not a Schoeps, despite its nickname as "the poor man's Schoeps," but it does have a nice sound that's great for vocals, and since it's not a shotgun it can be used in a wider range of indoor spaces to better effect. Many say it's a great value because of the character of the sound for the price. The narrower the capsule's pattern, the "darker" it sounds, in my judgement, so having a range of capsules to suit the voice at hand is convenient.

I got mine from OktavaMod.com; even then it's still too noisy for stuff like ultra-quiet SFX gathering, but for normal-to-strong spoken word, the signal to noise ratio would be completely appropriate.

I've done a couple of VOs with the H4. I like the built stereo mics, adds depth and warmth. The acoustics and background noise in the room and placement of the mic will be a bigger factor. I purchased the mic stand holder for it.

I use a AKG with H4n. Works very well but the room ambience is a killer. Something like the porta booth would be ideal in a hotel room setup.

Ken,

an ME66 for a VO?
Hey, I'm no expert, but I wouldn't do VO with that Senny
(which I do own, but never use indoors).
Being an El Cheapo kind of guy, I bought a Marshall MXL V67
(you can get it now for $80: MXL | V67G Cardioid Microphone | V67G | B&H Photo Video (http://www.bhphotovideo.com/c/product/423685-REG/MXL_V67G_V67G_Cardioid_Microphone.html))

pix caption:
the MXL V67 in an improvised setup
(with ENG-44 audio mixer - not visible - and Edirol R-09)
By the way, the gentleman taking notes is Mr. Nick Clooney (George's dad)
who very kindly volunteered to do a quick VO (for free!!!)
in his Newseum (Wash., DC) suite...
It worked (once the AC finally decided to give us a break)

Best

Vasco

I'll confirm what Vasco said... I also tend to use my MXL V67 for VO. I hope to get it modded next year to open it up a little, but for a male voice it does a nice job at its pricepoint - stock.

For presence and detail, you really can't beat a large condenser microphone. I have a bunch (U87, AT4033) but my favorite is one of the cheapest I've ever bought: an SE2200. Up where you are, Tom Lee Music is a dealer for SE stuff I think. Long & McQuade is not, although they do sell some equally inexpensive alternatives. Hopefully the home studio has a mic pre/compressor unit, such as a Focusrite (I use a TwinTrak Pro). Make sure you use a pop screen. BTW, 90% of good VO work is the talent. 10% is the gear.

I use an APEX medium condensor mic I bought at Long & McQuade for $80 for non-mission critical VO's. The important stuff goes to my buddy's VO booth.

ME66? Nah, too brassy in the upper mids. I actually prefer the sound of the RODE NTG-2 for speech to the ME66 but still wouldn't suggest either for VO work. Boom dialog? Sure.

I love my AKG 414-TLII (the old one) It is the most versatile mic of my stable. (which has Neumanns, Beyers, Shure, Rode, and Sennheisers among countless lesser mics) Awesome for vocals, any instrument including drums, orchestral recording, ambient, two person interviews (in figure 8 pattern) and yes I have stuck it on a boom for video work!
Being an audio engineer for 20 years, I can say with confidence you can't go wrong with any of the 414's like the ULS or newer variety. The 214 is an inexpensive alternative but with only cardiod pattern, it isn't as flexible. Seriously, if I could only have one mic to do everything with...it would be a 414-TLII.

If you want a condenser the best in the low end is M179. Get them cheap from Warren Dent (great guy). It's like $150 but it's one of the best sounding mics I've heard for most applications.

If you want a dynamic (ie. your room does not have good acoustics) I'd suggest an SM7 (not sm57, but a 57 would be ok). SM7s are one of the most sought after vocal and VO mics along side the RE20, but I have a personal preference for the sm7

I'm doing some VO work and for the first time will be recording to a Zoom H4. Will be working in a talents home recording studio but bringing my gear. Normally I would use my wireless Senn G2, into my XLH1 and roll tape with the lens cap on. But this time will try the H4. Also was wondering if the Senn Me66 may be a better option. It's not absolutely critical work to nail flawlessly, but was wondering which mic would others 'go to'.

If you are recording at a professional VO talents studio, then let him or her do the VO with their gear into their system, and provide you with a much more professional product than you would get by gleaming the internet for microphone advice.

Good Luck!

If you are recording at a professional VO talents studio, then let him or her do the VO with their gear into their system,

How did I miss that part when reading? YES!

It's OK Shaun,

The 'studio' turned out to be a small bedroom with some sound-proofing (with no gear). Talents husband is a musician, so when she told me we could record her VO in their studio, I was expecting a little more. It was a rushed thing so I really had to make do with what I had.

I ended up using the wireless (G2) lav into the Zoom H4. It was OK for what I was using it for. Fortunately the talent was very good. She's an experienced stage actress and I see what you guys are saying about the importance of pro voice talent.

I am looking for a new mic for VO as I seem to be doing more of it of late. So the suggestions are helpful.

Thanks Dale for the tip on the SE2200 from Tom Lee. I'll probably end up picking one up. Though I'm dumping some cash into a new website as well.

I use a Neumann TLM-103, EV RE20 and 27, and a Heil PR40. I've spent 20 years in radio and been in the same classic rock studio for the last 14. We've still got two of the original '27's that were in the studio when I got there. The 3rd was replaced with a '20 when the country station needed a '27. Very durable, time tested microphones...all of these. Not sure when the TLM-103 was released, but it's been here forever...the Heil's are well known for a budget answer with high end results:) Used by many "Big Voice" V/O champs, the Heil is a "Must" in my opinion for any pro v/o guy...ladies, not so much.

Are you female or male? There are actually significant differences for different voices and their compatibility with different mics. Brighter, warmer, sterile, whatever the latest buzz word for "sound"....there are significant sound signatures. It's good to mess with different mics and pre-amps/processors.

I really like both EV mics for their universal sound (both genders...deep or high voice, specifically v/o, not singing).

The Heil is my favorite for medium to deep male voices at under $500. (You can grab one on ebay or Craigslist quite often...used, for about 225-250 and they do NOT lose their value)

My overall favorite V/O mic though is the Neumann TLM-103. It is a fantastic V/O mic, incredible guitar or acoustic string mic, and all around a phenomenal addition to any sound kit. (I've used mine at many shoots with my hvx200a and ex-1). They are VERY spendy new with a Shockmount...but, used you can grab one for about 50% of the new price (650-700), again, if you keep your eye on CL or ebay.

It I would run, not walk away from using any type of shotgun or video (specific) mics for V/O. This is certainly not what they are made for. You'll be much better off with a "studio" mic for your work.

Others also to consider are, as mentioned earlier (especially if you like the Shure sound), the SM7. I've also used SM57 and 58's in a pinch for V/o...we have many in our mobile sound gear...and they're not bad:) Especially if you're doing an singing or instrument mic'ing (along with your V/O)

The Marshall (Mxl-V67g) is also a decent under $100 investment.

Good Luck!

Jer

It I would run, not walk away from using any type of shotgun or video (specific) mics for V/O. This is certainly not what they are made for. You'll be much better off with a "studio" mic for your work.

Jer

I'm guessing you don't frequent professional voice over studios very often Jeremy.

I had a national talent record their VO using a 416 because " thats how they do it in LA " and I didn't realize they were using it. I directed via phone patch :(

BIG MISTAKE !

sound of the mic sux and is too bright for me to begin with. couple this with proximity effect and cutting pieces together required EQ to blend it all together that added a lot of extra work to make it all work so you couldn't tell.

I have been given a tour of a VO studio used to do VOs for the BBC and overseas productions that required talent with an Australian accent. Studio would link via aggregated ISDN channels. Indeed they used 416 shotguns and that quite surprised me too.
The thing was, these were purpose built studios with the right acoustics. At times more than one person would be speaking their parts. I doubt a 416 would give the same results outside of a purpose built studio with talent who knew what they were doing.

For my own feeble VO efforts I use a Rode NT1A in front of a Reflexions Filter and with a popper stopper in front of the mic. None of the people in front of the mic are remotely pro VO people or trained in any way. I find I get acceptable results considering with a minimum of fuss. At least one of my sessions was used in very low budget TVC and everyone was happy with the sound.

I've used the same mic in other roles. It probably isn't the very best mic for any of them however as a general purpose, can be used for almost anything, kind of a mic it is not to be overlooked for the price. The only role I could not see it being used for is inside a kick drum. I don't have uber expensive mic preamps and several times I've been forced to use the NT1A directly into a camera. The mic's high output and low self noise makes it a bit of an all round winner in my opinion, especially for the money.

I have the Rode NT2-A and rather like it for the small amount of VO that I do - I also have a pop screen and have been thinking about the Reflexion, but haven't sprung for it yet.

Any comments on how you like it, how effective it is, etc?

I've said it before and I'll say it again.

The human voice is NOT a big challenge for a microphone. Period. It's not like you're trying to capture the complex harmonics of, say, an orchestrial harp or the sharp attack of a bugle at full volume.

The problem is that people hear the top voice talent - most of whom have FABULOUS voices (which are further trained and refined over years of practice) and who also have TALENT in interpretation and breath control and delivery. Recorded in pristine conditions and processed painstakingly to maximize whatever the particular sound is required (from highly compressed "screamer" radio spots - to mellow weepy movie trailers.

Then they somehow think that if they just find the right damned MICRPHONE - they'll sound just like that.

POPPYCOCK.

It's STUPID thinking. (Warning: Plan 9 from Outer Space reference ahead)
Stupid, stupid... stupid!

You'll NEVER sound like Ernie Anderson - unless you naturally sound like Ernie Anderson
You'll NEVER sound like Don La Fontaine - unless you naturally sound like Don La Fontaine.

You can add all the compression and hype all the bass you want - but in the end, all you'll ever sound like is bassy, compressed YOU.

The better the microphone you buy - the MORE accurately like YOU it's likely to sound.

If that's good - fine. If that's crappy - well, there you go.

Sorry.

Borrowing a line from an old Budweiser commercial, all I can say is... True True!

Borrowing a line from an old Budweiser commercial, all I can say is... True True!

Wasn't that Miss Lili von Shtupp? ("Is it twue, shatze, vat dey say....? Ohhhh it's twue, it's TWUE...!)

But without the compression and EQ, I sound like a thin, shallow ME. ;)

Well put! So maybe the question is what mic will give you the VOG (Voice of God)

Well put! So maybe the question is what mic will give you the VOG (Voice of God)

No microphone will give you the voice of God, for God speaks in a still small voice!

Uhh, maybe in reality, but not in the old movies!