Hi all,

I'm after some tips on the best way to record a clean voice over without the use of a recording booth.

I have a decent mic (Rode NTG-3) which records great audio (well, to my ear anyway). So I'm looking for tips on ways to isolate exterior sound.

Record in a cupboard? Build a soundproof booth out of blankets? Record under the house?

Any tips appreciation.

Hi Jody, the usual suspects will be here shortly to tell you, you shouldn't use a shotgun indoors. They're all correct, so check through this forum
to find more suitable mics.

However, if you want to use your NTG-3, try it. And to construct suitable acoustics, we found this rig to be of great value. It's portable and works.
While you're on this site, play the Orson Welles outake, its famous around the world ...

Harlan Hogan - Voice overs Narrations Commercials Promos (http://www.harlanhogan.com/portaboothArticle.shtml)

Cheers.

Thanks for the tips. I actually just crawled into a cupboard and did some testing with my NTG-3. It sounds TERRIBLE. Really muffled. The internal camera mic sounds far better.

However outdoors, the NTG-3 sounds excellent.

Why is this? I'm not really that great with audio. Will do some searching through the forums as suggested.

Thanks again..

Edit: did some research.. now looking for a decent mic for voice recording that doesn't cost a heap :) Rode NT-2A looks good.. paired some some kind of isolation surround.

Yes the NT-2A is very good, with that Porta-Booth it'll sound great. Read the reviews.

Very simply put, your muffled cupboard destroys the acoustics needed for the NTG-3 to provide the sound for your voice test.
It's not for indoor recording, as you've found it's better outdoors, about one foot from the voice.

But before you go, play that Orson Welles track, it'll make you feel better for a start :)

Cheers.

What about the Rode Podcaster? A great, cheap(ish) voiceover mic with built in headphone jack for monitoring.

Yep Mike. I use a Podcaster and am very satisfied. However it's designed for voice recording.

Jody could use the NT-2A for other recordings too, his choice.

Cheers.

The usual 'go to' VO mic is a LDC. (large diaphragm condenser) for example, a U87 and C414 are popular..
That said, there are more than a few VO artists who use and swear by a Sennheiser 416 which is the same type as the NTG3. (short shotgun) However they are used in a proper acoustical environment, by pros who have 'the voice' and know how to work the mic. An affordable dynamic mic such as a RE20, MD421 or even a SM58 can also yield excellent results.
You may have better results using the mic in a very quiet carpeted room with plush furnishings, away from walls or other hard reflective surfaces.
As before, 'talent' and the acoustical environment have a lot to do with it. No particular mic, preamp or plug-in will substitute.

My budget go-to (ie. the one I have in house as opposed to when I hire a voice over studio) is the lowly APEX 435.

Apex Electronics (http://www.apexelectronics.com/category/Microphones/Recording/Side_Address/product/Apex435/)

$75.

MUCH better sounding than you would think.

What I like about it is that I often have "amateur" talent in to do commentary on videos and the thing is close to amateur proof, IF I can keep the distance to mic constant.

I went in to buy an AKG 414 and walked out with the APEX at the insistence of the recording guy at Long & McQuade (in his late 50's and he records LOTS of vocals and horns).

Not suggesting the thing is magic but MUCH MUCH better sounding than I would have expected at three times the price.

I like the value of Rode large condenser mics. The NT1-A has super low noise and is inexpensive. The NT1000 has a better condenser and is an inexpensive step up. The NT2-A and NT2000 are the multi-pattern step up models with multiple condensers. Unless you're recording in various environments, the single pattern mics will probably do the trick.

When using such a mic, placement is key. Use a pop shield. Position the mic above or below the mouth to avoid plosives. If your voice is dull, position in front of the forehead. If your voice is thin, position in front of the upper chest. In all cases point at the mouth. Increase bass response by moving the mic closer or vice versa to find the right balance.

An easier mic is the ElectroVoice RE20. Just get close and speak straight into the thing. This delivers the classic radio version of your voice. EV recently came out with a budget version, the RE320. I believe that with a bit of tweaking, one can get the RE20 sound out of this mic. But more importantly, just balance the low frequency balance for your voice and tame or amp the HFs to give the right amount of air and crispness. (It's more important that you make your voice sound good in your environment than that you emulate a specific classic mic.)

Find a quiet area (HVAC can be a problem; if you live next to a construction site, you're hosed as soundproofing is expensive), tame the reflections (a large box and acoustical foam works great, and trap bass if needed (get a bookshelf with the books pulled out. Pull it slightly away from the wall).

Overall, I think a mic like an RE20/RE320 is easier to use in a box on a desk than a large condenser mic. You need a bit more room and height to position the NT1000 than an RE320. Another thing to consider is your speaking position. I like to stand. Some prefer to sit. In any case, don't be hunched over as it restricts the diaphragm.

Jody,

There's no reason why you can't use an NTG-3 for VO recording inside. Allan is referring to people not using shotgun microphones on booms in a reflective environment, indoors or outdoors. That's not how you use a shotgun for VO.

The late Ernie Anderson was reputed to always use a Sennheiser 416 shotgun, the mic Rode used as a model for the NTG-3. He used other mics, but anyway..... If you work it close, about 2-3 inches from the tip with the mic 45 degrees off the side of your mouth, it'll do just fine. I have one, I tried it. I know. Why you were having problems with it, I can't say. What were you doing? What part were you talking into?

Regards,

Ty Ford

My budget go-to (ie. the one I have in house as opposed to when I hire a voice over studio) is the lowly APEX 435.

Apex Electronics (http://www.apexelectronics.com/category/Microphones/Recording/Side_Address/product/Apex435/)

$75.

I have to admit that looks attractive for the price, although of course I'd want to hear it.

But I am very suspicious of any company that does not post their physical address or telephone number on their website. I could not find this info on the linked site.

Greg: based out of China. Bought mine from Long & McQuade, a musicians shop up here with a dedicated recording department as well...

It isn't a Neumann but my clients are VERY happy with it, I'm happy with it for what I use it for and anything I need better quality for goes to the pros (any number of studios I work with that specialize in V/O), although most of my clients are pretty happy to just "get it over and done with" in the comfort of my home edit bay.

This might sound crazy (and it probably is) BUT I get great results with an M-Audio USB mic using my steadicam case as a mini sound booth. I don't use the software that came with the mic. I use Audacity instead.

I've had people shake their head and laugh at me when they see the setup but are completely amazed when they hear the result.

You can check out the mic here - M-AUDIO - M-Audio Vocal Studio - Easily Record Vocals Like a Pro (http://www.m-audio.com/products/en_us/MAudioVocalStudio.html)

Shaun: I'm not surprised. Still, the fact that it's seemingly impossible to contact the manufacturer makes me rather reluctant to pursue it.

Chris: I actually bought one of those, for a friend who said she wanted to try her hand at recording audiobooks. (Libravox volunteer program.) It sounds surprisingly good for $50 total, especially given the fact that she can use it with her vintage laptop, without worrying about the laptop's audio input electronics.

And by the way, that steadicam case is a good idea! In fact you could make up a triangular piece of masonite or 1/4" plywood, with some foam glued on it, and store that inside the case until you were ready to record, at which time you'ld rest it on top of the open case to make a padded top of the "booth."

Ya know, the local Good Will store probably has a selection of hard-sided luggage to be had for pennies... With a little planning you could carry your laptop, mic, cans, cables, etc. INSIDE your "studio" for a truly portable operation.

Check out the attached photo above to see what it looks like assembled. I can control the "presence" of the mic with how much I open or close the case around it. If I close it down too much it starts to sound artificially boomy but you can adjust it and kill most of the room tone quite easily. It works best with all the steadicam gear in the case. Well, I have to take out the vest but the rest of it is lurking under the foam.

Thanks for the info.

I was speaking directly into the front of the mic, probably 1-2 feet away.

My voice sounded really muffled, not natural at all.

Shaun: I'm not surprised. Still, the fact that it's seemingly impossible to contact the manufacturer makes me rather reluctant to pursue it.

What a shift in dynamic... I buy that stuff from a reseller so I'm only worried about THEIR reputation.

On a tip from Ty Ford I'm awaiting a pair of these very affordable mics:

mca sp1| B&H Photo Video (http://www.bhphotovideo.com/c/search?Ntt=mca+sp1&N=0&InitialSearch=yes&sts=ma&Top+Nav-Search=)

After listening to several samples on line I decided to them. I'm planning on doing some instrumental recording with them but they should also do very nicely for VO work.

Does anyone have any opinions on the Rode Podcaster?

Seems like a good quality mic for the price, especially considering I wouldn't need to purchase any other equipment to get it going.

Jody - Google microphone acoustic screen.

These are amazing popular with home studio users and people who need controlled close micing on location.

There are loads of chinese manufacturers large diaphragm mics on the market and they're actually pretty good. You need a popper stopper of course, but this is also very useful as it keeps you from getting in too close and the proximity effect changing your voice quality. If you set one of these up on a mic stand, with even a cheap mic like the Samsons, you will be pretty impressed. These mics have a very defined audio quality, cost a tiny amount, and while of course a Neumann U87 will be different (note - not always 'better') they'll do rather well for voice over and singing.

The home recording people are so much more willing to experiment with different brands and types of kit than video people, who always tot out rules, and methods based on sound recording practice, but seem to place less emphasis on experimentation and a wider equipment choice.

On video forums, Rode is a constant recommendation, as is the venerable (and elderly) 416. Nothing wrong with them at all - but they are not the be all and end all of microphones. Far more important is what you can do with a microphone with technique, eq and processing. The voice artistes who record themselves, working to briefs on the internet will have their own favourite mics, and if they make their voice sound 'right', then from the recording viewpoint, they're ideal - make and model simply doesn't matter. Price is no guide either - the U87 mentioned can flatter some voices and bring out deficiencies in others. It has a characteristic sound - which is rarely described as bright, or clean, or even accurate. It has a definite 'colour' to it. The Chinese large diaphragm mics tend towards clarity at the top end - so can sometimes be called bright, clinical or even toppy. If that flatters a voice, that's good.

For voice over work, matching your voice to a mic is really important so I'd borrow all sorts of mics from friends to test, then buy one that works for you.

I've had successful recordings indoors from shotguns, recorded voice overs with the in camera mic because that was all that was available, used a hand held SM58 mic for a studio recording and failed miserably getting a decent sound from a Coles lip mic (that everyone else seems to be able to use) for commentary.

Take forum advice as a guide - never definitive law. Then try the results on audio recording forums and see if their advice matches. Often, it doesn't.

I am very suspicious of any company that does not post their physical address or telephone number on their website. I could not find this info on the linked site.Apex is Long & McQuade's house brand, as is Traynor guitar cabinets, Yorkville speakers, and ART audio gear. Apex Electronics (http://www.apexelectronics.com/contact/)

I was speaking directly into the front of the mic, probably 1-2 feet away.

My voice sounded really muffled, not natural at all.

Yeah, you had it placed wrong for VO, or for anything really. Place it where I mentioned. Record something and post it here so we can hear what you're doing. You don't talk into the end of a shotgun mic, it's aimed at someone, usually from above.

Regards,

Ty Ford

IMO the more information the better! I can sift through it, do my research and make an informed decision.

So thanks everyone, much appreciated.

At this stage I'm looking at either a Rode NT2A or a Podcaster, and building my own little recording box out of acoustic foam. I only do voice overs for corporate videos so I think a simple setup like that should suffice.

Jody,

If you do, post a bit of what you end up with. If you're recording and playing back in the same room, and your room has a sound, you may not be able to hear it with your speakers in the room that you're playing back in.

Regards,

Ty Ford

Will do. It'll probably be a few weeks before I get the equipment (after a few clients decide to pay me), but I will post some samples here when I get it.

Thanks again.

Just thought I'd throw my 2 cents in here...

I record all my voiceovers currently with a Zoom H4N and a regular old 40 dollar Sony cardioid mic (FV-620). First time I used the mic I was surprised that it has good, close proximity and clarity for the price. 40 dollars for a mic was a zero risk buy for me. During ambient (in between speaking) I barely see any noise whatsoever (all manual gain on the zoom too). If you can budget in a large condenser mic that will give you better results and will give you better tone. The one complaint I have with the cardioid is the bass tones are not very present but you can massage it in post a bit to get it back.

Justin:

Any mic with a cardioid pattern will exhibit some "proximity effect," in other words if you work close to the mic (let's say roughly closer than 12") there will be an increase in the low frequency end. So I'm surprised to hear that your Sony mic is lacking in low frequency output.

Even Sony's website does not publish a frequency response curve for this mic, but the so-called "specifications" indicate 70 Hz as the bottom end, which suggests to me that the mic might, in fact, sound rather "thin" and lacking in bass.

Also, the fact that Sony markets it as a "handheld vocal mic" suggests that they expect it to be used very close, so they might intentionally reduce the low-frequency response to avoid boominess caused by the proximity effect.

How close do you normally work the mic when you record?

Also, are you using an XLR-to-XLR cable, and plugging into the Zoom's XLR mic input? Or are you using the XLR-to-1/4" cable supplied with the mic, and plugging into the Zoom's 1/4" input? Or are you using an adapter and plugging into the Zoom's 3.5mm mic input?

Not sure why a NTG would not be any good. I have been using my NTG2 for VO work and it sounds OK to me. I have the mike on a stand at approx 6 inches away from my mouth, but at an angle, i,e, I am not speaking directly into it. I have experimented a lot with various mikes including my Rode NT1-a ( this has a very deep sound and also picks up too much ambient noise from my computer). I also have an expensive headset from Audio Technica, this has a brittle sound and picks far too much hisses from my Sssss's

Here is a link to a video I produced yesterday using the Rode NTG2

Printing Masterclass – profiles (http://www.photo-i.co.uk/2013/02/printing-masterclass-profiles/)

I previously stated: (#7) "There are more than a few VO artists who use and swear by a Sennheiser 416 which is the same type as the NTG3", so for the record, I didn't suggest buying a new mic.

What I would like to know is how do people use the EQ to sweeten up voices.

Here are my three mike samples (sorry it is in a Zip file, as an MP3)

1 Rode NT1a
2 Rode NTG2
3 Audio Technica Headset BPH51
4 Audio Technica Headset processed using EQ

With a bit of extra work the Headset doesn't sound too bad, but it does involve an extra step in the workflow. The Rode NT1a is too boomy for my taste. The Rode NTG2 does a nice job, but can be awkward to use on a desk top when doing tutorials. Ideally the headset should be the best solution for tutorial work but does require that extra step.

Which version do you think works best, any advice on sweetening up audio would be much appreciated. .

Transom.org compares a number of mics in a "blind" shoot out. You can listen and decide what you like and don't like and then look at the answer key and be surprised. I think the samples are in their TOOLS section.

Reed

Thank you Reed,

Transom.org looks like a very informative web site, have added it to my bookmarks.

Hi all,

I'm after some tips on the best way to record a clean voice over without the use of a recording booth.

I have a decent mic (Rode NTG-3) which records great audio (well, to my ear anyway). So I'm looking for tips on ways to isolate exterior sound.

Record in a cupboard? Build a soundproof booth out of blankets? Record under the house?

Any tips appreciation.

I'm looking for tips on ways to isolate exterior sound. Record in a cupboard? Build a soundproof booth out of blankets? Record under the house?

Hi Jody, I feel your pain! I record VO’s for product promo and training videos in a noisy environment – the engineering area of a manufacturing plant. For 15 years I’ve had to contend with voices in the hall, footsteps pounding up the stairs, the paging system, test equipment, HVAC noise, and computer fans.

In the beginning I really wanted to use my RODE tube condenser mic – which picked up every sound, no matter how faint – so I tried making a 3-sided temporary booth from padded moving blankets. That helped, but not enough, so I moved the mic to a separate area and recorded in the evenings after everyone else had gone home and the HVAC was off. But this wasn’t a practical way to work and no matter what I did there were still noise issues. I also tried placing the mic inside a cardboard box padded with foam, which didn’t work well at all.

I finally decided that I needed a mic that picked up less extraneous noise, so I auditioned a bunch of sub-$300 mics at a local dealer and purchased the one that picked up the least amount of surrounding noise – of the ones they had available, the ElectroVoice Cardinal (~$150) was the best in this regard.

The EV wasn’t the best mic for my particular voice, but with some processing it was fine. It made my life much easier (I placed the mic on my desk next to my keyboard and made no effort to block out background noise) and the overall result was superior to the “better” mic.

A couple of years ago I got a USB mixer that causes severe “digital hash” noise with the EV mic. I have an Oktava MC012 condenser “pencil mic” so I tried that and, when kept within 6” of my mouth, works OK for voice-overs. It’s not as good at eliminating background noise as the EV, but it’s acceptable.

About 10 days ago I picked up a RODE M3 ($150), intending to use it as a short shotgun for interviews. I gave it a try for VO work as was really impressed: it sounds great with my voice and, when mic’d close, doesn’t pick up much extraneous noise. I'll definitely be using it for my next VO.

Based on my experience I would suggest that you audition as many mics as you can and, if possible, record your voice rather than trying to evaluate the mic while listening live through headphones. Look for a good compromise between how your voice sounds vs. how much background noise the mic picks up.

Once you have some sample recordings see what you can do with them in your audio software. If a mic works well for your environment, perhaps you can use some processing to get the sound you want. Conversely, if you really like the way a mic sounds and, if the background noise isn’t too bad, perhaps you can use gating to clean up the sound (gating “turns off” the mic when you stop speaking).

I’ve included links to VO’s done with three different mics. If you skip past the first two minutes of each video you can hear the VO without background music.

RODE tube mic. Even with all my remediation efforts and tons of gating there’s still lots of background noise. RIDGID Color Video Toolcase - YouTube

EV Cardinal: RIDGID SeekTech SR-60 Line Trace Product Video - YouTube

Oktava MC012: microReel, microDrain, nanoReel Product Video - YouTube

Oktava MC012 (same conditions, different processing):
SeeSnake Standard, Mini, & Compact User Video - YouTube

I wish you all the best with your efforts, make sure to post some samples of your finished VO!

This is an interesting chat with with George Whittam, a leading expert in voice over studio design. George provided engineering services for Don LaFontaine and other famous voice-over artists.

This Week in Radio Tech 108 | TWiT.TV (http://twit.tv/show/this-week-in-radio-tech/108)

Well, here's what I did...

I got myself a great deal on a Rode NT2A and some acoustic foam. I then built myself this box.

The mic screws into a cheap microphone desk stand which is mounted underneath the box (as pictured). I have all of the measurements and specs if anyone is interested.

Oh, and it sounds fantastic! My only issue is that it's a little bit bass-heavy, but that can easily be fixed in post.

Cool Jody looking good :) a version of our Harlan Hogan rig and the NT2-A is a good choice, make sure it's set on cardioid pattern.

Run some tests in post before you decide it's a bit bass heavy. If so, try the 40Hz bass cut at -5 or -10 .. that's how we test ours on spoken voice.
And try setting your rig up on a big slice of carpet.

Cheers.

Cool Jody looking good :) a version of our Harlan Hogan rig and the NT2-A is a good choice, make sure it's set on cardioid pattern.

Run some tests in post before you decide it's a bit bass heavy. If so move try the 40Hz bass cut at -5 or -10 .. that's how we test ours on spoken voice. And try setting your rig up on a big slice of carpet.

Cheers.

Thanks for the tips. I would have loved to buy one of the porta-booths but unfortunately when I took international shipping costs into account it was more economical to build something. And there's nothing quite as satisfying as sawing and nailing bits of wood into something useful ;)

^ yep :) Take your time with the voice testing .. save good sounding voice tracks for reference later when you're in a hurry or not feeling the greatest.

Note the mic settings. Have fun.

Cheers.

About 10 days ago I picked up a RODE M3 ($150), intending to use it as a short shotgun for interviews. I gave it a try for VO work as was really impressed: it sounds great with my voice and, when mic’d close, doesn’t pick up much extraneous noise. I'll definitely be using it for my next VO.



I felt I had to butt in on this old post as I have also had good success with the M3 for voice over. Funnily enough I also bought this mic for video interviews, which it's also very good at. I used it recently for a series of VOs as it was convenient and at hand. After a while I thought I should be using something better and tried a Baby Bottle and an M-Audio Sputnik that I use for music production stuff. Don't get me wrong, I love these mics in that context. But for VO I started to have to think more about proximity and was needing to EQ quite a bit to enhance spoken clarity etc. I was almost peeved that I wanted to go back to the $150 Rode, if only to save time. What I like about the M3 for VO is that it's very unfussy and practical and yet quite classy to listen to. I get up touchy close (I actually put double sponge pop filters on the end) and never worry about distance or placement. As said, I never noticed background intrusion either when used this way. When you have a lot of VO clips all of these factors are a real bonus if you want to just get on with the job. I always click to the second notch of the mic switch to cut bass, and on my voice (male baritone) find a 2.5 db boost at around 5k in post gives edge. The other mics I tried probably had a tad more mid detail, but placement was everything to avoid mud and changes in dynamics, in case you got too animated and moved about. For me the M3 is a go-to VO bomb - if only for utility!

I have a closet full of cheap to expensive mics and can get a decent voice recording from any of them. In my experience you need an echo free environment, a good preamp, a clean recording and some audio processing. Most voiceovers I hear have no compression which to me is the most important element. Must control dynamics. Then fine tune the tone with good quality eq and most recordings will start to come to life.

At last! Duane hit's it on the head. To get a good voice over you need only a few things. The first is a decent voice from the person doing it, and an environment that sounds right!

If you go into a cupboard, it will sound like a cupboard!

If you record outside, on a windless day, miles from anything - it will be as dead as it can be.

Almost any nice sounding mic, shotguns included, will be perfectly capable of recording a voiceover. You need a good ratio of wanted to unwanted sound - so distance with a directional mic sets the overall frequency response. If you go too close, you will start to get too many plosive breath sounds, to far away, it may be too thin and the room sounds start to intrude.

An omni lav, and some foam can work well. Find a dead room, and experiment.

On another note - USB microphones can be useful, but many have no method of adjusting the gain before the A to D conversion, meaning noise can be a problem sometimes. Experiment with what you have and can cobble together.

I've been using the NT2A with the custom-built recording booth (pictures above) for a couple of months now, and I'm pretty happy with how it sounds.

My voice sounds very natural, my only complaint is it's a bit heavy on the low frequencies, but that can be fixed in post.

Hi all,

I'm after some tips on the best way to record a clean voice over without the use of a recording booth.

I have a decent mic (Rode NTG-3) which records great audio (well, to my ear anyway). So I'm looking for tips on ways to isolate exterior sound.

Record in a cupboard? Build a soundproof booth out of blankets? Record under the house?

Any tips appreciation.

Best way to record VO without a sound booth? Record inside a car! No reverb, flat sound, great isolation. NTG-2 and NTG-3 works great for that. just aim for the chest about 4 to 6 inches away from the mouth. of cours don't do that close to a highway.

You will get studio quality voice over.

Of course there will always be a cheap way of doing almost everything, it all depends on the standard you want to work at. As a rule, you get what you pay for.

If you must build a box, I strongly recommend using Homasote (or Celotex as a poor imitation) rather than plywood. Plywood will be resonant (unless it is very thick and the sides are very small) and may add some undesired coloration to the sound.

Homasote is a great non-resonant product. The only catch is that you might need to reinforce the junctions where two pieces meet, using a small wooden 1"x1" or similar. Screws through Homasote usually hold just fine (and you can reinforce the heads with fender washers), but screws into Homasote are likely to pull out.

I suppose in theory it would be best if the box had no parallel sides; but then you're bringing geometry and angle cuts into the picture. It probably doesn't matter that much, although Harry Olson swore that speaker enclosures sounded much better if they were non-rectilinear.

Best way to record VO without a sound booth? Record inside a car! No reverb, flat sound, great isolation. You will get studio quality voice over.

I've done that before and yes, it works surprisingly well.

Every time I've tried that, it sounds like a recording done in a car. Better than outside, but hardly as good as a good studio.

Regards,

Ty Ford

I tried recording a VO in a car with a client and it was going well till the cops pulled me over.

If you wish to build something ordinary foam acoustic tiles from the home recording specialists work very well On a simple timber frame with open out hinges, they're cost effective - but even duvets can do pretty amazing things stopping hard surfaced rooms sounding boxy.