Here we'll study the three sorts of microphones most usually used, their strengths and weaknesses, cost, and how to decide which one(s) to go for.
We'll talk approximately the sorts, then take a look at specific manufacturers, fashions, and charges.
Before we begin, the maximum crucial issue I can say to you is that your microphone is the maximum vital a part of your entire audio chain, no exceptions. You could have the maximum appropriate equipment in the international downstream from the mic, but if the mic doesn't reduce it, it doesn't actually matter approximately the rest of that equipment. On the alternative hand, a top notch microphone observed via common-priced equipment will provide you with a superior audio product.
What are you trying to do? Are you seeking out a mic this is smooth and candy, or difficult-edged and in-your-face? Are you male or female? If you want to do movie trailers and screaming automobile provider commercials, you need a unique mic than in case you're doing "guy or lady round the corner" -- practical -- voice paintings, or trendy announce voice paintings. Here are the types of mics to keep in mind:
Dynamic
Dynamic microphones are what you spot in radio stations and are what live vocalists (singers) most usually use. They're rugged, reasonably good-sounding, and k for maximum voices, meaning one may not sound sincerely suitable on your specific voice, however it won't sound awful, which isn't always proper of other kinds, including a few very steeply-priced microphones. A dynamic additionally isn't always so nuanced. The part that selections up your voice, the diaphragm, is connected to a coil of twine; air movement from sound makes the coil move between the poles of a magnet. The sound has to overcome the mass of the coil, and really small sounds don't get thru.
This would not cause them to awful. Rush Limbaugh's Golden EIB microphone is a dynamic, and, again, most radio stations use them. They are excellent preferred-motive mics, and lots of voice over pros use them. They are similarly suitable for male and woman voices, and you could do most any kind of style with them.
If you're on a price range, a dynamic is the simplest choice, because the opposite two cost lots extra. There are reasonably-priced versions of the alternative , and also you do no longer need one!
So if dynamics are so useful, why spend more for a condenser or ribbon?
Condenser
A condenser microphone, of which there are two sorts, transistor and tube ("valve" in Europe), does not have the shifting coil of twine attached to its diaphragm. It modifies an electrical cutting-edge generated by means of an external power deliver (discovered in most computer interfaces or with an outside strength deliver, see your provider for info, or inner batteries). Without the mechanical resistance of a dynamic mic's coil to overcome, a condenser is a ways greater touchy to nuance, and consequently sounds a lot greater intimate.
Condensers come in two flavors: transistor and tube. A tube condenser, that is an high-priced tool (there are reasonably-priced ones and they make true paperweights but now not microphones), is nearly always the very great manner to head. Tube condensers sound intimate and full, and have a terrific up-front sound with out being aggressive. They are quite difficulty to troubles from hard speech components -- 'f', 's', 'p' -- and require a pop display (see your supplier). Tube mics additionally produce what is referred to as harmonic distortion, which we don't consciously pay attention but is accountable for what's referred to as "tube warm temperature" (nothing to do with temperature!) and sounds quite intimate.
Condensers are available in two other flavors: large diaphragm and small diaphragm. Large diaphragms are for when you want a large, intimate sound. Small diaphragms are said to be greater correct. However, the right one for you is the one that sounds high-quality after making several-minute recordings with each (more about this later inside the article) and seeing if one is greater fatiguing or if one just plain sounds better to you than the opposite. There aren't any policies. Both types are used for voice over.
Many voice over artists prefer tube condensers over transistorized ones, however in all cases, what sounds excellent in your precise voice is what you need to get. How to choose a mic? We'll get to that in a minute.
Ribbon
Here's the 0.33 type, in a category with the aid of itself: the ribbon microphone. While dynamics and condensers 'hear' with diaphragms, a ribbon microphone "hears" with a short, slender, and very thin piece of corrugated, aluminum 'foil' suspended among the poles of a strong magnet.
You've visible the big, pickle-formed microphones on Letterman's and Larry King's desks. They are RCA Model 77 ribbon microphones (used as props in this example), invented in the 1930's. They have been found anywhere for half of a century. RCA stop making ribbons in the 1970's, and an enterprising genius named Wes Dooley sold all of RCA's stock ribbons (the ribbons themselves) and probable single-handedly re-added the ribbon microphone to the United States marketplace. His corporation is known as AEA, and even the AEA emblem is so designed as to intently resemble RCA's emblem. There are actually several groups making excellent ribbon microphones.
Ribbon mics are heat and easy, jazz men want to document with them, they are very high-quality for women' voices, and for sure male voices they upload a nice gratifying depth. They even have a low output, which means that that you need to crank up the enter to your machine to get a respectable level from them. But raising the enter raises what is known as the noise floor, and you can become with a recording wherein you could listen hiss in the historical past. Wes and different ribbon mic producers address this hassle well, but, and some organizations are making preamplifiers (communicate with your provider about this) designed particularly for ribbon mics.
Whether a ribbon -- or any mic, for that depend -- will sound precise on your voice cannot be recognized without surely trying one out. Ribbons are quite touchy to shifting air; if you blow into one to test to look if it's on, there's an top notch threat you'll spoil the ribbon. When ribbons had been in common studio use, they were 'bagged' -- a outfitted bag changed into positioned over them -- simply to move them from region to area within the studio, to avoid ribbon harm from the air passing across them as they were moved.
Brands
Dynamics
There are one million brands, which of path goes for condensers, but not that many ribbon brands.
Not to worry, due to the fact there are several enterprise standards with which it's tough to go wrong. Here are the three most popular dynamics, and that they in all likelihood outsell all the relaxation put together:
Electro-Voice RE20
Sennheiser 421U (see supplier approximately the precise one for your purpose)
Shure SM7
---------
Shure SM57 / SM58 -- much less highly-priced and may be used if you do not have the cash for the others
These mics, except for the last , are in the $350-$seven-hundred variety. Though each has a feature 'sound,' they may be pretty close collectively in that recognize. Each is nicely-made and reliable over the long haul, as in a long time.
The Sennheiser, and, I trust, the SM7, have what are called proximity effects: in case you get right on top of them they intensify the lows. Many announcers in radio stations like to consume them; they need that deep "Voice of God" sound. They're better used at a distance of 6-10". The RE20 is known for its lack of the proximity impact. I in my view adore it higher than the others. Electro-Voice has a more moderen version, known as the RE27, which users either genuinely like or genuinely can't stand. Further, the RE20 became also made below a different model call, PL20. The end coloration is a bit special, but it is the equal mic. The PL line of mics became made for miking drums and musical instruments and is no longer in production. I found a PL20 for $one hundred fifty and am nevertheless leaping up and down, for the average used fee of a PL20 or RE20 is double that.
For fee-to-great, none of those mics may be beat.
Condensers
As stated above, flavors right here: transistorized and tube. Again, a tube condenser, like any properly-designed tube device, generates overtones, which our ears understand as "warm temperature." I say well-designed, due to the fact ever when you consider that tubes have been "rediscovered" about 25 years in the past, a lot of affordable gear with a tube or two in them has hit the marketplace, however they may be no longer always designed by using folks that understand a way to layout a tube circuit for excellent impact. This phase offers with condensers in general.
Probably the maximum-recognized condenser mic call inside the global is Neumann (NOI-mahn), and its most popular version is possibly the U-87. It sells new for round $3500, $2000 or so used. I've located that a Neumann both sounds incredible in your voice or it sounds honky. The U-87 is the microphone National Public Radio uses exclusively.
It is observed in just about every recording studio of any size. It will love your voice or hate it.
There are greater steeply-priced Neumanns, and a chain of less costly fashions, some prefixed with the letters TLM. A proper number of voice over artists use TLMs (< $1000); in my view they're not almost as herbal-sounding because the U-87 or an amazing dynamic. I had one but bought it after a few months. It ought to sound virtually correct in your precise ear, but. I make this factor because voices and tastes differ, and it is really authentic that one voice can sound bad on a positive mic and exquisite on the following voice. So how does one pick out? We'll get to that during a sec.
First, you have to use a pop screen on a condenser. This device stops those blasts of air from non-vocal speech components, maximum substantially "P" sounds, to which condensers are especially touchy. Put your hand in the front of your mouth and say "P." Feel the air? If that blast hits a condenser, let's simply say you don't need to be wearing headphones at the time. Now, it's an excellent concept to speak throughout (at forty five ranges) not immediately into, any microphone, due to the fact they all will react badly to P pops; it is simply that condensers REALLY react to them. Many RE20 customers placed pop monitors in the front of their mics even though the majority don't use pop monitors with dynamics.
Cheap condensers: a huge no-no.
Cheap condensers are all around the market. You can purchase a microphone with a pleasant spider surprise mount and in a lovely aluminum flight case eager about $seventy five. Um, I don't skinny' so, Loooocy. They are unnaturally shiny at the top stop and boomy at the lowest.
The in reality nefarious a part of this is that, in case you're simply starting out, your ear is without difficulty fooled into thinking that boosted highs and lows sound correct. They do sound form of exciting, but it's miles extremely fatiguing to concentrate to a recording made on one. As Phil Spector famously placed it, "It's all inside the center." Americans like to crank up the treble and bass. If you have got a mic turning in masses of highs and lows, and a person boosts the highs and lows on their tune machine, your paintings will sound awful. Expensive microphones have rolled-off low ends and smooth high ends. Upon first the use of one you may even assume, "Wow, what is the massive deal about this thing? It's uninteresting." No, it is natural. Unboosted highs and lows. In different phrases, it sounds like you, now not you-via-a-microphone. That's because it have to be.
Remember, you are competing with those who very own excessive-cease condensers, and that's how they sound. I'll take a $four hundred dynamic over a $400 condenser pretty much each time.
March 2018 edit: All of this stated, an engineer pal of mine was recording an a capella institution. He positioned Neumann U-87's on all people. They all sounded excellent except for one vocalist. He tried every mic he had and nothing sounded especially true. With a what-the-heck attitude, he positioned his ultimate mic, a Shure SM-fifty seven, used significantly for miking electric guitar amplifiers and drumsets, in front of her. It fees $100, the Neumann prices $3500. She sounded ideal, and fit proper in with each person else.
Go discern. Remember, even though, that this clearly is an exception.
Ribbon microphones
I have experience with exactly one ribbon: an AEA R84. It sounds sincerely precise. It's an updated version of an enterprise-preferred RCA ribbon mic, the Model 44, invented long ago and used forever, just like the seventy seven. It's tres cool-searching, and comes with a snarky-searching padded, geared up maroon bag for delivery and safety. It's about $990.
There are different ribbons which have excellent reputations, more hitting the market all the time, see your supplier. I'm now not privy to ribbons getting used that a whole lot for voiceover, however I actually have an idea that it is due to the fact a fantastic quantity of people don't know about them. I think it is also due as plenty to inertia as anything -- everybody learns what all and sundry else is using and follows fit. Also, ribbons do not have the in-your-face sound that dynamics and condensers have.
How to pick the right mic for you
The best manner to fit a microphone for your voice is to name a professional recording studio and e-book an hour or so of their time. Have them installation an array of mics round you and take a look at study you, every mic going to a special recorded music. It's infinitely better to suit the mic to your particular (and specific) voice than to get simply something and attempt to make it suit using equalization (Google "equalization for voice over" and examine it!). I propose you check no fewer than 5 mics, making sure to encompass all the ones indexed above besides the Shure SM57 / 58. When you listen to yourself recorded on each one, the exceptional one will generally make itself undeniable (however watch out for the unnatural excessive-and-low-enhance wow issue), and it's a terrific idea to invite the recording engineer's opinion, for s/he is aware of what to listen for. My technique is to pay attention to the recordings of the primary , pick a winner, evaluate it to the 1/3 one, choose a winner, compare it to the fourth, and so forth. Then do it again, only have the engineer blend up the playback order.
Don't try this check in an newbie home studio. They nearly without a doubt will no longer have the mics you need to make the check meaningful, and the character recording you will almost surely not be competent to evaluate which mic to use for voice over; most domestic studios exist for the motive of recording song and sung vocal, now not voice performing and voice over.
What if you don't have a studio within 50 or one hundred miles, or their charges are too excessive (even though I think paying $one hundred to test numerous thousand bucks' well worth of microphones will prevent incredible headaches, sending mics back, and many others.)?
Now, all that said, in case your budget lets in, purchase both a Neumann U-87 or a Lawson L-47 MPII. The Lawson is around $2000, or $1500 greenbacks much less than the Neumann. The Lawson is the mic I actually have used for almost 10 years. It sounds like Disney, however even greater importantly, I have yet to file a voice on it that hasn't sounded honestly appropriate.
https://en.wikipedia.org/wiki/Education
It is sold manufacturing unit-direct through a fella named Gene Lawson in Nashville, at Lawsonmicrophones.Com. If you name them, you may speak proper to Gene. He's a super guy.
Absent that kind of budget, get an Electro-Voice RE20, Shure SM7, or Sennheiser 421U. The Sennheiser is available in more than one variations so inform your dealer that you're the use of it for VO.
If you're now not certain whether you really need to be a VO artist however would love to give it an ordeal shot, get a Shure SM57 or fifty eight. They are $100 dynamics. As I said earlier than, they're okay, and never sound awful on everyone's voice.
Where to get it?
If you will get an RE20 or Sennheiser or Shure, get it out of your local tune shop (the best choice because service is right there, no mail order hassles). If you do not have a local provider, log on to one of the large catalog shops which includes Sweetwater, Full Compass, Zzounds, or Guitar Center. They have fairly liberal go back regulations and are clean to paintings with. They sell quite a few stuff and feature aggressive reputations to keep. Plus, their costs are commonly same from piece to piece in order that they ought to make up for it with honestly proper service, all in your gain.
If you have got the bucks for a $1500 - $2000+ condenser, go browsing to SoundPure.Com. (Lawson are offered manufacturing unit-direct simplest at Lawsonmicrophones.Com) Sound Pure has professional sound recordists to talk to, and at the ones expenses you need to speak to pros. Not that the catalog shops don't have execs, but their level of knowledge varies. I've talked to guys who knew not anything approximately what I desired and guys who knew loads; at Sound Pure they are all execs and they're honestly inquisitive about getting you what you need and not a penny extra.
Tell them the whole thing you need to do, what different equipment you've got, what to shop for if you don't have any tools yet. They absolutely supply a great huge rip approximately their customers and approximately the pro audio commercial enterprise in trendy. I can not say enough excellent approximately them. In case you're questioning about all this pleasant stuff I'm pronouncing approximately Lawson and Sound Pure: now not simplest am I now not getting paid by using them, they don't know I've written this text.
To sum up: If there is a seasoned studio close to you, e-book an hour and take a look at their dynamics and condensers using the technique above.
When you're prepared to buy, If you want to spend $200-$seven hundred, get a dynamic: Electro-Voice RE20, Shure SM7, or Sennheiser 421U. Check your nearby music store first -- the whole lot's so much less complicated that way. From $1500 and above (which your local keep possibly may not have) get a tube condenser: Lawson L-47 MPII from Lawsonmicrophones.Com, or for others, go to SoundPure.Com and make contact with them. Re the RE20, EV also makes an RE27. Some human beings honestly like them, some human beings truly do not. I'd go along with the RE20.
No comments:
Post a Comment