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And deaden alot
Try a snatch then heavily compress it and listen back, that should show up any issues. Once we started to get a fair bit of voice stuff like podcasts and game audio we built a proper booth and made it so dead inside it was unnerving to be in at first.
I record in the control room, which is treated.
Booths are almost always worse than that.
I use a ribbon (usually an AEA R84A) into an API 512c or UA LA610 then into a Distressor.
Sometimes I use a dynamic (RE20 or SM7b).
I generally think Reflection filters are a waste of time.
They don't mitigate a bad room.
Get a couple of Gobos: https://gikacoustics.co.uk/product/freestand-acoustic-panel-gobo/
I sometimes put them in front of the talent but that is more as a barrier so they don't see how many edits I have to do if they aren't pro VO artists.
Such as:
Out of the mics you list I would use the GoldenAge Projects R1 Active mk3.
There are two reasons for not using a condenser mic.
1) You just hear more room than you need.
2) You often want the proximity effect bass boost that dynamic mics offer (up to a point), also knowns as 'Voice of God' in the industry.
I haven't used an LDC on a VO since I was in the very early days of my career.
Some people use them, but usually high end mics, in very good sounding rooms for a specific effect (ie it specifically suits the talent's voice).
Any advice here is guesswork though- it really depends on how it is on the day, in the room with quality of the voice that you are working with.
Studio: https://www.voltperoctave.com
Music: https://www.euclideancircuits.com
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Will definitely investigate the ribbons then. The GoldenAge one has seemed a bit mid-heavy / honky on saxophone in the past, but I should try it in different situations.
And I don't think I've ever heard any pro engineers rate the Reflexion Filters as anything useful at all. I got it initially to help mitigate spill (I tend to do live in-the-room recording of jazz and similar), but I don't think I've ever actually used it effectively.
Thanks as ever all.
Voices are much smoother and benefit from microphones with a pronounced midrange.
You can EQ it of course too.
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Music: https://www.euclideancircuits.com
Me: https://www.jamesrichmond.com
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I'd probably choose whichever of the CAD or the Aston sounds better on the speaker in question.
Can anyone suggest one or two links so I can learn a bit more about the basics of the setup and some best practices in voice-over recording?
Cheers,
Jon
My trading feedback: https://www.thefretboard.co.uk/discussion/210335/yorkie
Asking because if you're in the Universal Audio DSP universe, they have a Unison plugin for room reduction that can be fairly astonishing - it's based around CEDAR noise reduction technology which is pretty much top-tier and it's called C-Vox. You could demo it for this session if you don't wanna pay for it, although I think it is on sale at the moment.
Yes if that is the case then best avoided.
I've been using Waves Clarity VX Pro to eliminate noise in VO.
It is pretty impressive.
A free alternative (for now) is this plugin which is in beta.
https://goyo.app/
I think it is even better than Clarity VX Pro.
@Stuckfast are you going to Gearfest this week?
Studio: https://www.voltperoctave.com
Music: https://www.euclideancircuits.com
Me: https://www.jamesrichmond.com
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Studio: https://www.voltperoctave.com
Music: https://www.euclideancircuits.com
Me: https://www.jamesrichmond.com
Auto-Bounce by Tom Salta
Dreamhost Web Hosting
I'll say hi.
Studio: https://www.voltperoctave.com
Music: https://www.euclideancircuits.com
Me: https://www.jamesrichmond.com
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