The working distance was at Corey’s discretion. Randy engineered. [I chose this voice] to get that round, old-fashioned announcer chest tone. And the Coles 4050 Grabbed my ear with a mid-range character that stood up, but somehow managed not to be honky. In this Virtual Mic Shootout we listen and compare the Slate VMS, Townsend Sphere L22, and the Antelope Edge microphones to their vintage counterparts. Whereas the original Royer, the 121: warm, but no snap at all. A ribbon mic makes it sound magical, instead of just … ugly. But it is still interesting to listen to the differences (or lack thereof) between the various mics and their price points – and that is why I am forwarding these links. It’s the Pirates of the Carribean texture. We listened to 50 vocal mics on both male and female voice. Just rich. I am pretty sure there was another comprehensive blind shootout, but I must not be using the right key words. Each mic … The two Samar Audio Design MF65s sound great here. (Special thanks to Randy for arranging and recording this interview!). The line Corey performed is an excerpt from the introduction to a CBS radio show called Escape, dating to the 1940s. It’s scooped in the mids, which isn’t ideal for a voice application, but it’s a neat sound that might be just right for some applications. It’s a very coarse texture. Shure did make one really great ribbon mic, the SM3B, of which the 313 seems to have some similar qualities. The M130 I would not use alone for Voice over, rather the M160. Thanks for this great ribbon microphone shootout. Gary Owens has that plummy, full-rounded announcer voice. Exciting. But it’s not just a high-frequency boost that’s happening here; there’s an undeniably cool sheen to the voice that I don’t hear on any of the other mics. I always think of Gary Owens and the RCA 44 because of Rowan and Martin’s Laugh In. The are a number of good sounds in this session; so long as you’re not trying to match the sound of Disney cartoon from 60 years ago, many of these mics would be suitable. Not particularly colorful, but really good. A very handsome sound to the entire range of voices — I didn’t hear any weak spots in it. It was great, but not something I would use without EQ, without enhancement, to do something meant to sound old-timey. Vocal Mic Shootout. But here are my thoughts after listening in this setting! The only thing I regret is that he did not tell me about it, so that I could pester him to let me come along. The last LA session of the $60,000 Ribbon Microphone Shootout was recorded by Randy at the Disney Character Voices studio in Burbank, CA. The M160 and the M130 are intended to be used as a MS-pair. We were blessed to have character voice master Corey Burtonon hand for this test. The KU4 is AEA’s recreation of the KU-3A! I loved it. The little beyerdynamic M 130 surprised me here. The KU4 and KU-3A MP3 clips above are from different performances, but the session file contains a head-to-head test (from a single performance) that will let you compare them directly. The Royers are modern and clean sounding for ribbons, but excellent. I have heard that Wes Dooley might be working on a recreation of the KU-3A. TLM 103 has low self-noise of 7db, which is good for voice over artists. Well, apparently I’m not a total novice at this, because the Coles mics immediately jumped out to me. Just gave it some sparkle that is a part of the character of the vocal tone. June 1st, 2010 at 11:01 pm […] RecordingHacks.com is the place to hear an apples to apples comparison of 7 very different … (Why did I like the rear side on so many of these mics? They were painstakingly positioned side-by-side. The KU4 sounds like a dynamic mic with an extreme high pass filter.That’s my 2cents just wanted to comment to see what other people’s thoughts were. Great. I really enjoyed comparing the different sounds. CB: I was most interested in the [AEA] KU4, which did not disappoint. If it’s true, and he gets it right, it may be well worth the wait. The solid-state [R-122] was flatter, more clean, more natural. Hear William Conrad’s original (from the Three Skeleton Key episode): We’ve transcribed part of the interview here, and we’ll post the original audio soon — it’s well worth listening to, just to hear Corey demonstrate the voices he’s describing. In fact it wasn’t exactly like any old ribbon that I’ve heard. Also, due to the wide availabilty of the mxl R 144 at guitar centers and other large retailers could you include it in your ribbon mic tests soon? What is the appeal of the KU4 microphone? It beats the dingies!”. But the 101’s got real flavor to it. Corey sat in the main voice booth at the DCV studio. I first compared the RCA KU-3A to everything else, because I wanted to understand its appeal. All mics were recorded dry, through a pair of Martech MSS-10 preamps, into Apogee PSX-100 converters (at 24-bit, 48 kHz), clocked by an Apogee Big Ben master clock, directly into Pro Tools. Orson Welles used a dynamic microphone a lot. That was to see how dense the sound of that placement and pitch is. It just had a little more ribbon-y flavor, more of a character thumbprint to it. LEARN MORE. In the original War of the Worlds broadcast, that could have even been an early dynamic microphone. It’s not as glossy or open on top as the old RCA mic, and it sounds heavier in the low mids, but it has an appealing character — impressive for a relatively inexpensive microphone. Tuesday, August 16th, 2011 | by matthew mcglynn. I expected an unusably bass-heavy track, but in this application the mic sounds pretty slick. Best Voice-Over Microphone for Home Studios – A Quick Shootout. No kidding… I wrote “Hey, who put a condenser in here?” And I mean that in a good way. Mic Database | Mic Reviews | Microphone Sale, Tuesday, August 16th, 2011 | by matthew mcglynn. As is always the case, which of these sounds is best for your needs depends entirely on the source and the context. They either use offset ribbons or acoustic trickery to create a brighter sound on the rear side of the mic. Voiceover Microphone Shootout! When compared to other microphones, this microphone cancels noise in a much better way. I need to go through this shootout again in my studio. Since that was exactly what Burton was striving for in this session, the effect was quite convincing. With a mismatched microphone, that sort of placement [the Gary Owens voice] would sound hollow, instead of very chest-y and rich. Check out a typical performance (unedited! The Sontronics Sigma called out to me with a rich sound as well. The female voice was 12″ in front of the mic without a pop filter, while the male voice used a pop filter. The Royers also made an impression, with the R122 sounding natural with a nice touch of proximity. We recorded two mics at a time. Corey cooked up four different voices to exercise each mic … The samar sounded great but its 4 grand so one would hope it would. I guess [it was] closest to a Reslo as far as overall character and flavor. I tried them for oice-over and added the signals of both microphones. In modern voiceover recording, the standard LDC to use is the Neumann U87Ai.We decided to put this mic to the test and do a blind shootout with three other similar LDCs: The Peluso P87, the Peluso 2247 SE, and the CharterOak E700.. “Ladies and gentlemen, the Columbia Broadcasting System and its affiliated stations presents, Orson Welles and the Mercury Theater On The Air!”. Randy, Ryan Canestro, and I triple-teamed the mic changes. RC: I also remember you enjoying their low-cost ribbon [the Royer Labs R-101]. Guitar Cabinet Mic Shootout… I’m shocked at how cheap the Shinybox is too! They’re balanced and rich, with an appealing texture in the mids and just enough low-frequency warmth. It’s got a nice, metallic — in a good way, metallic — resonance to it. | Voices Of Advertising. All of these mics are worthy; it’s just a matter of an artist selecting the right color for the moment. We compared seven snare drum mics in the studio. I’m listening through my good quality etymotic earbuds right now through a generic laptop sound card. } Shifting placement and pitch, it’s all enhanced in an equally flattering, listenable way. It had all the right qualities, but sounded modern.