Studio

Can CAD’s Cool Colored Cans Cope with VO?

by Paul Strikwerda in Articles, Gear, Studio 11 Comments

Over the years, people have commented that I have a good head on my shoulders, and they’re right. In fact, I’m rather bigheaded.

I’m also blessed with sizable ears that turn bright red when it’s hot or cold outside. And because they continue to grow as I age, there will come a time that I’ll be all ears. When that happens, I shall probably take up sailing.

My big head never really bothered me until I had to select a pair of headphones for my voice-over work. When I’m recording I prefer not to wear them (it takes me out of the moment), but when I’m doing detailed editing, I use them for hours in a row.

FACTS and OPINIONS

Searching for the perfect cans was quite an education. Just as with microphones, not everybody has the facts, but most people have an opinion:

“You must buy the Beyerdynamic DT770. They’re great.”

“Get the Sony MDR7506. Everybody in the business is using them.”

“The Sennheiser HD-280 PRO is the industry standard.”

I’m always interested in what others have to say, but I also know that what works for one person, doesn’t necessarily work for me. Part of that has to do with our individual anatomy.

All ears hear differently, and you and I may have different tastes of what sounds good. If you love listening to classical music, you probably want headphones designed for audiophiles. I needed cans that would allow me to accurately pick up breaths, mouth noises and other unwanted sounds. I wasn’t going to use them to listen to the Berliner Philharmoniker or to mix the latest Rap album. I wasn’t even going to listen in stereo!

COMING TO TERMS

When comparing headphones, you’ll find that many brands display a total lack of modesty. They describe their products as “world-class,” “revolutionary” and “exceptionally accurate“. While much of this lingo is just marketing hype, there are a few terms that come back again and again. Let’s take a quick look at them.

Open versus Closed

Open Headphones are designed to allow some outside noise to come in. Closed or sealed headphones isolate your ears from ambient noise. Open headphones tend to be lighter; they put less pressure on the ears, so they’re usually more comfortable. They also produce a more “open” sound, a bit more like your studio monitors.

Closed headphones produce a more “inside the head” sound, and they’re often used in music production where critical listening is vital and outside noise should stay out of the mix.

If I were to were to use my headphones to listen to music on the train, the bus or in bed, I’d go for closed ones, so as not to bother other people. In my studio, that’s not an issue. Because I work in a very quiet environment, isolation from ambient noise is not so important either. Comfort, on the other hand, is.

My favorite pair of cans share a feature with my mind: they’re semi-open.

Frequency Response

Sound is measured in terms of frequency. Frequency response refers to the range of bass, mids and treble (highs). Let’s say the range of a pair of headphones is 15 to 25,000 Hz. What does that tell you? Well, the first number represents the bass end of the spectrum and the second number the treble end. One of the headphones I was looking at, had a range of 15 to 25 kHz. Is that any good?

Sennheiser HD280 Pro, Beyerdynamic DT770, Sony MDR-7506 & AKG K240 MK II

The audible frequency range for human beings is about 20 Hz to 20,000 Hz. Below 20 Hz, the bass frequencies are more felt than heard, but loudspeakers are much better at delivering that punch. Frequencies over 20 kHz aren’t always audible.

Because of the limitations of the human ear, a wider frequency range doesn’t necessarily lead to better sound quality. So, don’t be fooled by the numbers.

With some headphones and loudspeakers, certain frequencies are exaggerated and others are attenuated (reduced). Because headphones don’t give you the physical oomph that sound waves from a room speaker have, some makers of headphones overcompensate and build in a hyped bass response.

When listening to your voice track on these types of cans, it sounds like you’ve been recording too closely to the microphone (proximity effect). The flatter the audio response, the more accurately it reproduces the sound from the input source. Those headphones are best suitable for voice-overs.

Impedance

The impedance of a headphone (measured in Ohms) refers to the headphones’ ability to resist electricity. Here’s what you should know: The lower the impedance of the headphone, the easier it is to get higher volume. Higher impedance doesn’t necessarily mean higher quality.

The higher the impedance, the more power your headphones will require. If you’d plug a high impedance headphone (e.g. 600 Ohms) into an iPhone or MP3 player, you’d definitely notice a loss in quality because the drivers can’t handle it. That’s why those models usually need an amplifier to drive the speakers inside the headphones.

Some manufacturers make different impedances for the same model (the Beyerdynamic DT880 comes in three ratings: 32 Ohms, 250 Ohms, and 600 Ohms), so be sure to look at the specs before you place your order.

Sensitivity

Another factor influencing the loudness of the headphones is the sensitivity. Impedance determines how much power the headphones will draw, while sensitivity indicates how much of the electrical signal delivered to the headphones is converted into sound. This is measured in decibels of Sound Pressure Level per milliwatt, or dB SPL/mW.

Headphones of a higher sensitivity (and with high impedance) will sound louder than those of lower sensitivity. Be aware that the human ear may experience hearing loss if sound is sustained above 85 dB. So, if your cans are more sensitive than that, be extra careful.

Comfort and Fit

Even the best studio headphones would be pretty useless if they don’t fit right. When it comes to fit, manufacturers use fancy words to describe the two main types of studio cans:

Supra-aural headphones like the Koss porta pro, rest against the outer ear. The ear pieces can be flat pads against the ear, but can also be shallow bowl-shaped, or deeper ear cups that are too small to completely surround the ear.

Koss porta pro supra-aural headphones

Circumaural headphones like the Sony MDRXB700, have ear pads that completely surround the ear, and ear cups that completely enclose the ear.

Professional audio reviewers recommend wearing headphones for at least fifteen minutes when you test them for comfort. I’m not sure I agree. If they’re not comfortable, I can tell within seconds. Keeping them on for an extra ten minutes is not going to change that.

This is what you should ask yourself: Do the earpads exert too much pressure on the ears? Can the headband be easily adjusted? Remember that headphones that enclose or cover your ears can get uncomfortably hot. To find out, you do have to wear them for a while.

Sony MDRXB700 circumaural headphones

There’s one other thing I pay attention to: the cord. I happen to hate coiled cords. They tend to be heavier and there’s always something that gets caught in them. I also prefer the cord to be detachable from the headset, in case I need to replace it. Every studio engineer I know has messed up some cords by rolling over them with their chair. Cheaper headphones usually don’t come with a detachable cable.

CAD’s CANS

You probably remember that I’m a big fan of the CAD Audio E100S microphone. Voice-over colleagues are finally catching on to this amazing, affordable mic. This American company has a lot more to offer, though. CAD recently came out with the “Sessions” MH510 studio headphones, and asked me to give them a try. Would these be just as good as the E100S?

Before I share my impressions with you, you should know that I’ll judge them based on my needs as a (bigheaded) voice-over artist only. Secondly, I’ll compare them to the reasonably priced cans I have been using for the past three years: the AKG K240 Studio headphones that are quite popular in my field. You can buy both the CAD and the AKG for around $99.

First off: this CAD offers more than cans. The MH510 headphones are a fashion statement. It comes in few colors: red/white, black/orange, black/chrome and pure black. Each pair of headphones comes with two detachable cables (coiled and straight) and two sets of earpads (leatherette & velveteen), as well as an 1/4″ adapter and a carrying bag.

Compared to the light-framed, self-adjustable AKG K240, the MH501 is rather bulky. There’s a lot of rubberized plastic and the leather headband is thick and cushy. The AKG weighs 8 ¼ ounces (235 g) and the CAD comes in at 11 ¼ oz. (320 g). During longer sessions, the weight of the CAD began to bother me.

AKG K240 Studio & CAD MH510

With the MH510, CAD wanted to make isolating headphones that “virtually eliminated bleed into the playback environment.” In order to do that, the earpads firmly push against the ears. CAD has reached its objective because these headphones isolate really well. However, the price you pay is comfort. My ears did not enjoy the sustained pressure. The K240 Studio headphones, on the other hand, fitted like a glove. The semi-open design offers less isolation, but there’s also much less pressure to keep the earpads in place.

HEAD to HEAD

And what about the sound? Would CAD’s Sessions headphones be suitable for the simple, subtle sound of voice-over?

The AKG has an impedance of 55 Ohms and a sensitivity of 91 dB. The CAD has an impedance of 26 Ohms and a sensitivity of 103 dB. Remembering what I wrote above, this should tell you that the CAD cans are definitely louder. You don’t need to turn the volume up that much, in order to get a solid sound. CAD calls the sound pressure level “rivaling a concert experience.”

If you’d like to relive your experience at a Tiësto dance party, perhaps that’s exactly what you’re looking for in a pair of headphones. As a voice talent, I want detail. Not volume. Besides, volume can be dangerous! It can lead to hearing loss.

In terms of frequency response, the MH510 can be characterized by what CAD calls “extended lows”. One Amazon-reviewer described the bass as “intense”. I wouldn’t go that far, but the low is definitely overemphasized. For certain types of music this might be just what the doctor ordered, but not for voice-over. To me, the extended lows just made my voice recordings sound muddy.

In contrast, the K240 Studio headphones are open, airy, natural and neutral. The spoken word has a realistic, uncolored clarity to it. The best way to illustrate this is by sharing an audio sample with you.

I placed my microphone in between the earpads of both headphones, and I played one of my voice-over tracks. Of course a condenser microphone can never replace the human ear, but this will give you some idea of the difference in sound coming from both headphones. You’ll notice that I alternate between the AKG and the CAD. The K240 Studio headphones are the first ones you’ll hear.

CONCLUSION

What I’ve done in this review is unfair and unscientific. Yes, both the CAD MH510 and the AKG K240 are sold as studio headphones, but comparing one to the other is a bit like comparing heavy-duty hiking boots to running shoes. Both are footwear but made for a different purpose. It might have been better to compare the K240 to CAD’s MH310 cans, which look remarkably similar.

I don’t think CAD had voice-over applications in mind when they designed the MH510. That’s where the AKG shines.

The CAD is more geared toward tracking, mixing and mastering of pop music in a recording studio. If you don’t want to have a scratch-track/click bleed through, the closed CAD is the better choice.

Secondly, reading reviews can tell you a lot about the personal preferences of the author, preferences which you don’t necessarily have to share.

And then there’s the size of my head. We must take that into account.

It’s only fitting…

Paul Strikwerda ©nethervoice

PS CAD Audio kindly sent me a pair of MH510′s for evaluation purposes.

PPS Interested in headphone reviews? Here are a few websites I researched as I was writing this article:

http://www.head-fi.org

http://www.headphone.com/index.php

http://www.headfonia.com/category/headphones/

http://www.innerfidelity.com/headphonereviews

http://www.goldenears.net

Factory Demos: Fatal First Impressions

by Paul Strikwerda in Articles, Promotion, Studio 10 Comments

You know what they say about first impressions and second chances.

As a voice-over, a demo is often your only chance to make that first impression. It’s your business card, resume, portfolio and audition all compressed into one 60-90 second package.

A great demo is the result of the combined expertise of those behind the mic and behind the glass. If done right, it condenses years of experience into a minute or more of magic.

A professional demo does not come cheap, but not having one could be an expensive mistake.

There’s one thing it should not be:

Mediocre.

If that’s a given, then why are so many demos completely underwhelming and unmemorable?

Audio and production professional Cliff Zellman thinks he knows the answer. He has been hiring talent for over 35 years, and receives between 12 to 15 demos a week. He’s heard everything. From the best of the best to the worst of the worst.

As the Voice-Over industry began to change, Cliff noticed what he calls a detrimental shift in the way VO demos are created. A shift, he says, that does not play well for the VO Artist.

DISTURBING TRENDS

Emmy Award Winner Zellman, who has a degree in Audio Engineering, is referring to a few things.

First of all, he receives demos that have been slammed together after a “talent” has taken some entry-level voice-over class. You’ve probably seen the ads for those trainings. They always end with the words “demo included.” These demos are usually stitched together from old scripts and they’re overproduced to mask someone’s level of incompetence and inexperience.

Then there are demos that will tell you more about the single-mindedness of the director, than about the versatility of the voice talent. Zellman told me he often wonders:

“Whose demo is this really, the VO artist’s or the director’s? There’s no variety. The copy is uninspired and the music is outdated.”

Demos from a third category may sound terrific, but Zellman says:

“I have been disappointed more times than I care to remember because the talent could not reproduce the level of competency I heard or that I require. And they give me no indication of what their audio will actually sound like.”

In other words, each line of the demo was spoon-fed by the director and recorded and sweetened in a million-dollar studio. It’s false advertising, because the talent can not deliver the same quality in a home studio setting.

Cliff has a name for all these demos. He calls them “Store-Bought,” and warns they are a big risk to buyers.

Cliff Zellman

A NEW CONCEPT

Having listened to way too many of them, Zellman started asking questions:

“When a talent leaves the booth after three or four grueling hours of a store-bought demo session, did they do their best? Were they relaxed? Were they intimidated? Is one session really ample time to allow the talent to shine?

And when they leave the studio, what do they have, really? An audio file. No real world education, no new knowledge of microphone selections, what works best for them in their environment with their voice. They are not receiving the collective years of experience and success of multiple directors… Just one person’s ability or inability.”

And out of his frustration, an idea was born:

• What if he could get the best directors and voice-over coaches in the nation under one umbrella?

• What if one voice talent could pick six of these coaches and work with them via Skype for six one-hour sessions in his or her home studio, using six different microphones?

• What if the result of these sessions would be professionally edited and mixed by an award-winning master digital music editor to create one outstanding 60-second demo?

This is precisely the concept behind Zellman’s latest endeavor: Done By Six Productions. (click on the name to visit the website)

He calls it “The Industry’s first On-line, Menu-based Voice Over Demo Production Company.” Cliff introduced it to the VO-community gathered at Faffcamp in Charlotte, NC.

EXCLUSIVITY

I have to warn you. It will take more than a dream and a credit card to get access to Zellman’s roster of experts. He explains:

“There is a vetting committee of four or five industry professionals. If someone is NOT ready, we will be happy to suggest a coach that can help with their gaps. When the coach says they are ready, we re-evaluate. We are a team created to actually HELP the voice talent succeed… not a factory.

This is also why Done By Six REQUIRES a talent to have a professional website, an approved home studio, knowledge of delivery methods and previous VO experience. We exist to elevate, not to hold hands.”

CONFUSION

At this time, talent can choose from a list of 39 seasoned professionals who cover all areas of the voice-over industry. People like Marc Cashman, Roy Yokelson, M.J. Lallo, Peter O’Connell, Dan Friedman, Randye Kaye, Doug Turkel, Amy Snively, and even the writer of this blog.

When I first heard about the concept, I thought:

Six directors for a 60-second demo. Isn’t that overkill? Aren’t six different coaches going to give conflicting advice, thus confusing the talent? Zellman:

“ABSOLUTELY NOT. It is a “real world” experience. When one goes to college, they don’t have the same professor for four years. Six directors will produce 60 seconds each. Each 60 seconds can be used as a full spot demo as well. 360 seconds will pretty much ensure that there is quality sections within each read.

Remember, we are NOT working with newbies. A talent is already used to working with different directors. Otherwise, why would someone attend a seminar with Pat Fraley, then Marc Cashman, then Myself, then Peter O’Connell et cetera. Conflicting advice opens doors! If everyone would bet on the same horse, the race would be boring.”

OWNERSHIP

When talking to Zellman, I mentioned that one of my colleagues had recorded a demo he wasn’t happy with. The pacing was off and the music was dreadful. He asked the producer for the dry audio so he could go somewhere else for a remix. Even though he had paid for his demo, the producer refused to give him the building blocks. And so I wondered: if a demo is produced by Done By Six Productions, who owns the audio? Cliff Zellman:

“The talent owns it! All dry files are already in the possession of the talent on their computer. I think any demo producer that doesn’t “gladly” give all dry audio to the talent is a paranoid fool and a charlatan. I am not looking to “lock-in” someone. I WANT them to spread their wings! Let them grow. Let them edit… let them punch-in!

I especially do not want the responsibility of being the ONLY one to help a talent. That’s ridiculous and I know demo coaches that feel very differently. I totally disagree. This is THEIR future, not mine. I am here to help, not control.

As far as music, I sublicensee it to the talent for this specific project. If a director has music in mind, cool. If not, all music used will be mixed into the production. If a talent wants to get creative in a few months, change up things on their own, I say YES! They are one step closer to mastering this profession. Again, we are to HELP, not control.”

PS What happens if the voice talent isn’t happy with the end-result?

CZ “As long as they are in possession of the mics, every director I have spoken with agrees to an additional session of up to 15 minutes (or within reason) Some may stick to 15 minutes sharp, others may be more liberal. If things get out of hand, I will step in, take responsibility and make sure the talent gets what they need. If I receive multiple complaints/concerns with a director, I remove them from the roster. Simple as that.”

Speaking of microphones, each talent receives a flight case with six of the industry’s most popular microphones: the Neumann TLM 103, the Sennheiser MKH-416, the AKG Perception 220, the CAD E100S, the Audio Technica T2020 and the Harlan Hogan MXL VO: 1-A.

This is the perfect opportunity to test these microphones in your own studio. It also ensures that each segment of your demo will sound differently. Shipping and insurance is part of the price of the package.

VOICEZAM

But there’s more. Included in the demo-package is a free 2-month subscription with VoiceZam.

VoiceZam is a new way of showcasing voice-over demos that gives clients and agents an opportunity to skip through the individual tracks of each demo. The user can also track who’s been listening to their demos. Cliff Zellman:

“I LOVE VoiceZam. My time is VERY valuable. I appreciate the speed, playback quality and ease of operation. I have had lengthy conversations with Bob Merkel (the man being VoiceZam), even to the point of offering him ideas and strategies at no consultation fee.

VoiceZam shows a professional attitude and a certain amount of savvy. I know if I go to a talent’s site and I see a VoiceZam player, there is a very good chance I am dealing with a solid pro.”

By the way, the VoiceZam image is just a picture. If you want to get a feel for how VoiceZam works, go to Bob Souer’s site and try it out.

PS Why just focus on demos? You have a great line-up of coaches. Why don’t you offer more coaching services?

CZ “In time. Many new start-ups fail by trying to do too much too soon. Every Done By Six director is a potential coach. I know each of them personally and professionally. I know their strengths and weaknesses. Between the members of the vetting committee, we can steer the talent in the right direction. One of the benefits of being a Done By Six Director is the possibility of being selected as a coach. Once a coach is suggested by Done By Six, it is between the coach and the talent… for now.”

TASTE TEST

Go to any supermarket and you’ll find shelves filled with factory-baked breads. They may be packaged a bit differently, but you know that most of them are low on nutrition and they all taste the same.

I usually buy my bread at the local Farmers’ Market from an artisanal bakery. They have a huge variety made from different grains, nuts and herbs. The ingredients are high-quality and the bread is baked with love. I can taste the artistry and dedication that went into the making of the bread. It’s a taste that lingers on.

If voice-overs are your bread and butter, what type of taste test are you serving your clients?

Are you feeding them stale, factory-baked bland bread with margarine, or fresh, wholesome, hand-made bread, topped with real butter?

If you only had one chance to make a first impression, what would you rather serve?

Paul Strikwerda ©nethervoice

PS: Be sweet. Please retweet!

photo credit: Barbara.K via photopin cc, photo credit: Phil and Pam via photopin cc

Get the boom out of the room

by Paul Strikwerda in Articles, Studio 14 Comments

When I decided to become a full-time voice-over artist, I made myself a promise.

I would never lose an audition because of poor audio quality.

They might not like my voice. They might not like my read, but I would not let them ditch me because I wasn’t able to deliver broadcast-ready audio. In order to get there, I needed two things:

1. A dedicated, isolated and treated recording space

2. Quality equipment

I purposely put them in that order. You can place the best equipment in a poorly isolated and barely treated room, and you’re still going to sound like an amateur at the kitchen table. I’d rather take an affordable microphone and preamp into a (semi)-professional booth, because the end result will be much better.

So, if you’re wondering where to spend your money, buy a Studiobricks cabin, or build your own space like I did. Then we’ll talk about getting that coveted Neumann U87 Ai, okay?

I still remember the day my 7′ by 7′ recording space was finally ready. The floating studio walls consisted of multiple layers. Auralex® Mineral Fiber and Green Glue were sandwiched between several sheets of 5/8″ drywall. All the seams were caulked with SilenSeal.

Outside noise was kept at bay, but inside, the space sounded like this:

CHAMBER OF HORRORS

Unknowingly, I had created an echo chamber! It was an ugly beast, waiting to be tamed. Especially in small spaces with parallel walls like mine, flutter echoes can be a big problem.

The best way to kill those echoes, is to put foam or other absorbing materials on the side walls. As a rule of thumb, the smaller the space, the more acoustical treatment you’ll need. Thankfully, I had a whole bunch of Auralex® Studiofoam Wedgies left over from my previous space.

I covered parts of the wall with SoundTrax™ from NextAcoustics™ and I added four CornerBlox™ bass traps, also from NextAcoustics™. The SoundTrax™ took care of the mid- and high frequency reflections. The bass traps absorbed the lower frequencies.

If you’ve ever seen pictures of my studio, you probably know that it’s also my office. My Mac Mini, Grace Design preamp and A/D converter sit right next to me in a small cabinet. Behind me are two bookcases, and I’ve lined the backs of those cases with Sonex Mini acoustical Panels.

A DIY REFLECTION SCREEN

In spite of those panels, I felt I was still getting too much reflection from the back. I tried to remedy that by taking a room divider and placing it behind my chair. I then took an old duvet cover, a few blankets and a sleeping bag, and hung them over the divider for absorption, creating a rear reflection screen. It wasn’t pretty, but it did the trick. The boom was out of the room!

Unfortunately, my improvised contraption was heavy and unstable. It also had a life of its own. I can’t tell you how many times it decided to fall down on me, usually in the middle of a recording. Two months ago, I had had it with this thing and I started looking for a replacement.

My search lead me to GIK Acoustics, a company that is selling in the U.S. as well as in Europe. They make a wide range of high-quality acoustic panels, bass traps and diffusors.

I especially like the fact that GIK uses ECOSE® Technology in their products, a formaldehyde-free binder, based on renewable materials instead of petroleum-based chemicals. It’s used in wood based panels and glass, rock and mineral wool.

GIK makes a versatile screen panel (32″W x 72″H x 3″ thick) that seemed ideal for my booth. Audio engineers would call it a Gobo. That’s slang for a portable acoustic isolation panel. Some people believe the word “Gobo” comes from “go between.”

“

Being the gearhead I am, I enjoy watching these types of videos. But when I watch something that’s put together by a manufacturer, the skeptic in me always wonders: does the product actually live up to the hype? I’ll let you be the judge, because I ordered a Gobo!

First, let’s listen to something I recorded in my booth without the GIK screen panel. You might want to use your headphones for this.

As you can hear, compared to the first sample, room treatment makes a huge difference. However, for me the sound wasn’t quite dry enough. You can hear a bit of reverb at the end of each sentence.

Once the GIK panel came in, I made two modifications. I added wheels so I could easily roll the panel into position, and I added handles. That way, I wouldn’t have to touch the coffee-colored fabric while moving the panel.

Here’s me reading the same lines from my booklet “Building a Vocal Booth on a Budget,” which is available in my store. This time, the Gobo is in place. By the way, both samples were recorded in WAV-format and converted to MP3.

Having used the screen panel for a few weeks now, I can confirm that it absolutely delivers as promised. It’s well-made, easy to position and it comes in many colors.

REVERB ON THE ROAD

Even though this screen panel is portable, it’s great for a studio but too big for road trips. So, what do you do when you’re fighting flutter echoes in a hotel room? Well, there’s a solution that fits into your computer. It’s a De-Verb plug-in made by SPL, which stands for Sound Performance Lab. It’s a German company.

Originally developed to shorten the sustain period for drums and guitars, I’ve found that it also works well in the vocal booth, as long as you use it wisely. Once you’ve recorded your audio, you simply select the De-Verb plug-in from the effects list. This what you’ll see:

The left button controls the level of reverb reduction and the right one the output gain. Both can be operated with the mouse wheel. When diminishing the reverb, you also diminish the output a little bit, and that’s why it’s good to turn up the gain slightly.

Now, don’t expect this plug-in to “fix” the first bit of audio you listened to (that’s the sample I recorded before I added any treatment to my booth). It’s by no means a substitute for acoustic panels or foam. However, if you’re recording in a less than ideal setting or you like your audio “extra dry,” this will definitely add the finishing touch.

Here’s the sample I recorded without the screen panel in my studio. This time, I added a bit of De-Verb. Once again, I recommend you listen with your headphones on. You might want to start by listening to the first sample, followed by this one. That will give you a nice contrast.

Perhaps you find the difference quite subtle. To me, it’s just one of those small changes that, when you add it all up, can set you apart and take your product to the next level.

But how do you know that these changes really matter? Couldn’t it just be between the ears?

Well, in our profession everything is pretty much between the ears, isn’t it?

You’ll know you’re on the right track when nobody comments on your audio improvements, because they could not be picked up.

It comes down to this.

Bad audio is an obvious earsore.

Quality audio is blissfully inconspicuous.

Paul Strikwerda ©nethervoice

PS My voice is for hire but my opinion is not for sale. I did not seek or receive any compensation from the manufacturers mentioned in this blog.

PPS MY LAST APPEAL

If you feel you are benefiting from my stories, ideas and suggestions and would like to show your support, kindly consider this. Make a donation to the National Multiple Sclerosis Society today. When you click on this link, you will be taken to my Walk MS page. Scroll down to the Donate to Paul-button, and surprise me.

So far, readers of this blog have donated over $2,500.00. WOW! That means I’ve had to raise my fundraising goal to $2.750! We have one more week to go before I take part in the annual Walk MS event in my area. Can I count on you?

Recording on the Road

by Paul Strikwerda in Articles, Gear, Studio 28 Comments

Sometimes, the best opportunities present themselves at unexpected times and in the strangest places.

Last year, I was attending a New Year’s Eve concert when one of my agents called. She apologized profusely for her timing, but a long time client really needed to know my availability. It only took a few minutes to go over my schedule. Twenty-four hours later, the job was booked; the first one of 2013.

A few days ago, I took a trip to Atlanta. I’d barely settled into my hotel room when a Polish producer contacted me. He wanted to know if I was interested in playing a part in a new video game. He sent along an audition script, and said his team would love to listen to my voice within the hour.

I enjoy creating all kinds of characters, but for some reason I haven’t broken into the wonderful world of gaming yet. This was a chance I couldn’t afford to miss.

Fortunately, I had come prepared. In less than ten minutes, I transformed my room at the Westin into a mini-recording studio.

HARLAN HOGAN’S PORTA-BOOTH®

Years ago, VO veteran Harlan Hogan had an ingenious idea. What if he were to line a collapsible Whitmor Cube with acoustic foam and place a microphone inside? Would that be enough to tame the unruly reflections of a hollow-sounding hotel room?

Even though this foam-filled contraption cannot keep unwanted noise out, placing the microphone inside a small treated space can indeed make a recording sound less boomy. In a moment I’ll share some sound samples with you.

Over the years, the Porta-Booth® has had a few incarnations, and it has found its way to roaming reporters, television commentators and traveling voice actors.

I own the Porta-Booth® Plus ($189). It only weighs four and a half pounds and it comes with a free lightweight storage bag with plenty of room for a microphone, shock mount, preamp and a desk stand. The Auralex® foam lining the walls, keeps everything that’s sandwiched inside safe from the rough hands of airport handlers.

The Porta-Booth® Plus is made out of strong rip stop nylon, and has two parts: four supporting walls which are connected, and a separate back wall which can be attached with a zipper. Trust me: you won’t need instructions to put one and two together. Once you open the added two-way rear zipper, you can easily stick a shotgun mic through the slot, or a microphone cable.

Here’s another thing I like about this booth. When you’re not on the road, you can hang the strip of four connected Auralex® squares on one of the walls in your home studio for additional acoustic treatment. You can even rest these squares on your monitors to create a reflection screen.

CHALLENGES

So, is the Porta-Booth® Plus as easy to use as it is to set up? Yes and no. As with many new things in life, it takes getting used to. Let’s talk about travel first.

Harlan’s website Voiceover Essentials claims that the Porta-Booth® Plus “fits in most carry-on luggage”. Well, it definitely does not fit in a standard Samsonite carry-on upright that many people are using these days (see photos below). So, I carried the Porta-Booth® Plus separately.

I had planned on putting it in the overhead compartment, but because we were flying on a relatively small airplane, it didn’t fit and it had to be stored with other luggage. Thankfully, nothing was damaged when I got the Porta-Booth® back in Atlanta, but on the flight home, both straps of the carrying bag were ripped off, leaving four holes.

I should have read the disclaimer on Harlan’s website:

“It is not intended to be used as a travel bag and is not covered under your warranty. A heavy-duty traveling bag is under development and will be available soon!”

Without this heavy-duty traveling bag, I don’t think the Porta-Booth® Pro is ready for air travel, unless you store it in a sturdy suitcase.

INSIDE THE BOX

When I got my very first model, I thought I had to stick my head inside the Porta-Booth® to talk into the microphone. Considering the size of my head, that would have been very quite uncomfortable.

Fortunately, that’s not necessary. As long as you turn your mouth toward the grille of the mic and you stay fairly close to the booth, you should be fine.

One of the problems I did experience had to do with script placement. A paper script can block the opening of the Porta-Booth® if you hold it in your hand. Since the assembled space is quite small (16 inches high x 15 inches wide and 16 inches deep) it’s not easy to put the script inside either. Unless you bring a reading light, it’s also hard to see your lines.

The best way around this is to read your script from a Smart phone or a tablet placed inside the Porta-Booth®.

By now you’re probably wondering what Harlan’s portable recording booth sounds like. Does it deliver as promised? Allow me to first introduce the other elements in my portable recording chain.

MICROPHONE

In my home studio I use a Microtech Gefell M903 Ts condenser microphone. It retails for $1,784.72. I don’t know about you, but I’m not comfortable taking such an expensive mic on the road. That’s why I wanted to find a sturdy replacement that wouldn’t break the bank.

Because low-frequency rumble is a common problem in less than ideal acoustic situations, my travel mic had to have a high-pass filter. Such a filter also curbs the bass-boosting proximity effect, which can easily occur when you’re getting close to the microphone. After a two-week search, I found my mic.

Let’s listen to my two microphones. You’ll notice that they have different personalities. Which one do you like better: A or B? Can you tell which one is the Gefell?*

Without telling you which is which, I can reveal that my travel mic is a previously loved AKG C 3000 B. I bought it online from Guitar Center, and it cost me a whopping… $84. This thing is built like a tank, it looked like it was never used and it came with a shock mount. Listen to the sample again, and tell me if the difference in sound quality is worth $1700,72.

PREAMPLIFIER

In order to bring a condenser microphone signal up to line level, you need a preamp. My favorite travel gadget is the MicPort Pro made by CEntrance ($149). It’s a portable preamp with a built-in 24bit/96kHz, A/D converter. It gives your mic 48V phantom power and it has a headphone amp for zero latency monitoring. It is powered from the USB port.

It took me a while before I finally found a portable pop filter. Most of these things take up too much space and the ones with a big clamp can be heavy. On the road I use the Pop Guard made by WindTech ($29.95). It weighs almost nothing and it slides neatly over most side address microphones.

I’m also happy with the On-Stage folding desk stand ($15.95). My AKG mic isn’t exactly light, so I had to get a reliable metal tripod stand. The die-cast clutch adjusts in height from 4.25″ – 6.75″. For the mic itself I bought a padded microphone bag ($6.99).

FATAL MISTAKES

Three big blunders almost ruined the recording day for me. Number one: for monitoring my audio, I relied on the small earbuds that came with my iPhone 4. Amazon is selling them for $2.23 and I think they’re worth even less. Back home I immediately replaced them with the very comfortable Sennheiser PX 100-II headphones ($43.46) that can be folded up.

Secondly, even though I had asked for a quiet hotel room away from the elevator, we ended up in a gorgeous corner unit with windows on two sides. The 14th floor view was spectacular, but so was the traffic noise that never seemed to stop. Next time, I’ll make sure to inspect the room first, before unpacking.

To get away from the noise, I wanted to move my booth and computer as far from the windows as possible, but the quietest spot in the room had no electrical outlets that were within reach. I should have brought an extension cord, but because I hadn’t, I ended up placing everything on the desk by the window. Have a listen:

The question is: did placing my microphone inside the Porta-Booth® Pro make a huge difference?

The Porta-Booth® Pro definitely tamed some of the reflections, but I would be embarrassed to send this audio clip to prospective clients. With the help of some clever plug-ins and other tricks, I was able to turn the audio into this:

Am I happy with the end result? Not really. Most of the background noise is gone, but it sounds strangely distorted. Audio engineering is part art, part science and boy, do I have a lot to learn!

SHOWING WHAT YOU’VE GOT

Every audition is an audio business card. It’s proof of the level of professionalism a client can expect from you.

You either show it, or you blow it.

Remember: most clients won’t give you a second chance to make a first impression. Not even a producer in Poland.

So, what was I to do? His animation studio was expecting my demo within the hour.

Well, I ended up recording his audition script that day, and I used some artificial sweeteners to make it sound okay. But I told him in my email that this was recorded in a hotel room, and I sent him a demo I had recorded in my studio, so he could hear what I was capable of.

A day later, and in spite of my best efforts to come up with a decent recording on the road, I was hired.

Life can be a mysterious road trip.

Some say that it’s the destination that really matters.

How you get there, is not always important.

Live and learn, my friends.

Live and learn.

* The first microphone was the Gefell. Number two was the AKG.

PS The Porta-Booth® Plus Carry-On bag has arrived! It’s strong. It’s sturdy, and it has two side pockets for your microphone, desk stand and cables. With this addition, the Porta-Booth® Plus is now ready for the road and I can give it my unofficial seal of approval.

Confessions of a Hopeless Gearhead

by Paul Strikwerda in Articles, Gear, Studio 13 Comments

Guilty as charged.

In the past few years I’ve become more and more of a gearhead. I like to look at new audio equipment; I like to read about it and I like listening to sound samples.

On any given day, I have to spend at least a few minutes studying reviews, gazing at pictures and drooling over obscure objects with buttons, switches, cables and meters.

Dear Abby: Is this weird and should I be worried?

I mean, my equipment is fine. There’s nothing wrong with my microphone and I don’t need another preamp. For a voice-over like myself, a simple studio setup will suffice, so why am I staring at all this stuff?

I know I’m not alone.

My photographer friends are always looking for the latest cameras, the best lenses or software that will revolutionize the industry. Musicians wonder what they would sound like on a new instrument. Professional chefs can’t wait to get their hands on a new set of sharp-looking knives. Even quilters go gaga over new gadgets. Why is that?

WANTS AND NEEDS

There’s a constant battle in our brain between our wants and our needs. It’s scary how good most of us have become at justifying purchases that make no logical sense whatsoever. All of this to answer the basic question:

What If?

What if I bought this new guitar? What would it do for my sound, my creative abilities… my career? What would this new high-tech camera allow me to do? Would I finally be able to take those impossible shots? And what about this new editing software? Could it save me time? Would it make my colleagues green with envy?

All these questions and unfulfilled desires can create massive tension inside an otherwise rational mind. No longer happy with what we already have, we start looking for the next best thing. And trust me: as long as we’re alive, there will always be a next best thing.

The industry feeds on our never-ending desire for new and improved products, and brands big and small are masterful at pushing all the right buttons at the wrong time.

SELECTING THE RIGHT GEAR

When it comes to selecting the perfect audio equipment, I have a hard time answering the following question:

Having decided on a budget, how do I know a certain product is right for me?

Let’s say I’m in the market for a new microphone. Is staring at pictures, reading reviews and listening to audio samples helpful? Ultimately, it shouldn’t really matter what a microphone looks like, don’t you agree? Clients are paying us for our sound and not because our JZ BH3 microphone has a hole in it.

So, if we forget about looks for a moment, are descriptions -whether from critics or manufacturers- actually helpful?

Take this JZ Black Hole mic as an example. The maker writes:

“fantastic vocal mic, is great on every application it is used. Unbelievable clarity and definition, smoothness and full transparency.”

Does that help you make a $1599 investment? Once you start reading up on microphones, you’ll be amazed at how many makers call their mic “great on every application.” It might be a true statement, but it doesn’t say much, does it?

Let’s pick a quote from the Sound On Sound review of the JZ Black Hole. Perhaps that can clarify things a bit:

“Tests with spoken word revealed a clear, well-focused sound that balances low-end warmth with high-end clarity, and because there isn’t much in the way of coloration, the Black Hole should work well as a general-purpose studio vocal mic (…)”

USELESS LINGO

The problem with words is that they are inadequate. They attempt to describe an experience, but they are not the experience itself. Words are always open to interpretation. What I describe as a “smooth” or “warm” sound, is colored by my personal biases. If anything, it probably tells you more about me. This so-called “warm” sound, might be perceived by someone else as “muddy” or “dark”.

So, if words can’t properly describe a specific sound and looks don’t matter, wouldn’t it be helpful to listen to some recorded audio? Surely, that must be the best way to select a microphone online!

Not necessarily.

In my review of the Microtech Gefell M 930 Ts I wrote:

“It is easy to forget that any microphone is part of a recording chain, and when you change one link in that chain, everything changes. Of course the source of the sound is very much part of that chain.”

Let’s examine the variables in more detail:

• The person recording the track. Does he/she have a decent mic technique? Some mics are known for their proximity effect (bass boost) if you get too close. At the right distance, a mic might sound clear and open, but when you’re almost eating the thing up, listeners could get the wrong impression.

• Was a pop filter used? A pop filter keeps a mic nice and dry and it soften plosives, but some filters can muffle the sound.

• If a microphone has multiple settings, which setting was used during the test recording: omni, cardioid, figure-8 etcetera. Some mics have a low cut switch which activates a high-pass filter that reduces the amount of low frequencies in the output signal from the microphone. This obviously alters the sound. Some mics even come with multiple capsules.

• Where was the track recorded? In Carnegie Hall, at 3 Abbey Road, or on the factory floor? The sound of a microphone can differ depending on the acoustic environment. Microphone tests recorded in a lab don’t necessarily reflect how that same mic will sound in your walk-in closet slash home studio.

• Two of a kind don’t necessarily sound the same, either. Especially classic microphones go through some remodeling over time. The famous Neumann U87 has a vintage model, the U87i, and the current production version, the U87Ai (click here for more info).

Some engineers will even tell you that the two U87Ai’s they own do not sound the same. There’s a reason most manufacturers will sell you “matched pairs” of microphones for stereo recording.

• True audiophiles claim that the quality of the cables used to connect various pieces of equipment can make a difference in the quality of the signal and ultimately the sound. Others believe we might as well send a signal through a coat hanger wire and save ourselves a lot of money (click here for the story).

• Preamplifiers that are used to bring the low-level microphone signal up to line-level, may add a signature sound to the signal too. You’ll often read that tube preamps are supposed to add “warmth” to the sound. Of course we know that audio engineers also use compression, equalization and all kinds of fancy filters to manipulate what comes out of the loudspeakers.

FROM RECORDING TO LISTENING

All those things happen in the recording studio. Now let’s look at how we receive the sound of that microphone we’re evaluating. What variables are we dealing with on that end?

• Are we listening on cheap computer speakers, high-end studio monitors or are we using headphones? The quality of these devices is in part responsible for the character of the sound.

Compare listening to a track on your iPhone through earplug headphones, to hearing it in a soundproof recording studio equipped with Genelec 8260A 390W Active Tri-amped studio monitors. Even the position of the speakers as well as the position of the listener in relation to those speakers needs to be factored in.

• In which acoustic environment are you listening? Sounds bounce off the walls and resonate differently depending on the shape, size and treatment of the room. Are you focused or distracted as you’re listening? That too can play a role in how you evaluate the sound.

• Hearing in and of itself is a subjective experience. It’s an attempt to understand the world around us. Mechanical sound waves are converted into electrical impulses and sent to the brain for processing. Once in our brain, the hearing centers go to the memory banks to localize and identify the sound. Think about someone’s tone of voice. Whether a sound is labeled as “pleasant” or “warm” is a matter of personal interpretation.

• Then there’s the issue of hearing loss. In a world that seems to get noisier and noisier, hearing loss is on the rise among young and old. It’s hard to make a precise measurement with faulty equipment.

• The last factor that’s influencing how we perceive the quality of in this case a microphone, is one of my favorites. It’s our perception. It’s deeply personal, and it can also be guided by culture.

We all suffer from selective thinking (and hearing), which allows us to notice and look for information confirming our personal beliefs. It’s called confirmation bias. One such belief could be that all microphones under $300 (especially those made in China) are rubbish. Another belief could be that Neumann is the best brand in the world.

Imagine listening to a mic test, knowing in advance which mic you’re going to hear. Do you honestly think it’s even remotely possible to be completely objective?

COMPARING MICROPHONES

The other day I was watching a comparison between the Prodipe Lamp Studio Pro ($299), the M-Audio Sputnik ($679) and the Neumann U47 ($1,599.95). As you watch this video, it tells you when the audio switches from one mic to the other.

I don’t know about you, but I found the differences between these mics to be very subtle. I listened on my AKG K240 Studio headphones, and when I closed my eyes, I often didn’t even hear when they made the switch from mic to mic. Perhaps this unmasks me as a complete audio ignoramus. Perhaps it demonstrates that you don’t need a sixteen hundred dollar microphone to produce a decent sound. You be the judge.

The question that remains is this:

How on earth do you find out which microphone is right for you?

Do you really need a big name brand to play the game? Is expensive always better? This I can tell you: Making a wise choice based on online info only is almost impossible. When you change just one of the variables mentioned above, you change everything.

Factory specs tell you a lot about pickup patterns, output impedance, frequency response, and the self-noise of a mic. However, no one can define what you find aesthetically pleasing.

When researching your next mic, it might be tempting to listen to the snobs and self-proclaimed experts on the gearhead message boards. That can be a frustrating and intimidating experience. Can you always trust the various dot com critics that give a mic four out of five stars? Some online reviews are actually written by people who are paid to say nice things about a product.

MAKE UP YOUR MIND

At the end of the day, you have to rely on your own judgment in your own environment.

Ideally, try to get hold of a couple of microphones in your price range and take them for a spin. Maybe a colleague in the area is willing to lend you some of his or her gear. Perhaps you can find a maker or a pro audio store willing to send you something on a trial basis.

Kam instruments for instance, gives you 7 day inspection period. If you decide to send their mic back, you’ll pay for shipping, insurance and a 15% restocking fee. It’s better than wasting a whole lot of money on something that doesn’t meet your expectations. Harlan Hogan’s VO: 1-A mic is sold with a no-questions-asked money back guarantee.

Once you’ve recorded a few audio samples with your small collection, send them to an objective expert such as Dan Lenard, George Whittam or Dan Friedman for evaluation. Take their feedback into account and then make your choice.

I have to warn you, though.

Playing around with gear can be a lot of fun.

Eventually, you might end up like me…

A hopeless gearhead for life!

Be sweet. Please retweet!

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