Twisted Wave

Recording Voice Overs on your iPhone

by Paul Strikwerda in Articles, Gear 22 Comments

Name the number one electronic gadget you can’t live without.

To me this is a no-brainer. It’s my iPhone 5.

It goes wherever I go.

Thanks to audio editor Twisted Wave (one of MacLife’s 29 Web Apps We Can’t Live Without), it’s also my portable recording studio.

The iPhone 5 comes with three microphones. One in the front, one on the back around the camera area, and one on the bottom. Having three mics improves the sound quality of phone calls, Skype sessions, and FaceTime. However, using those microphones for voice-over recordings is not such a good idea. Here’s why.

1. The iOS has automatic gain control, regulating your input signal. To make sure the audio from the built-in microphones doesn’t distort, the gain for the mic preamp is set very low. As a VO-pro, you want to be able to control the gain yourself for the best signal-to-noise ratio.

2. Apple automatically applies a High Pass audio filter that only lets frequencies over a certain threshold get by. The frequency of the data in your voice is compressed around the mid-range and it lacks bass. This ensures that your plosives won’t pop during a call, and it makes calls more intelligible. It also means your voice will sound thinner and not as rich.

3. As each of the three microphones picks up the sound coming from its respective direction, an internal processor analyzes the sound data, loaded with the location and type algorithm of the mics, and processes the sound, in part to eliminate background noises. Again: all this processing is great for making phone calls, but it’s not ideal for recording unsweetened voice-overs.

Here’s a quick tip from Thomas Thiriez, the developer of Twisted Wave: 

By default, Twisted Wave does not bypass the iOS processing, but if you go to the preferences in TW (tap the button in the lower right hand corner of the document list), you will have the option to disable it.


Of course there are a number of external microphones on the market that can be plugged into an iPhone, such as the RØDE iXY and the TASCAM iM2X. Both are for stereo recording and are made for the old 30-pin dock connector that was replaced by the Lightning connector. In order to use these mics on the iPhone 5, you’d need a Lightning to 30-pin adapter.

The original Apogee MiC (introduced in 2011) also needs such an adapter if you own an iPhone 5, and it can also be connected to a Mac device via USB. The MiC is a compact condenser featuring 24-bit analog-to-digital conversion at 44.1/48kHz. It resembles a studio microphone and comes with adjustable gain control. Reviewing the Apogee MiC for Macworld, Christopher Breen said:

Where I found MiC lacking was with voice—specifically a speaking voice. It produces very clean results, but it lacks bottom end. Try as I might, I just couldn’t get a baritone-FM-DJ timbre out of this microphone. When I moved within a few inches of the mic’s capsule the mic rumbled, even with the gain turned down, and plosives because a problem. 

When I backed off and turned up the gain, the mic’s sound was bright, but didn’t pick up my voice’s more sonorous tones. If you’re accustomed to “working” a mic by changing the distance between it and your mouth you’ll find it difficult to do with this microphone.

I don’t agree with Breen. I have enthusiastically adopted the MiC as my favorite iOS voice-over travel solution

At the beginning of 2013, Apogee came out with the MiC 96k. It is optimized for the latest Apple iOS devices, including the ability to record in pristine fidelity – up to 24-bit/96kHz. It has a direct connection with Lightning or 30-pin iOS devices such as the iPhone, iPod touch and iPad, as well as a USB connection to Mac.

This year, Zoom came out with the iQ5, a stereo microphone with a Lightning connector that works in conjunction with iOS applications. The iQ5 (currently unavailable) captures uncompressed 16-bit 44.1 kHz audio (the RØDE iXY offers up to 24-bit/96kHz resolution).

the MicW iShotgunDid you know that there’s even a shotgun mic for smartphones, tablets and DSLR camera’s? It’s the MicW iShotgun microphone and it comes with a windscreen, a shoe mount and a mini boom pole. Reviewers agree that it works quite well, but that this sensitive mic is rather susceptible to handling noise.


What if you could simply connect your own studio condenser or dynamic microphone to your iPhone and use your favorite recording software to capture the audio? That’s the idea behind the MicConnect made by Griffin Technology. It’s a small, portable microphone interface that uses a 1/8 inch (3.5 mm) jack to plug into your phone’s headphone jack (or iPad).

Griffin MicConnectWhen needed, two AA batteries will supply +48V phantom power. On the side of the MicConnect you’ll find a gain adjustment wheel and there’s also a headphone output for monitoring. Griffin was kind enough to send me a MicConnect for review. Before I let you listen to a sample recorded with this device, here’s what I sound like using only the iPhone 5 internal microphones:


It’s probably best if you listen to these recordings on your headphones. Now, let’s compare what we just heard to the recording I made with the Griffin MicConnect. The WAV 16 bits, 48,000 Hz audio was converted to MP3. 


iRig PREThe iRig PRE is very similar to the MicConnect. Both devices allow you to plug any type of XLR microphone into an iPhone or an iPad using the headphone jack. There are differences.

The MicConnect retails for $39.99 and Amazon sells the iRig PRE for $34.49. The MicConnect is only compatible with Apple devices. The iRig PRE interface also works with many Android devices. iRig PRE owners can download a free audio recorder & editor, as well as VocaLive Free, a live vocal effects processor.

And now it’s time to listen to the iRig PRE. 


I don’t know about you, but I think we have a clear winner. Let’s do a short recap so you can really hear the difference:



After testing the Griffin MicConnect, I contacted their technical department and asked them about the high level of noise. The microphone I’m using for these recordings has a self-noise level of only 7dB(A) so it couldn’t be the cause. Had they perhaps shipped me a defective device, or was this normal? Griffin told me they were inclined to think that the unit itself was not defective and that the noise I experienced was “to be expected.” Griffin’s Public Relations Director wrote:

The collective feedback that I heard from our engineers was that while they strove to make a high quality interface connection, the $39.99 price point just doesn’t match up with some of the $1K and more microphones. The expected usage scenarios were more in line with recording a garage band, practicing at home, or capturing ideas on the road. We’ve also heard from podcasters that found it quite useful for recording podcast audio.

Speaking of audio quality, it’s important to remember that both the MicConnect and the iRig PRE use an old-fashioned analog TRRS connection to connect to the iPhone and/or Android. It would be unfair to expect too much from these affordable devices. The 30-pin dock connector and the 8-pin Lightning connector carry digital signals. 


It speaks for itself that a soundproof studio with high-end equipment is the best place to record pristine audio. But on the road, the best solution is the one that you carry with you. 

Although the MicConnect and the iRig PRE have similar features, the iRig PRE clearly beats the MicConnect in terms of audio quality. It  comes with a Velcro strip to secure the device, as well as two free apps. Best of all, it can be used for Apple and Android devices.

For under $40, it’s hard to beat.

Would I use it for anything other than a quick audition?

No way!

I’ll stick to the Apogee MiC.

Paul Strikwerda ©nethervoice

PS Be sweet. Please retweet.

More Studio Secrets Revealed

by Paul Strikwerda in Articles, Gear, Studio 25 Comments

You’ve seen the inside of my voice-over booth. Now it’s time to talk about technology.

Don’t worry, I’ll do my very best not to be too technical, if only for my own sake.

When it comes to the tools of the trade, I subscribe to the “less is more” philosophy. Life is complicated as is, and in my studio I’d like to keep things as simple as possible. 

Without exception, my clients ask for audio that’s “unfooled around with”. Most of them are much better equipped to do post-production sweetening in their studios, if that’s what they want.

I have no inclination to compete with all the high-end bells and whistles their engineers have at their disposal. As long as I can give them clean and clear audio, they’re happy and I’m happy.

Mac MiniComputing Power: the hardware

At the heart of my studio is a Mac Mini with a dual-core 2.3 GHz Intel i5 processor running OS X Lion. It came with 2GB of memory, but thanks to a removable bottom, it is very easy to add more memory to your mini. If you let Apple do it for you, 8 GB will cost you $400. It took me ten minutes to do it myself for less than $45. At the time I even got a $10 rebate and free shipping!

Sorry, but I’m not going to get into the Apple versus PC discussion. I’ve used both and I have found Apple to be more reliable and user-friendly. I do want to tell you what prompted me to get a Mac Mini.

Reason number one: it barely makes any noise. When it does, it produces a whisper that’s almost inaudible.

Some colleagues have a studio with two separate areas: a sound booth and a control room. The computer is usually outside the booth. I combined both spaces, which means that my desktop sits next to me in my studio. The Mac Mini uses very little energy and it rarely ever gets warm. That makes it amazingly quiet.

Secondly, this computer stays in my studio. It doesn’t have to go on the road with me. Otherwise I would have bought the Macbook Air (no moving parts and also nearly silent).

Third: I already had peripherals such as a flat-screen monitor and an ergonomic mouse. I just added a wireless keyboard. Tip: if you want to connect a standard analog computer monitor or LCD to your Mac Mini, you need a Mini DisplayPort to VGA Adapter.

What the Mac Mini doesn’t have is an optical drive to play and burn CD’s or DVD’s. For that purpose I bought the Macbook Air SuperDrive which can be plugged into one of the four Mac Mini USB 2.0 ports.

The actual move from PC to Mac was very easy. It took me about a week to get used to my new computer and the operating system. It’s all rather intuitive. A few weeks ago we did add a MacBook Air to our household. This is no ordinary laptop. It is a work of art!

Apple Time CapsuleBackup, please!

We’ve all heard horror stories of friends who lost months if not years worth of irreplaceable data when their system decided to take a permanent break. Backing up is something all of us should do, but we often don’t. We forget. We tell ourselves that we’ll do it tomorrow or the day after. It’s just one more thing to think about, and that’s why I wanted a backup system that would do the thinking for me.

I now have an Apple Time Capsule with a 2 TB hard drive, designed to work with my operating system (although it works with PC’s too). After an initial backup which lasted several hours, it now backs up both computers in our home quickly, wirelessly and automatically. Installing it was a piece of cake. The Time Machine feature in the OS detected the Time Capsule and within minutes it was up and running.

Tip: as the Time Capsule is backing up, it may interfere with your recording. In my case, I noticed a soft but annoying buzzing sound on the audio file, which disappears when the automatic back-up is switched off.

Look at me!

Next on my list was a webcam which I use for coaching sessions, webinars and Skype. I picked the Logitech HD Pro Webcam C910. The Carl Zeiss optics lens has a wide angle and the video quality is remarkably crisp and clear.

Reviewers also praise the quality of the stereo microphones. That’s not so important to me because my sound comes directly from my studio condenser.

Mac users: don’t get all gaga over all the advanced features listed on the box and in the manual (zoom, face tracking, exposure adjustments). Even though Apple sells this camera in their stores, most of the Logitech functionally works on a PC and not on a Mac. The C910 is also not supported as an iMovie camera, but that’s Apple’s fault.

In summary, this camera gets an A for image quality, but a C- for limited Apple functionality.


There are many different types of DAW’s (Digital Audio Workstations) available for audio production on a Mac. Colleagues with a background in audio engineering like to use Pro Tools. A lot of my voice-overs friends rave about Adobe Audition CS5.5 and Twisted Wave. Until I made the switch, I was a happy Sound Forge™ Pro user.

I won’t be going over the pros and cons of each program. You can try most of them out for free and I’d certainly take advantage of that.

I ended up choosing Twisted Wave because it’s very stable, easy to use and at $79.90 it’s also budget-friendly. Thanks to a great interface, zooming in and out of a waveform is very fast, even when the file is quite long. I particularly like the fact that I can zoom in at great detail for precision editing.

Different clients prefer different audio formats and TW can import, export and convert most of them. It has a time-saving batch processing feature which is especially useful when you’re working on a lengthy e-Learning project with lots of short files that need to be separated out and individually named.

TW doesn’t come with a whole lot of special effects, but new and existing plugins are imported seamlessly. With TW, effects no longer have to be applied one by one, but it’s possible to load any number in an effect stack and still adjust them separately.

Some of you might prefer Adobe Audition CS5.5 because it’s loaded with features such as Noise Reduction, a DeClicker, a DeHummer etcetera. I had already invested in Izotope’s RX2 audio repair toolkit and it’s now an integral part of my Twisted Wave Effects line-up.

I do have two items on my Twisted Wave wish list. I’d love to have a feature similar to Adobe Audition’s Auto Heal function for brushing away audio glitches. It’s like having Photoshop® for your audio! I also like to have my Sound Forge WaveHammer tool back. It applies a tad of compression and normalization to the sound files to give the audio just a bit more oomph.

Controlling the Wave

To streamline my job in the editing room I’m using a ShuttlePROv2 controller. It has 15 programmable buttons, a jog knob and a spring loaded wheel with which I can control the main editing functions in Twisted Wave.

It’s preprogrammed for things like Garageband, iPhoto and iTunes, but it was really easy to program the TW keyboard shortcuts into the Shuttle. With my mouse in one hand and my ShuttlePRO in the other, I can scroll, zoom, cut, copy and paste much faster than with a keyboard.

The ShuttlePROv2 connects to your computer via a USB port and it comes with custom labels for the top 9 buttons. It can be used on either MAC or PC computers and it retails for about $80.

Gefell M 930 Ts & Rycote's InVision™ Studio KitMicrophone and shock mount

If you’re a regular reader of this blog, you know that I consider myself to be a very lucky man. In December 2011, I won a Microtech Gefell M 930 Ts large diaphragm condenser microphone in a giveaway. This microphone happens to be ideal for voice-over work. To find out why, you should read my review by clicking here.

Because the Gefell did not come with a shock mount, I had to find a suspension system that would hold this small microphone. Rycote, a company based in the UK, makes the InVision™ Studio Kit you see in the picture ($149.99). It’s a combination of a unique, universal shock mount and a very light and effective pop filter. If you click here, you’ll find out what I think of this kit.

I’m using an Ultimate Support® mic stand and their telescoping Ulti-Boom. WindTech cable clips keep the mic cable separate from the stand.


A good preamplifier strengthens the low level signal coming from your microphone to a level suitable for recording, without degrading the signal to noise ratio (S/N). A preamp with a high S/N has very little background noise.

Some boutique preamplifiers can really color your sound and that wasn’t something I was particularly interested in. My ideal preamp needed to be dead quiet, transparent, detailed and clear in all frequencies.

Grace Design M101As I researched preamps within my budget range, I kept coming back to one model: the Grace Design m101.

Built in Colorado, the sound quality is often described as “natural” and “pristine”. I couldn’t agree more. This is a phenomenal preamplifier!

Looking at the front panel, you’ll see a 48V phantom power button, a ‘ribbon button’ which, when engaged, bypasses the phantom power circuit, and a high-pass filter button to reduce low-end rumble and curb the proximity effect of a microphone.

In my review for pro audio dealer Sweetwater, I called this preamp an “Amazing Grace” because it makes my microphone shine.

Audio Interface

In a nutshell, an audio interface connects your microphone and other sound sources to your computer. For audio to be usable by a computer it needs to be digital, and an interface converts your analog signal to bits and bytes. You’ll often find external audio interfaces that include a mic preamp, but since I already had a pre, I opted for the pocket-sized Echo AudioFire2 (discontinued, but still available for around $200).

Echo AudioFire2This device is connected to and powered by the computer via a FireWire bus. I purposely didn’t want to get a USB-interface. The Mac Mini only has four USB slots that fill up pretty quickly and USB devices cannot draw power from the computer. With the AudioFire 2 you can record 24-bit 96 kHz audio with near-zero latency (delay) monitoring.

Because the AudioFire2 has a 400 Mbps FireWire port and the Mac Mini has an 800 Mbps port, you need an adaptor to be able to connect it to the computer. The AudioFire could also use a simple step-by-step  set-up guide. Perhaps it’s my lack of technical insight, but it took me a while to make the right connections (literally and figuratively).

Overall, this sturdy, small metal box performs just fine. It’s more of a necessity than anything else.


Like so many of you, I evaluate my audio in two ways: I use headphones and studio monitors. Gear-guru’s often recommend buying closed headphones to prevent sound leaks from feeding back through the microphone. That’s why I got the Sennheiser HD 280 Pro.

These headphones stay put alright, and they shut outside sounds out (not that ambient noise is a problem in an isolated studio). Over time I found them to be quite uncomfortable. I happen to have a rather large head (thanks Dad!), and I didn’t like the tight grip the Sennheiser had on my ears.

The AKG K 240 semi-open Studio headphones I am using now (also $99), are very comfy and they provide plenty of acoustic isolation. My ears can breathe! After a year and a half, the cups started showing some wear and tear, and I will replace them soon with velvet ear pads.

The AKG has a regular, straight cable which I also prefer. Somehow, things always get caught in a coiled cable, such as the one that comes with the Sennheiser.

Both headphones are excellent for detailed monitoring.

When it came to picking out a pair of speakers a few years ago, my budget was limited and so was my space. At that time I was recording in a cold corner of the attic. For $99 I bought a pair of Alesis M1Active 320USB monitors.

At first I was quite skeptical and I didn’t really expect much from these bookshelf speakers. Once I plugged them in, I was blown away by the fact that so much sound could come out of such a small package. That has not changed.

I’m sure they are no match for a pair of Genelec studio monitors, but for under 100 bucks these Alesis speakers continue to impress me. As you can see, I have placed them on stands at ear hight. It really makes a difference.

Enough already

Alright… I think I’m done shopping for a while, don’t you?

Selecting audio equipment can be a daunting task and it can be a learning experience. Just as a musician has to know his instruments, a voice-over pro has to have a basic knowledge of the tools he or she is using. There’s so much good stuff available these days, and it’s easy to get overwhelmed.

Whatever you do, don’t be intimidated by gear-snobs and audiophiles. Talk to people you trust and whenever possible, try things out for yourself.

Don’t blindly buy something just because some guy at your local Guitar Center told you he loves it, or because Paul Strikwerda wrote about it in his blog.

After all, that’s just a bunch of Double Dutch!

Paul Strikwerda ©2012