pcrecord, post: 447405, member: 46460 wrote: ILok is a usb key who manages licenses for many plugin companies. Slate, UA etc... it's 50$

I'd check... Slate might give you one if you buy the package; I know that for a while they'd just give you one if you bought a year's subscription to their "everything" bundle... ( and maybe they still do).

FWIW, iLok's are nothing to be frightened of. Once you authorize your software using the iLok, you never need to worry about it after, it's a one time thing.

The purpose for the iLok is an anti-piracy measure, so that plugs from Companies like Slate can't be cracked and pirated. Other plug manufacturers have their own authorization key / anti-pirate processes as well - Waves has "Wave Central", Native Instruments has "Service Center", T-Racks has "Custom Shop". All are meant to be anti-theft methods, and they also double as ways to demo their plugs for a trial period.

Other plug manufacturers that use the iLok includes Steinberg, Softube and Eventide.

-d.

If there's a chance you might use your new software on more than one computer, the iLok is especially handy. You're most likely buying your new software licensed for one user. With iLok, most software would allow you to have the software installed on multiple computers, and whichever machine has the iLok dongle at any given time has the license. You can still only use it on one computer at a time, but the iLok makes it a lot easier. With one of my non-audio plug-ins, I have to go online de-authorize the software on one computer, turn on the second computer, go online and authorize it for use on machine number two. I rarely have to do that, but it's a nuisance when I do. iLok is generally a good thing, but keep it in a safe place.

Thanks a lot guys . I'm now undecisive xD ! The slate system with everything else will cost me around $1070 . It's a little over my range , but very tempting. And slate doesnt seem to be giving ilok for free. Ill see what i can do about getting slate , the $70 extra is a slight problem and so ill have to see if i can get it . Thanks again guys , ill be sure to keep all the advice in mind

Alright, I'm getting the slate VMS system . I hope this is the right choice ! Thanks for the help guys , espicially pcrecord and donny . Sweetwater was super cool and threw in the ilok for free ! Ill tell you guys how it works out . But i wont have it until next month

I revisited the Slate VMS and Man I made a big mistake... It needs an extra audio interface. I was sure it included the interface since in my mind it would be the only way for slate to assure perfect transparency...
I'm so ashame of not seing this before. Slate presented their 8 inputs System and all the marketing went to the interface quality and low latency. So my mind wires were mixed up.

VMS is still a great solution for you but you will need to connect it to an interface. Your Behringer U-Phoria UM2 can receive line level signal so hopefully it will sound great nonetheless but I have no idea if the signal will be degraded by a part of the circuit that goes to the converter.

I'm sure it is not to late to change your mind if you ordered 4 hours ago. (hope you read this soon)
In any case, the worst that can happen is that you'll need to buy an interface better converters.

I haven't ordered it yet, I was going to this Saturday, so no worries ! I should have noticed myself that the VMS ONE that came with it needed to be connected to an audio interface ! But the it's not going to need the behringer's preamp, so the UM2 should be as good as any interface for this job right ? Not sure what you mean about the signal getting degraded. Anyway, this might change my mind... I thought the Slate System would be all I needed, but if I have to use my own cheap $30 dollar interface, I don't really wanna risk ruining my audio. It'll be best to choose my equipment by this Saturday.. So any help is appreciated . Thanks for letting me know about the interface ! ( I was going to return the UM2 when I get the VMS System ! That would of sucked ! )

EDIT : I saw the it's recommended to use the thunderbolt audio interface with slate. They already give a preamp and most things an audio interface would have ! So I'm not sure what role the quality of the interface has :?

I have about $1000, a deep bass voice ( I'm the bass singer in my choir ! ), but I do like to go to my upper ranges at times. I don't need a microphone that will suit my voice down to a teeth, I just need something good to start out with. If voice acting/voice over work is something that I can actually do, then this will likely not be the last mic I buy, and I can start to be more picky !

I'm glad it's not too late cause I felt very bad when I realised I was wrong about the VMS being an interface..
But of course it is still a great solution, A transparent mic and nice preamp for 1 k stays a really good deal.

Lelouch, post: 447480, member: 50238 wrote: Not sure what you mean about the signal getting degraded.

There is two things that can alter the audio signal with the Behringer.

1. There is electronic components involve to send the signal to the converter (specially the gain knob and surrounding electronics.)
2. The converter itself could be good or not, the convertion from analog to digital audio is somewhat critical to get good results.
   class="xf-ul">
   But honestly, I have no clue how the UM2 deals with a line level signal but it shouldn't be bad. ;)

   Lelouch, post: 447480, member: 50238 wrote: I saw the it's recommended to use the thunderbolt audio interface with slate.

   The only reason they will recommand that is to ensure low latency for realtime effect. So if you want to hear the mic, preamp and other effects in real time, it takes time to process all that so the time the interface needs to route the signal in and out can create a delay. But if you record without real time effect, you'll be ok

pcrecord, post: 447482, member: 46460 wrote: I'm glad it's not too late cause I felt very bad when I realised I was wrong about the VMS being an interface..
But of course it is still a great solution, A transparent mic and nice preamp for 1 k stays a really good deal.

There is two things that can alter the audio signal with the Behringer.

1. There is electronic components involve to send the signal to the converter (specially the gain knob and surrounding electronics.)
2. The converter itself could be good or not, the convertion from analog to digital audio is somewhat critical to get good results.
   class="xf-ul">
   But honestly, I have no clue how the UM2 deals with a line level signal but it shouldn't be bad. ;)

Don't feel bad :3 ! Anyway, I'm a little hesitant on keeping the UM2 as my audio interface, but I wont be able to afford a new one if I buy the Slate System. While I see that the VMS connects to the mic then to the interface, what's the difference between it and an actual interface ? Isn't the whole purpose of an interface is the preamp and phantom power ?? The VMS has these things and seems like an interface, so what's the difference really ? I'm guessing if i skipped the interface and plugged right into the laptop I'd lose quality ? BTW, without the software, if I simply recorded with audio clean out of the Slate System so the audio isn't " colored ", it would still sound just fine, right ? Thanks again for the help !

EDIT : Sorry ! The fact that the VMS isn't an interface changes some things ( But I'll probably still buy the Slate VMS ). Would the VMS connected to the UM2 be better then interfaces around or under $300 ?

Lelouch, post: 447483, member: 50238 wrote: While I see that the VMS connects to the mic then to the interface, what's the difference between it and an actual interface ? Isn't the whole purpose of an interface is the preamp and phantom power ??

The difference is that a preamp is made to boost the signal of the incoming audio ( mic, instrument), and an interface, (or "i-o") is for the actual conversion of that audio into binary ( digital) information.
Sometimes you can get both devices in one, as with the Focusrite 2i2/4/6/, or the Presonus VSL's, ( and many other manufacturers too, like Behringer), but sometimes a mic pre is just a preamp alone, and doesn't have any computer connectivity.

There are many very nice preamps that don't have any computer connectivity /ADC ( analog to digital conversion) built-in.

In your case, with the Slate VMS system, you would come out of the Slate's Preamp Line Out, to the Line In of your current i-o.

Most entry level all-in-one preamps/i-o's are USB. Some more expensive models are Firewire, and the more current models in the upper price ranges seem to have become Thunderbolt, which is the current "fastest" connection - meaning it moves information to and from your computer very, very quickly. The reason Marco mentioned it, is because having a device with TB will provide the opportunity for you to track in "real time", through various plug in mic sims and processors, if you want.

( side note: your computer's specs matter with this too.)

The workaround to this is that you could record without any simulations or processing "printed" to the track, just the straight signal from the preamp to the i-o to the computer, and then add these things after the track has been recorded.
There are some here on RO who would likely prefer to do it this way, choosing the most transparent signal as a foundation, because once you track through those various sims and processors, and you pick up the "character" of them, then that's the sound you have - you can't "undo" it - you can't "unbake a cake". ;)

Recording with the transparency that the Slate system offers, allows you to do many things to the audio after the fact in the mix; things that may ultimately end up sounding better for the song as it develops.
Then again, there are those who love to track with "color". If they find a sound they love, they want to track it with that sonic character printed into the track, because they are confident that this is the sound they want, and, because it saves them resources later, processing and FX that can tax the CPU/RAM heavier in the mix stage.

FWIW
-d.

Lelouch, post: 447483, member: 50238 wrote: Isn't the whole purpose of an interface is the preamp and phantom power ??

Oversimplified definition : An audio interface is a unit that interface audio gear with a computer.
They don't all have preamps. Some highend interface are just line level inputs that goes to a digital converter and to the computer via usb, firewire, thunderbolt, or other computer ports. Most have AD|DA converter (analog to digital and digital to analog) which will vary in quality but some don't even have converters. you could have a seperate unit as preamp, a seperat converter and a seperate interface which only does route the digital signal to and from the computer.

When speaking of an interface with a preamp, depending on the budget, the preamp could be of very low quality. The fact that the line level doen't go direct to the converter implies that the signal will be altered. Therefor, if altered we could not record the exact same signal coming from the preamp. (in some cases, the result could be bad sounding)

Lelouch, post: 447483, member: 50238 wrote: The VMS has these things and seems like an interface, so what's the difference really ? I'm guessing if i skipped the interface and plugged right into the laptop I'd lose quality ?

The VSM system is a really good transparent preamp matched with a transparent microphone. Both tuned to be processed with the mic and preamp emulations.
Recording without the emulations will certainly sound ok. Once the audio is in the computer, it's easy to activate the emulations and get the full sound the system offers. But some artists can't live without hearing the end result while performing. That's why having low latency is critical for some.
You need to plug the VSM preamp to an audio interface to get the signal converted to digital and enter the computer with the maximum quality in order to get the sound result they intended you to have and pay for. Don't plug it on your computer sound card it will sound worst that the UM2

Now why the preamp of the VSM is better ? Because it has a better electronic design.
What is a preamp again ? It takes the very faint signal the mic produces and amplifies it to a line level signal which can be recorded.
Some good preamps available on the market vary in price ranging between 400$ to 4000$ and they all have a signature sound. Faster, slower, warmer, clearer. transparent etc..

I don't know what to add. Recording audio is the art of finding the best recipe for getting sound into your computer. Slate give us a quarter of the recipe with a tuned mic and preamp. you also need a good performer, in a good sounding room with a good interface...

You still can go to a store and try all their mics and buy the best match to your voice with a decent interface.
The first reason I thought the VSM system was a good idea is because you didn't have the time to go and try some mics...

BTW, I started with bad mics, bad preamps and bad interfaces.
It took me a while to finally have my recipe (20years that is)
Good thing, the quality of home studio gear is a lot better today compared to when I started. ;)

Alright, thanks again guys ! I'm gonna buy the Slate VMS and keep my UM2. I'll post some audio clips once it comes ( but might be a while since I'm not gonna order it until a little under 2 weeks from now (n) ) . Thanks a lot everyone !

Lelouch, post: 447494, member: 50238 wrote: Alright, thanks again guys ! I'm gonna buy the Slate VMS and keep my UM2. I'll post some audio clips once it comes ( but might be a while since I'm not gonna order it until a little under 2 weeks from now (n) ) . Thanks a lot everyone !

Great !!
As I said, you can always change your interface later if it's not perfect with the UM2 ;)

Can't wait to hear your voice with an 47 style mic and a neve preamp ;)

pcrecord, post: 447495, member: 46460 wrote: Great !!
As I said, you can always change your interface later if it's not perfect with the UM2 ;)

Thanks ! But you'll have to tell me if the audio quality isn't where it should be, I probably wont notice the difference !

pcrecord, post: 447496, member: 46460 wrote: Can't wait to hear your voice with an 47 style mic and a neve preamp ;)

Alright ^-^ , I'll try out the different mics and preamps on my voice till we see what's best ! Thanks a lot !

Hey, got a few questions here that aren't microphone related. I have everything ready to order in a week or so except for a stand and 2 xlr cables ( Since I guess the slate system probably wont come with some ! ) . A stand I'm looking at now is : https://www.sweetwa… And the XLR cable I'm looking at is : https://www.sweetwa… . Now, I want to cut down a little on the price tags, so I'm sure finding a cheaper stand wouldn't be a problem.. But the cables I'v heard have to be good quality or whatever. I can't tell where the line is for when someone is being realistic about the quality difference between cables and just plain cable crazy. Placebo effect can be strong ! So I'm asking you since your very knowledgeable and not cable crazy I assume xD. I was wondering if whether I bought a cheaper pair of XLR cables would actually affect my audio recognizably. People have posted about how changing to a high quality cable has COMPLETELY changed their audio quality.. which I think is just all in their heads.. Anyway, tell me what you think and what you recommend. I don't mind buying what I'v linked ( Which I assume is alright quality ), just seeing if I can save a little here and there without affecting anything. Thanks !

Both items are ok but you should buy 1 xlr and 1 trs cable.
Your UM2 has a mic / line combo connector that will receive trs for line level. So start from the mic to the VMS with an xlr cable and from the VMS to the UM2 with a trs cable like this one : https://www.sweetwa…

The stand isn't that sturdy but should work. Make sure you position the boom aligned with one of the feet legs. (if not, it may fall and damage the mic)

pcrecord, post: 447629, member: 46460 wrote: Both items are ok but you should buy 1 xlr and 1 trs cable.
Your UM2 has a mic / line combo connector that will receive trs for line level. So start from the mic to the VMS with an xlr cable and from the VMS to the UM2 with a trs cable like this one : https://www.sweetwa…

The stand isn't that sturdy but should work. Make sure you position the boom aligned with one of the feet legs. (if not, it may fall and damage the mic)

So you want me to connect the VMS from it's TRS port to the UM2 instrument port ? Shouldn't it be connected to the mic/line input combo in the XLR port ? I'm sure your right, but just wanna be sure that that's the right call. Anyway, would : https://www.sweetwa… work too ? It's a little cheaper, but I heard good things about Roland stuff. Anyway, thanks for the feedback.

I never talked about the instrument input. The Combo connector is called combo because it accepts xlr AND trs. It will be a balanced line level input when you put the 1/4in connector in it. The xlr is mic level and will use the entire preamp circuit and color the sound. The TRS is line level, still use a part of the preamp but less parts and therefor should sound cleaner.

BTW Instrument inputs are TR not TRS (mono connector vs stereo)

pcrecord, post: 447654, member: 46460 wrote: I never talked about the instrument input. The Combo connector is called combo because it accepts xlr AND trs. It will be a balanced line level input when you put the 1/4in connector in it. The xlr is mic level and will use the entire preamp circuit and color the sound. The TRS is line level, still use a part of the preamp but less parts and therefor should sound cleaner.

BTW Instrument inputs are TR not TRS (mono connector vs stereo)

I see, sorry I didn't notice ! I just noticed that the Mic/Line combo port can also accept a 1/4' cable ! ( I didn't notice before since I didn't know what a TRS cable looks like ! ). Either way, if connecting it will still color the audio, it'll affect the audio quality right ? Is this a compromise because of the cheap interface I'm using that has a combo for mics and line inputs, or would that be true for any interface that comes with a preamp ?

Thanks for the diagram, but I'm not sure what I'm supposed to understand from this xD !

Lelouch, post: 447656, member: 50238 wrote: Is this a compromise because of the cheap interface I'm using that has a combo for mics and line inputs, or would that be true for any interface that comes with a preamp ?

Yes the electronic parts that serves to amplify the very faint signal of the microphone can be clean or colored in the right way with highend preamps or just very bad with cheap ones. The amplification design will affect the signal.
When we talk about line level, there is less manipulation of the sound because less is needed to route the signal to the converter(s).
Almost all interfaces with line level inputs and with a gain knobs implies some electronic parts are involves and may to a certain degree change the sound.
But there is interfaces with line level inputs with direct path to converters.
Like the orion 32 : https://www.sweetwa…
or https://www.sweetwa…
And many others.
Having a direct path to the converter insures that sound coming out of the preamp is the exact sound that is captured to the converter.
Of course converters will have sound but to a certain quality, they are mostly transparent.

So the processing the audio is gonna go through in the UM2 should be minimal right ? But will it affect the sound quality noticeably ?

Lelouch, post: 447661, member: 50238 wrote: So the processing the audio is gonna go through in the UM2 should be minimal right ? But will it affect the sound quality noticeably ?

I can't say Letouch, I never tried one. But my guess is ; yes it will affect the sound and it might not be pretty...
Testing it is the only way to know.
If you had something like this : https://www.sweetwater.com/store/detail/Scarlet6i6G2
It has line level inputs which doesn't go through the preamp section.
Those line input coupled with a better converter would sound much better.
At least they would insure what you hear is the external preamp not being tainted by another preamp.

pcrecord, post: 447665, member: 46460 wrote: I can't say Letouch, I never tried one. But my guess is ; yes it will affect the sound and it might not be pretty...
Testing it is the only way to know.
If you had something like this : https://www.sweetwater.com/store/detail/Scarlet6i6G2
It has line level inputs which doesn't go through the preamp section.
Those line input coupled with a better converter would sound much better.
At least they would insure what you hear is the external preamp not being tainted by another preamp.

Is there some kind of interface without a preamp that would be cheaper ? I could buy that interface no problem if I wasn't buying a thousand dollar mic already ! Thanks for the help, and by the way, it's Lelouch not Letouch xD Anyway, the reason the Slate VMS was such a compelling choice was that it came with everything, and it had a variety of microphones, but since the interface needs to come from my part, it's adding a lot of variables that seem able to ruin my audio. So I'm just wondering if you think that getting the VMS is still the best choice with this budget..

Lelouch, post: 447691, member: 50238 wrote: Is there some kind of interface without a preamp that would be cheaper ?

No... and even if there was one, the converter would certainly be bad.

Lelouch, post: 447691, member: 50238 wrote: So I'm just wondering if you think that getting the VMS is still the best choice with this budget..

Going to a pro studio or a store and try mics until finding one that fits your voice IS the best choice.
You, not wanting to do it, makes the VMS the best choice.

Of course the VMS is more versatile than having just one mic and preamp but if you buy any quality preamp and mic it will be futile if you don't have the proper audio interface to accuratly send the audio signal to the computer.

Time to re-evalute your goals

Where you are at :

• You bought the cheapest gear and failed
• You want to sound pro but you don't yet know what sounds good or bad
• You need to take your time and try mics but want to rush it for some reason

class="xf-ul">
Now answer those :

• What do you want to achieve ?
• Do you really want to learn how to record ?
• How much time and effort do you have to learn the craft ?
• How important the quality of your work needs to be ?

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pcrecord, post: 447694, member: 46460 wrote:
Where you are at :

• You bought the cheapest gear and failed
• You want to sound pro but you don't yet know what sounds good or bad
• You need to take your time and try mics but want to rush it for some reason

class="xf-ul">
Now answer those :

• What do you want to achieve ?
• Do you really want to learn how to record ?
• How much time and effort do you have to learn the craft ?
• How important the quality of your work needs to be ?

class="xf-ul">

There's a reason I'm rushing things and can't really go try out different mics at studio, a little personal. What I want to achieve is a career in voice overs, whether in my private studio or with a company/union. As for recording, yes I would like to know how to, though I think I got the hang of that ! There are more finer points of it that I need to learn, but I'll get the hang of it over time. My effort is limitless ! My free time depends on the day, for a while I'm not gonna be really free, but that doesn't mean I wont have time for recording. The quality of my work doesn't have to be the best quality ever ( Though that's obviously what I wish for ! ), I want " The Home Studio Master " quality, but even that may be too good for me to reach. Anyway, I bought the cheapest gear simply because it would be idiotic to get started with a fortune worth of stuff to dive into a career that I know little of. All the things I learned from recording and dealing with audio was worth it, right ? I'm also really starting to get the hang of what sounds " good " or bad. I'v been practicing and I'v heard the VMS being used on multiple voices, going from one mic type to the next, seeing the subtle differences and learning what works best for what voice.

Anyway, I can see what I can do about getting the 6i6 ( Would love if there's a cheaper option. ). I might be able to get it. And to make sure there aren't anymore hidden surprises for when I buy the VMS , are you sure the 6i6 will run the line level cleanly and that there wont be any audio problems ?

first, imo, your expectations are unreasonable. you are going to have a hard time at becoming a pro VO artist if you can't go to the studio that has the gig. they are not going to farm it out so you can make money and they don't. you need to network and you can't do it over the net. you have to show your face. people want to know who they are dealing with. anyone who has the luxury of having a personal VO studio that they actually use, has been in the business for a while and has already established their contacts and relationships. it's a people business.

second, if all you are going to do is VO work you won't need more than one decent mic and a decent 2 channel pre amp converter combo. something like an Audient iD22 would be perfect. i can promise you won't ever need anything better. the pres and conversion are top shelf stuff. a mic like an RE20 or a SM7 will be fine. all together you're looking at the neighborhood of $1000. if you can't spend that, just don't spend anything. it's going to cost at least that much to get to where you want to be. just stick with what you have because until you hit that 1k mark nothing is really going to be much better.

the Slate is way over kill and imo more than likely just the latest gimmick. there will be a new and improved thingie out next week or month or year. don't go for the banana in the tail pipe.

Kurt Foster, post: 447738, member: 7836 wrote: if all you are going to do is VO work you won't need more than one decent mic and a decent 2 channel pre amp converter combo. something like an Audient iD22 would be perfect. i can promise you won't ever need anything better. the pres and conversion are top shelf stuff. a mic like an RE20 or a SM7 will be fine. all together you're looking at the neighborhood of $1000.

Well, seeing how I'm just about ready to spend a little over 1k on equipment, there's really no reason to mention that ! Also, I doubt I should get any interface and mic I'm randomly recommended ! Anyway, thanks for the advice !

you would prefer to buy something based on an advertisement on YouTube? go for it.

Kurt Foster, post: 447743, member: 7836 wrote: you would prefer to buy something based on an advertisement on YouTube? go for it.

Judging by what I'v seen, most people wouldn't know the difference between audio recorded with an actual vintage mic or the VMS. And you recommended me some stuff, but wouldn't it be better to have something based on my actual voice rather then what is good in general ?

look. i'm trying to help you get what you need without breaking the bank. let's not forget that left to your own devices and decision making process, you bought an MXL mic and a Behringer interface. LOL! but what do i know? i only ran a 6000 sq foot - 2" 24 track/ 48 track digital studio with an MCI console and tons of the best outboard gear and mics in the Bay Area for years and years. if you look at my profile you will see my credits. i'm thinking you just don't like it that i told you your idea won't work. i know what i'm talking about and i shouldn't have to blow my own horn or put up with a load of grief just for trying to help.

the Audient stuff is very good. it's converters are good, the mic pres are reasonably transparent and you will never go wrong with an SM 7 or and RE20. if you look around you might even find them in good condition used. both those mics are standards in the VO business. there's no such thing as a mic that will make you sound good, unless you already sound good in the first place. if you ever sell you should be able to recoup the mic investments in toto.

Kurt Foster, post: 447745, member: 7836 wrote: look. i'm trying to help you get what you need without breaking the bank. let's not forget that left to your own devices and decision making process, you bought an MXL mic and a Behringer interface.

I bought the cheapest of the cheap, the MXL 770 and a Behringer, knowing full well it wasn't going to be good. I just needed a starting point, and only wanted to spend around a $100 to see what this was all about.

Kurt Foster, post: 447745, member: 7836 wrote: LOL! but what do i know? i only ran a 6000 sq foot - 2" 24 track/ 48 track digital studio with an MCI console and tons of the best outboard gear and mics in the Bay Area for years and years. if you look at my profile you will see my credits. i'm thinking you just don't like it that i told you your idea won't work. i know what i'm talking about and i shouldn't have to blow my own horn or put up with a load of grief just for trying to help.

It's not my idea.. I didn't even know the VMS existed till pcrecord told me of it. I don't know what his background is, but he has seemed very unbiased and reliable so far. If what I'm planning to buy and use isn't going to work, could you tell me why ? I'm not here to give you grief, after all I'm the one everyone bashes on here for being a newbie ! So I KNOW you know this industry better than I do and I take what you say seriously, but I also wanna understand. To me, I see that the Slate System would be better then what you've recommended, but I'm really not in a position to say which is best. So I'd appreciate if you could explain to me why the VMS stands under the audient interface and those mics . Thanks again for the help.

Just to sum what has been discussed here ;
Audient has been part of the early suggestions that were made on this thread.
The VMS system was brought up only because the OP has restrictions who prevents him to go to a pro studio or a store to try mics until he finds the best match for his budget. It may be overkill but it's a safer pick than other solutions

The SM7 and EV20 are pristine mics that are reknown for radio and voice over work.
But we can't know for sure either mics will be a perfect match to the voice of the OP.
I've been using 5 different mics with my voice until finding one that fits very well. That's why I gave the OP the idea of mic /vocal matching instead of picking random.. (I'm guilty of that) ;)

Lelouch, post: 447746, member: 50238 wrote: t's not my idea.. I didn't even know the VMS existed till pcrecord told me of it.

I was also suggesting this system - unlike my colleague Kurt, ( Kurt Foster ) I do not think it's "balloon juice and banana oil" - I do believe it has some very attractive features, I've spoken to three engineer friends whom I trust, professionals with much experience with the original mics that the Slate system offers emulations of - and they've all been blown away by how good - and often very accurate -the VMS sounds.

BUT... I wasn't aware that your main focus was going to be VO's - and I sincerely apologize if you did mention this earlier on in the thread and I simply didn't see it - but the first I read about it was in one of your most recent posts.

Knowing that this is your intended goal, I would not suggest the VMS system. It's overkill for what you'll want to do. I was under the impression that you were going to be doing music and vocal recording, and in that regard, the Slate VMS would have given you a variety of very cool sonic options... but these are options that you won't need for what you want to do.

As Kurt suggested, a very good dynamic mic - like an EV RE20 or a Shure SM7 - would both be exceptional choices, and either would serve your needs very well. Both mics are highly regarded by pros, because they sound great for VO work.
And, if you are also dealing with a recording space that is "less than good" acoustically, with reflections and flutter echo that are both typical of home recording spaces, then a dynamic mic would be the better choice, because condenser mics will pick up far more of your surroundings than a dynamic mic will, because of their inherent sensitivity.

Along with a really good preamp and interface ( and yes it's possible to get both in one unit), you'll be set to go. Dynamic mics - especially the SM7 - do require more gain than condenser mics do, so you'll want to look at a pre that offers at least 65db of gain. These types of preamps can be more expensive, but you'll notice a difference in your gain level - and your quality - with a beefier pre. The less expensive option would be to look into either a Cloudlifter or Cathedral Pipes Durham - both are inline gain boosters that tap the 48 v phantom power on your pre and convert that voltage to additional gain - up to 20 more db - and this would be sufficient for lower output mica and lower input preamps.

Converters also matter. If you plan on putting your VO's up against what you hear professionally, you're going to need to compete with the quality that these pro VO artists are getting. Many are working at various studios, but not all of them are... many are doing it from their own home studios as well, but those who are successful in doing it from their own studios have also invested money into very nice gear. If you want to be taken seriously, you'll want to load up for bear with your mic, your pre and your conversion - and none of this will happen with budget-level gear. Your gain chain will only sound as good as your weakest piece does. You'll want to have a quality signal chain from start to finish. You could have the best mic, and the best preamp, but if the conversion is less than good, those other two things won't matter, and the same could be said for any one of those links in the chain.

FWIW

DonnyThompson, post: 447754, member: 46114 wrote: Knowing that this is your intended goal, I would not suggest the VMS system. It's overkill for what you'll want to do.

Not wanting to argument but If I was a beginner who is serious about VO , I would go in a professionnal studio and try 20 mics and pre and buy exactly what sounds best for my voice according to me or even better, according to the experienced sound engineer.
The OP is not willing to do anything to TRY before he buys and that's why the VMS came up.
At least, with it, he would be able to try the virtual mics and have better chances to find the right one.

I heard his voice and my first guess would be to try a Fet U47 or similar designed. But then again I heard his voice through cheap gear.

Of course the SM7 and RE20 can do the job very well, but I refuse to guess it's his best choice.

The worst thing is ; I wasn't able to address the room and monitors with the OP yet.

@Letouch ; Make up your mind and start to record right away.
Doing the action of recording will help you get better at it. It is far more important to the gear choice.

pcrecord, post: 447758, member: 46460 wrote: The OP is not willing to do anything to TRY before he buys and that's why the VMS came up.

Agreed. If the OP is serious - really serious about doing this, and has rfaith in himself as an artist in that field, then he'll need to start somewhere, and your quote below...

pcrecord, post: 447758, member: 46460 wrote: Not wanting to argument but If I was a beginner who is serious about VO , I would go in a professional studio and try 20 mics and pre and buy exactly what sounds best for my voice according to me or even better, according to the experienced sound engineer.

...is of course the best answer - but he'd also have to understand that it's not just the mic alone that he'd be hearing in that situation. Given that he's in a pro studio, it's fair to assume that there will be pro mics, but they would also have pro preamps, pro converters, a nice-sounding environment in which to record in, great monitors to listen to playback through... along with the skill and knowledge of the engineer who knows their gear and knows their room.
Just because he buys a mic he tried and liked in the studio doesn't necessarily mean that he'll get the same results out of that mic on his home recording rig.

Voice 1-2-3 is one of the VO aggregates out there that has gained in popularity with VO artists who prefer to work from their home studios - but again, the pro VO people aren't screwing around when it comes to the gear in their home rigs, either.
I've worked with a few pro VO people who work out of their homes, and their gear reflects the seriousness of what they are doing... Portico preamps, Prism converters, several nice mics - both dynamic and condenser - and a well-treated space in which to record are evident.

If he could afford a nice FET mic ( or tube, etc.) it won't do him much good to drop the money on it, and then connect it to a $100 preamp with budget-level converters.

I think he should use what he has right now, and get his demo "reel" out there. Those who would be interested are going to be listening to him first... how he sounds as a performer, what his voice is like, and how good he is at reading copy.

But yes, Marco, I agree with you that getting into a pro room for an hour or two, and reading the same ad-copy through a variety of mics is the OP's best bet.
If it were me, I'd also request that the engineer use as transparent of a preamp as possible for these mic shoot-outs.

pcrecord, post: 447758, member: 46460 wrote: @Letouch ; Make up your mind and start to record right away.
Doing the action of recording will help you get better at it. It is far more important to the gear choice.

Yup. Because until he makes a move one way or the other, it's all just hypothetical.

IMO. ;)

DonnyThompson, post: 447762, member: 46114 wrote: If he could afford a nice FET mic ( or tube, etc.) it won't do him much good to drop the money on it, and then connect it to a $100 preamp with budget-level converters.

My beloved T47 with the Audient ID22 interface would make a very good start. (For me anyway !)
The ID 22 has optical inputs and would be a perfect match for an ISA one with digital option for the future !! (Again speaking for me alone ) ;)

Man, a lot of information and different opinions. The VMS does seem like a good option. Even though my goal is simply VO's, I AM a singer. Just keeping my options open. Also, my range varies for every thing I do, sometimes I'm very deep, sometimes I'm messing around in my upper range. I'd rather not have to buy more than one mic because one mic that's good for one VO isn't so useful for the voice needed in another. So I agreed with the VMS, but now I'm indecisive !

Anyway, if the VMS is overkill, isn't that a good thing ? I heard that the mic and preamp are pretty good stuff, so even if were to buy some of those suggestions you guys had for the different mics and interfaces, would it actually be better than the Mic and Preamp provided with the VMS ? And btw, while I'v heard how good a dynamic mic sounds for voice overs, I'd personally prefer a condenser mic. I really don't have noise in my recording area. When I turned the gain all the way up on my MXL 770, all I heard was the noise floor and the sound of the equipment ( mostly just noisy UM2 Interface ) which wasn't very noisy at all. And with a noise gate, I saw that it was all under 30DB when recording at proper levels and I got rid of it.

DonnyThompson, post: 447762, member: 46114 wrote: Yup. Because until he makes a move one way or the other, it's all just hypothetical.

Well, I'v already started recording ! I'v done much and learned a lot. Now I want to record with better equipment !

DonnyThompson, post: 447754, member: 46114 wrote: I sincerely apologize

Don't be sorry ! You guys are helping me a lot ^-^ !