I'm using the MXL 770 along with the Behringer U-Phoria UM2. Now, the Behringer use to make a lot of noise until i updated a driver. I knew it was the audio interface since i disconnected the actual recorder from it, and the laptop still allowed me to record. Now after that problem is gone, i still find background noise when connecting to the condenser mic. When i turn the mic down to a small level, you don't hear the noise until you speak, then it distorts your voice. When at a higher level, you can hear the sound in the background. I've seen plenty of youtube videos with people using the MXL with not so much as white background noise, and am wondering why mine does. I've uploaded one audio of the recorder at a high setting, which makes the background noise sound worse than it normally would during recording, and one at a low setting, which shows how my voice can be distorted if i significantly reduce the mic settings to get rid of the background noise which only appears when i speak. Please let me know of any suggestions, thanks.
Comments
Lelouch, post: 446150, member: 50238 wrote: You're completely ri
Lelouch, post: 446150, member: 50238 wrote: You're completely right, but condenser mics are really the main, and usually the best, choice. The mic recommended is $500 ! And I doubt I'd find any dynamic mic good for voice overs in my price range.
Depends on your frame of reference.
If you're in a perfectly treated room then you'd perhaps get a lot of mileage out of recording with condensers, even SDC omnis are quite often used.
When a similar question was asked in another forum the answer about what the industry standard mic for voice overs was...amongst a lot of background noise, the answer was suggested to be the U87, which again is rather more than even the $500 of the dynamics...along with suggestions of AKG / Beyers etc etc. They all carry a price tag.
In a suboptimal room as I've suggested a condenser is highly likely to be a culprit for extraneous noise getting into the system....and as much as people don't want to hear this (and I was in this position once...my first LDC was an original NT1 which as I learnt later down the line you could cut through metal with) pretty much most of the bottom end condenser mics are voiced brightly to sound superficially 'impressive' which has already been referred to. They can make the job much more difficult than it needs to be - especially if you're having trouble with sibilance.
I totally understand the idea that people need to start somewhere, though.
If a dynamic is a potential solution you could even look at trying an SM57 - this forum seems to have a big liking for them.
Alternatively, how much of this work are you consistently planning on doing? Perhaps you could look at hiring the right gear for the job when you need it while putting money to one side to buy your own solution...bearing in mind that your recording environment will play a huge part?
That was what I essentially did - I rented or borrowed the high budget stuff when I needed it until I'd built up the cash to buy my own...though I still find myself hiring things when I'm on a large channel count.
Keith Johnson, post: 446151, member: 49792 wrote: Depends on you
Keith Johnson, post: 446151, member: 49792 wrote: Depends on your frame of reference.
If you're in a perfectly treated room then you'd perhaps get a lot of mileage out of recording with condensers, even SDC omnis are quite often used.
When a similar question was asked in another forum the answer about what the industry standard mic for voice overs was...amongst a lot of background noise, the answer was suggested to be the U87, which again is rather more than even the $500 of the dynamics...along with suggestions of AKG / Beyers etc etc. They all carry a price tag.
In a suboptimal room as I've suggested a condenser is highly likely to be a culprit for extraneous noise getting into the system....and as much as people don't want to hear this (and I was in this position once...my first LDC was an original NT1 which as I learnt later down the line you could cut through metal with) pretty much most of the bottom end condenser mics are voiced brightly to sound superficially 'impressive' which has already been referred to. They can make the job much more difficult than it needs to be - especially if you're having trouble with sibilance.
I totally understand the idea that people need to start somewhere, though.
If a dynamic is a potential solution you could even look at trying an SM57 - this forum seems to have a big liking for them.
Alternatively, how much of this work are you consistently planning on doing? Perhaps you could look at hiring the right gear for the job when you need it while putting money to one side to buy your own solution...bearing in mind that your recording environment will play a huge part?
That was what I essentially did - I rented or borrowed the high budget stuff when I needed it until I'd built up the cash to buy my own...though I still find myself hiring things when I'm on a large channel count.
Well, a noise gate set at -50DB is usually more than enough to keep out any sound present. And oddly enough, the noise in my audio is usually from my audio interface rather than the mic ! Dynamic mics are just not for my price range, and usually aren't for this industry. Plenty that can be used for it I'm sure, but if i were given the option of a GREAT condenser mic or a GREAT dynamic mic, I'd go for the condenser mic !
Lelouch, post: 446152, member: 50238 wrote: Dynamic mics are jus
Lelouch, post: 446152, member: 50238 wrote: Dynamic mics are just not for my price range, and usually aren't for this industry.
I don't know what industry would purposively choose low end gear to compete world with a million offers and few demands. Unless you live in a fantasy world where I seriously want to join in... ;)
What you got is barely ok for vloging, gaming and learning about recording.
Voice over work is very serious work, it ends with developping the image of a company and/or sell products or the audio being the product itself. I doubt any successful movies or TV publicity ever used an mxl 770.
I've been hire to record voiceover many times, publicity, e-learning, conferences, yoga and even an entire telephone system voice guide.
My setup for those jobs has been :
- Choosing a mic that fits the most with the voice, (often the Shure ksm44 1200$)
- The preamp Universal Audio LA-610 (1600$)
- Digital converter Mytek AD96 (1000$)
- Audio interface RME Fireface 800 (800$ used)
- Yamaha HS8 studio monitors (700$)
- And nearly 20years of experience, trial and error.
A dynamic mic like Shure SM57 is 100$ very affordable yet proffessional mic. (it sounds very good for many jobs including voiceovers, its like the little brother of the sm7) I'm not saying to buy one.. Just don't say the industry can't afford good gear. This ain't true.
Lelouch, post: 446153, member: 50238 wrote: Also, a completely unrelated question, but anyone here have any suggestions on where to go for Voice Over jobs ? I've been finding it harder to find them over time.
Walking with my above comment, I wouldn't hire anyone with cheap gear and no experience like you. I don't meen to be harsh or put you down.
I took a lot of time here to help you. if I wanted to be hard on you I wouldn't have done it from the start. I'm trying to be honest here.
Reading that you seem to take this seriously and not wanting to invest for better gear is just puzzling me.
A good thing for you; many company will hire voiceover artists and bring them to their own studio. So the tips I can give you is to have good material to present yourself, a good resume and a nice website are tools that hits well to impress customers. Also a few youtube video of your performances would help.
Try to contact local radio stations and offer your services. Start free if you must, it will add to your experiences and resume.
Just guessing but I think I saw more than 15 000$ worth of mics in that video :
pcrecord, post: 446154, member: 46460 wrote: I don't know what i
pcrecord, post: 446154, member: 46460 wrote: I don't know what industry would purposively choose low end gear to compete world with a million offers and few demands. Unless you live in a fantasy world where I seriously want to join in... ;)
What you got is barely ok for vloging, gaming and learning about recording.
Voice over work is very serious work, it ends with developping the image of a company and/or sell products or the audio being the product itself. I doubt any successful movies or TV publicity ever used an mxl 770.I've been hire to record voiceover many times, publicity, e-learning, conferences, yoga and even an entire telephone system voice guide.
My setup for those jobs has been :
- Choosing a mic that fits the most with the voice, (often the Shure ksm44 1200$)
- The preamp Universal Audio LA-610 (1600$)
- Digital converter Mytek AD96 (1000$)
- Audio interface RME Fireface 800 (800$ used)
- Yamaha HS8 studio monitors (700$)
- And nearly 20years of experience, trial and error.
A dynamic mic like Shure SM57 is 100$ very affordable yet proffessional mic. (it sounds very good for many jobs including voiceovers, its like the little brother of the sm7) I'm not saying to buy one.. Just don't say the industry can't afford good gear. This ain't true.
Walking with my above comment, I wouldn't hire anyone with cheap gear and no experience like you. I don't meen to be harsh or put you down.
I took a lot of time here to help you. if I wanted to be hard on you I wouldn't have done it from the start. I'm trying to be honest here.
Reading that you seem to take this seriously and not wanting to invest for better gear is just puzzling me.A good thing for you; many company will hire voiceover artists and bring them to their own studio. So the tips I can give you is to have good material to present yourself, a good resume and a nice website are tools that hits well to impress customers. Also a few youtube video of your performances would help.
Try to contact local radio stations and offer your services. Start free if you must, it will add to your experiences and resume.Just guessing but I think I saw more than 15 000$ worth of mics in that video :
Well I'v been completely dissed and called out on ! Anyway, no worries, I understand. " Just don't say the industry can't afford good gear. This ain't true. " Is what you said, but that wasn't what I meant at all ! I also understand that this is a cheap setup and will more than likely get me nowhere fast if at all ! However, I don't want to jump headlong into a career with no guarantees. Once I have some kind of reassurance that this business is for me and finding work wont be a leap of faith, I'll have a $5000 dollar budget, more than enough for the right equipment right ? But that's for later. I need to learn about recording, and need to be good at it. That's why I'm here ^/^. So I hope you know that your help and advice is very appreciated by me and helps me greatly, thanks a lot. I'm hoping to record demo reels with my current setup to see if a company may take me to their studio for recordings. I wish to see how far I can go now so I can think that investing in this work will pay off. I love to record, but dreams don't always work out, so I'm not throwing all in. Thanks for understanding.
Lelouch, post: 446156, member: 50238 wrote: I'm hoping to record
Lelouch, post: 446156, member: 50238 wrote: I'm hoping to record demo reels with my current setup to see if a company may take me to their studio for recordings.
That seems like a good plan !! concentrate on performing well and they'll get what's needed to make you shine ;)
pcrecord, post: 446158, member: 46460 wrote: That seems like a g
pcrecord, post: 446158, member: 46460 wrote: That seems like a good plan !! concentrate on performing well and they'll get what's needed to make you shine ;)
Yea, that's what I'm hoping for, then I wont have to worry about my own equipment, but that may not work out. As someone who's been doing this for 20 years, any advice on how to get started in this career ? I know that better quality stuff would be the huge helper here, but money isn't something I want to put into this until I know it's not a waste, ya know ? Also, I hear from lots of places that preamps make people sound better ... ? I thought a preamps job is just to boost signals, shouldn't it be neutral ? Like, it shouldn't CHANGE the audio to sound better or worse ?
Lelouch, post: 446157, member: 50238 wrote: Did they just use th
too long to be the MXL V67G
dvdhawk, post: 446160, member: 36047 wrote: Where? 7:08 - ?
With Disney money you get one of these: AKG C12VR. It's no coincidence a lot of the knockoffs try to at least look like a mic that's been a legend since 1953.
I see ! I thought that mic was too long to be the MXL V67G . Thanks for the link, that mic is so expensive !
You may find this of use.... http://www.soundonsound.com/techni
You may find this of use....
Though I think it's still subscription only...but you can buy the single article.
Hey you know what ?? While looking for circuit pictures I found
Hey you know what ?? While looking for circuit pictures I found a guy who fixed his mxl 770 who had noises...
http://www.mikepera…
Also, don't judge a mic by it's look, your 770 could become a great mic with a new capsule and new circuit :
http://microphone-p…
pcrecord, post: 446165, member: 46460 wrote: The inside of the M
pcrecord, post: 446165, member: 46460 wrote: The inside of the MXL770 looks like this :
Yea, I took mine apart when I thought it was the source of the noise xD !
pcrecord, post: 446166, member: 46460 wrote: Also, don't judge a mic by it's look, your 770 could become a great mic with a new capsule and new circuit
I've seen a lot of videos where people switched out the capsule of the MXL 770 to make it better. But how much better will it be ? Would it be better just to buy a better mic later on ?
Happy New Years guys :3 ! I don't really celebrate stuff so I'm
Happy New Years guys :3 ! I don't really celebrate stuff so I'm still gonna be on this site often ! Anyway, here is a recording I did EQ on to remove high frequencies. I'm pretty sure I completely overdid it, but I'm just trying to see if this is actually any better since I HIGHLY doubt I have any good EQ skills. I'm sure that the EQ I'v done is very bad and poorly done, but I just want to see if this removed the high frequencies, any feedback is appreciated, thanks !
I think I accidentally uploaded the same one twice.. I'll check and see when I get to my studio. EDIT : I can't really find out if they are the same but I don't think they are.
pcrecord, post: 446166, member: 46460 wrote: Hey you know what ?
pcrecord, post: 446166, member: 46460 wrote: Hey you know what ?? While looking for circuit pictures I found a guy who fixed his mxl 770 who had noises...
http://www.mikepera…Also, don't judge a mic by it's look, your 770 could become a great mic with a new capsule and new circuit :
http://microphone-p…
pcrecord, post: 446166, member: 46460 wrote: Hey you know what ?? While looking for circuit pictures I found a guy who fixed his mxl 770 who had noises...
http://www.mikepera…Also, don't judge a mic by it's look, your 770 could become a great mic with a new capsule and new circuit :
http://microphone-p…
Happy New Year 2017. Hope 2017 is better for all of us.
Pcrecord: What vintage (manufacture date) was the C12 you showed pictures of. Nice mic. 6072 tube should last for years. NOS 6072's still available at reasonable cost. The cost of AC701's is getting prohibitive. Around 1966, Philips sold a version of the AKG C60 in the USA but used a 7586 nuvistor in place of the AC701. The 7586 is an instrumentation tube (used on the front end of some Tektronix scopes of the period) and has high input impedance and other good characteristics. From phone conversations with the late Oliver Archut, he preferred the triode connected 5840 subminiature in place of the AC701. I have used the EF86, 6072, 7586, 5703, and 5840 in AC701 workarounds. All of these are 6.3 volt tubes but modifying a NKM or NSM type supply isn't difficult in a neat manner where it can be restored if AC701's become available. Neat, restorable mods to the mic can also be made.
I would never trust a 12AX7 tube at condenser mic impedances....good quiet ones for preamps (i.e. Altec 1567A) are hard enough to find anyway...
One important detail about any tube mic is that external components in the mic near the tube are subject to heat. This includes any coupling caps, especially the coupling cap from the tube to the output transformer. Resistors get noisy, electrolytic caps dry up, etc. Capacitor breakdown in a mic circuit will contribute noise...The high impedance (150 meg or higher) resistors in the grid (capsule) circuit rarely go bad (current is negligible), but anode and cathode resistors can become noisy since they carry current.
Looks like there isn't much to the MXL770. The C12 looks nice. But it looks like there is room for a nuvistor or submini tube and a small output transformer in the MXL770. Need to change connector to accommodate heater and B plus voltages and the audio....The MXL770 looks like single pattern...
Warning...tubes involve voltage...work carefully...one can get a serious shock off a tube mic supply due to stored energy in the filtering capacitors....
rmburrow, post: 446202, member: 46233 wrote: Happy New Year 2017
rmburrow, post: 446202, member: 46233 wrote: Happy New Year 2017. Hope 2017 is better for all of us.
Pcrecord: What vintage (manufacture date) was the C12 you showed pictures of. Nice mic. 6072 tube should last for years. NOS 6072's still available at reasonable cost. The cost of AC701's is getting prohibitive. Around 1966, Philips sold a version of the AKG C60 in the USA but used a 7586 nuvistor in place of the AC701. The 7586 is an instrumentation tube (used on the front end of some Tektronix scopes of the period) and has high input impedance and other good characteristics. From phone conversations with the late Oliver Archut, he preferred the triode connected 5840 subminiature in place of the AC701. I have used the EF86, 6072, 7586, 5703, and 5840 in AC701 workarounds. All of these are 6.3 volt tubes but modifying a NKM or NSM type supply isn't difficult in a neat manner where it can be restored if AC701's become available. Neat, restorable mods to the mic can also be made.
I would never trust a 12AX7 tube at condenser mic impedances....good quiet ones for preamps (i.e. Altec 1567A) are hard enough to find anyway...One important detail about any tube mic is that external components in the mic near the tube are subject to heat. This includes any coupling caps, especially the coupling cap from the tube to the output transformer. Resistors get noisy, electrolytic caps dry up, etc. Capacitor breakdown in a mic circuit will contribute noise...The high impedance (150 meg or higher) resistors in the grid (capsule) circuit rarely go bad (current is negligible), but anode and cathode resistors can become noisy since they carry current.
Looks like there isn't much to the MXL770. The C12 looks nice. But it looks like there is room for a nuvistor or submini tube and a small output transformer in the MXL770. Need to change connector to accommodate heater and B plus voltages and the audio....The MXL770 looks like single pattern...
Warning...tubes involve voltage...work carefully...one can get a serious shock off a tube mic supply due to stored energy in the filtering capacitors....
Yea, not a lot to the MXL 770 except for the cool name ! Most of the length comes from the grill and a really long connection from the circuit to the XLR connection port. I'd change out parts for the MXL 770 to make it better, but the parts cost more than the mic itself ! Probably because the mic was cheap anyway. You seem very knowledgeable about these things ! Thanks for posting.
Lelouch, post: 446203, member: 50238 wrote: Yea, not a lot to th
Lelouch, post: 446203, member: 50238 wrote: Yea, not a lot to the MXL 770 except for the cool name ! Most of the length comes from the grill and a really long connection from the circuit to the XLR connection port. I'd change out parts for the MXL 770 to make it better, but the parts cost more than the mic itself ! Probably because the mic was cheap anyway. You seem very knowledgeable about these things ! Thanks for posting.
Have you read any of the posts here or on DIY Audio about the mike kits by TAB-Funkenwerk or "Chunger's" posts on DIY mics and kits? Some of these posts involve modification of an inexpensive "donor mic" with upgraded circuitry. The capsule is a big part of the "sound" of a mic....a capsule from Neumann, Thiersch, Schoeps, B&K, etc. (where there is quality control) probably runs circles around some of the inexpensive chinese stuff out there today. I would NEVER use a 12AX7 at condenser mic impedances for reasons explained in earlier posts. I was given an old capps CM2250 moc while in high school 47 years ago and fixed it. (actually reskinned it...not too hard with a Capps mic...) The aluminum diaphragm of a Capps mic collapses over time....mic sounds good with a metallized mylar or pure nickel diaphragm...the tube was a 5703 submini triode...and the power supply looked like a small floor heater...lol
rmburrow, post: 446204, member: 46233 wrote: Have you read any o
rmburrow, post: 446204, member: 46233 wrote: Have you read any of the posts here or on DIY Audio about the mike kits by TAB-Funkenwerk or "Chunger's" posts on DIY mics and kits? Some of these posts involve modification of an inexpensive "donor mic" with upgraded circuitry. The capsule is a big part of the "sound" of a mic....a capsule from Neumann, Thiersch, Schoeps, B&K, etc. (where there is quality control) probably runs circles around some of the inexpensive chinese stuff out there today. I would NEVER use a 12AX7 at condenser mic impedances for reasons explained in earlier posts. I was given an old capps CM2250 moc while in high school 47 years ago and fixed it. (actually reskinned it...not too hard with a Capps mic...) The aluminum diaphragm of a Capps mic collapses over time....mic sounds good with a metallized mylar or pure nickel diaphragm...the tube was a 5703 submini triode...and the power supply looked like a small floor heater...lol
Well, while I do like working with my hands, I'd rather not mess around with mics. If I break something or cut a wire beyond soldiering, it'll mean replacing and fixing. I also don't believe in my ability to make a good mic ! Thanks for information though ! Maybe one day I will mess around with a few mics, or make my own!
Lelouch, post: 446205, member: 50238 wrote: Well, while I do lik
Lelouch, post: 446205, member: 50238 wrote: Well, while I do like working with my hands, I'd rather not mess around with mics. If I break something or cut a wire beyond soldiering, it'll mean replacing and fixing. I also don't believe in my ability to make a good mic ! Thanks for information though ! Maybe one day I will mess around with a few mics, or make my own!
rmburrow, post: 446207, member: 46233 wrote: From what I have re
rmburrow, post: 446207, member: 46233 wrote: From what I have read about (and seen so far), the kits look fairly fool proof. Apparently some builders have saved LOTS of money by building the kits and installing a good capsule.
Well, I'll take a look at it ! But I probably will end up not doing it xD ! Sorry about that !
rmburrow, post: 446209, member: 46233 wrote: Think about it....S
rmburrow, post: 446209, member: 46233 wrote: Think about it....Stanley Church did DIY in the 1950's with his own mic body, a 6072, and the Neumann U47 head...and worked quite well....
You've convinced me to at least consider it, though buying a new mic would probably be higher quality and the safer bet. But I will make sure to compare and contrast getting a new one and building my own before doing anything, thanks for recommendation !
rmburrow, post: 446202, member: 46233 wrote: What vintage (manuf
rmburrow, post: 446202, member: 46233 wrote: What vintage (manufacture date) was the C12 you showed pictures of. Nice mic. 6072 tube should last for years. NOS 6072's still available at reasonable cost.
Guessing by the transformer, it was the early version who was discontinued in 1963
rmburrow, post: 446202, member: 46233 wrote: One important detail about any tube mic is that external components in the mic near the tube are subject to heat. This includes any coupling caps, especially the coupling cap from the tube to the output transformer. Resistors get noisy, electrolytic caps dry up, etc.
I think that's why studios started to used them upside down, so the heat don't affect the capsule too much.
rmburrow, post: 446207, member: 46233 wrote: From what I have read about (and seen so far), the kits look fairly fool proof. Apparently some builders have saved LOTS of money by building the kits and installing a good capsule.
My experience with microphone-parts.com was amazing, easy and good sounding. Note that I had years of soldering behind me ;)
pcrecord, post: 446212, member: 46460 wrote: Guessing by the tra
pcrecord, post: 446212, member: 46460 wrote: Guessing by the transformer, it was the early version who was discontinued in 1963
I think that's why studios started to used them upside down, so the heat don't affect the capsule too much.
My experience with microphone-parts.com was amazing, easy and good sounding. Note that I had years of soldering behind me ;)
pcrecord, post: 446212, member: 46460 wrote: Guessing by the transformer, it was the early version who was discontinued in 1963
I think that's why studios started to used them upside down, so the heat don't affect the capsule too much.
My experience with microphone-parts.com was amazing, easy and good sounding. Note that I had years of soldering behind me ;)
I was looking into one of those D47 kits myself or the equivalent from Tab-Funkenwerk. All I am interested is the metalwork for the mic, the internal mountings, and an output trafo. I would use my own tube circuit and power supply. I have some Neumann capsules around here that would be nice to have back "online". Apparently the Tab-Funkenwerk transformers are the closest to the vintage Neumann out there...I was discussing custom pricing on the phone with Oliver Archut and then he passed before a deal was made....
rmburrow, post: 446213, member: 46233 wrote: I was looking into
rmburrow, post: 446213, member: 46233 wrote: I was looking into one of those D47 kits myself or the equivalent from Tab-Funkenwerk. All I am interested is the metalwork for the mic, the internal mountings, and an output trafo. I would use my own tube circuit and power supply. I have some Neumann capsules around here that would be nice to have back "online". Apparently the Tab-Funkenwerk transformers are the closest to the vintage Neumann out there...I was discussing custom pricing on the phone with Oliver Archut and then he passed before a deal was made....
I can't tell if you're sad that he died or that the deal wasn't made !
Lelouch, post: 446222, member: 50238 wrote: I can't tell if you'
Lelouch, post: 446222, member: 50238 wrote: I can't tell if you're sad that he died or that the deal wasn't made !
I was sorry to hear of Oliver's passing, and that delayed getting what I needed to know about the custom mic kit...The mic project has been low priority but I should resurrect it...
rmburrow, post: 446223, member: 46233 wrote: I was sorry to hear
rmburrow, post: 446223, member: 46233 wrote: I was sorry to hear of Oliver's passing, and that delayed getting what I needed to know about the custom mic kit...The mic project has been low priority but I should resurrect it...
Go for it ! Tell us how it works out !
Lelouch, post: 446194, member: 50238 wrote: Happy New Years guys
Lelouch, post: 446194, member: 50238 wrote: Happy New Years guys :3 ! I don't really celebrate stuff so I'm still gonna be on this site often ! Anyway, here is a recording I did EQ on to remove high frequencies. I'm pretty sure I completely overdid it, but I'm just trying to see if this is actually any better since I HIGHLY doubt I have any good EQ skills. I'm sure that the EQ I'v done is very bad and poorly done, but I just want to see if this removed the high frequencies, any feedback is appreciated, thanks !
[MEDIA=audio]https://recording.o…
[MEDIA=audio]https://recording.o…
I think I accidentally uploaded the same one twice.. I'll check and see when I get to my studio. EDIT : I can't really find out if they are the same but I don't think they are.
I posted this a while ago and haven't gotten a response yet, just making sure you saw it. Thanks guys !
pcrecord, post: 446278, member: 46460 wrote: It's fine.. More co
pcrecord, post: 446278, member: 46460 wrote: It's fine.. More could be done but only in context of other sound in the mix (if it had music or ambiance etc...)
If you think you over did it, why don't you make a version with less drastic EQ and decide for yourself which one you like the best ?
Well, Dan Lenard once said, " Sounding good to yourself is fine. But you don't hire you. " So I'm just getting some feedback. And yea, I'v already finished several recordings to make a demo reel, each having background music, effects, ext.. Anyway, thanks for the help. I'll upload the demo reel once it's done to see what you think. Thanks again.
pcrecord, post: 446382, member: 46460 wrote: I like it very much
pcrecord, post: 446382, member: 46460 wrote: I like it very much.. good work !!
I think you have enough of a recipe to build a portefolio. ;)
Thanks a lot ! You've been a great help . Once I'm finally done making an advertisement and character demo reel, I'll upload it for feedback. Thanks again, I really appreciate your help ^/^.
Uhh, question ! I haven't really been listening to my audio outs
Uhh, question ! I haven't really been listening to my audio outside the studio. But I just realized that whatever I record sounds just fine in the studio, but sounds different when I listen to it with regular earphones. The quality changes drastically, and for the worse. For some reason, the FrenchDown one had the least impact, it sounds pretty much the same, but still better when in the studio. What sounds nice, crisp, and clear, sounds.. different. Like I've been working to make it please my ears with one system, and then it sounds different when I go somewhere else... I found that audio that I'v only recorded and used a noise gate for aren't affected. But, the only other things I use on my audio is compression. The settings I have for that is 5:1 ratio and threshold is -20DB. I edit my audio recordings, but never in ways that alter the sound quality. I haven't been testing and messing around to try and find the cause and if it's really the compression since I just realized this.. But could compression really change the sound quality for the worse ?
Keith Johnson, post: 446139, member: 49792 wrote: Not necessaril
You're completely right, but condenser mics are really the main, and usually the best, choice. The mic recommended is $500 ! And I doubt I'd find any dynamic mic good for voice overs in my price range.
I must have watched that video 3 times before I ever purchased a mic ! Dan Lenard has been my main source for information so far, great video, thanks for the upload !
Well, you seem to be knowledgeable about audio and EQ. Hearing my audio and seeing how the MXL 770 makes such a leap on high frequencies, any recommended settings for EQ ?