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anonymous 12 January 2006

Ok then, which dynamic of these 3?

SM7B
EV RE20
Sennheiser MD 421 II

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anonymous Thu, 01/12/2006 - 20:06

No, not really... I respect the opinion of pros like yourself, as I will be one sooner than later, for my own voice.

I already understand the "to each mic his own" concept.
Looking for some opinions for a mic that will enhance a deep voice, kinda Barry White meets Jack Nicholson to do Vocal Reads/Character Voices. I can learn the Mastering Process on the fly with trial and error, photographic memory, and drive - just need the gear first so I don't Master a garbage vibe. Budget is around $500 for the Mic.....Dynamic or Condenser.

David French Thu, 01/12/2006 - 21:20

Now you're talking. Asking simply which is better of course means nothing. Each of these mics is an excellent tool. For a voice like that, I'd probably reach for the SM7 first, but the RE20 would definitely produce useable results and you may even like it better. Im not so sure about the 421 as I've never used one on a voice, but I bet that it could be just fine too. Perhaps you should go to a store and try them out, or perhaps buy them both and return your least favorite.

anonymous Thu, 01/12/2006 - 23:31

If you are doing VO, just go with the RE-20.

Everything will sound like garbage if you don't record your voice in the right acoustic space. Think about a treated booth or renting time at a real studio space.

Also, read these forums.

And saying you can learn the Mastering process on the fly really insults anyone who does real, honest Mastering. Careful with that attitude if you ever end up working with a pro Mastering House on a project.

Real Mastering Engineers out there spent 20 or 30 years learning how to do it correctly. It is a whole different ballgame than mixing.

Good luck.

anonymous Fri, 01/13/2006 - 06:36

I wasn't trying to sound cocky but I have been using my voice around the radio/sales industry for about 10 years doing odd jobs. I have as many voices as a CIA sociopath from living in 9 states and outside the US. The science part is really easy for me to learn for some reason, so I was talking about strictly mastering/producing my voice only through advanced trial and error, etc.

Also it wasn't my intention to take anything away from the professionals who know the millions of combinations of equipment, plug-ins, musical notes, etc; those opinions are the ones to listen to. Anything positive and educational you guys share with me is never forgotten. Since September, I have done nothing but absorb information and opinion off of this forum and at least 6 others. The Sweetwater forum being the most brutal, RO being the most informative. It's important that I take my shot at doing VO's now, without corporate direction, because I have a short window of opportunity coming up. Once I get the DAW going, the $50 non-union type spots off voice123.com and interactivevoices.com are a gimme, I produced/voiced these in my sleep 5 years ago at 3 different stations. Then after I build the resume with experience, the mid-level spots are obtainable and so on.....Not an instant process by any means. So all I need is a presentable sound to get started, not the mid/high level studio sound. See where I am coming from?

The place where I work now is letting me have 7 sound absorbing office panels. These are thick and I estimate around a .80 NRC. 7 of them is enough to make a box 6'x5'x6.5'h. A box of the Audimute blankets off of Ebay, pinned to the inside of my cube, with 1'x1'x3" cardboard pyramids as the chamber/filler in between the blanket and panel.

Thanx for the input guys, keep it coming.....

For the time being I have to use a USB interface, there has to be one that can keep up with a $500 dynamic and condenser right ?

Was looking at the Omega because of the -20db button (For those over the top reads), seperate power, 24-bit recording, and Cubase LE basic...is there a better USB interface? The Edirol UA-101 perhaps? $500 is about as high as I can go on the interface.

moonbaby Fri, 01/13/2006 - 10:12

The Sennheiser will definitely require an external popfilter...of the 3, it is by far the most susceptible to pop/breath. The RE-20 probably should have one, but it's not as mandatory. If you look at sites like Broadcast Supply World (BSW), they offer a shockmount assembly for the RE-20 that can hold an optional pop-screen. A good idea there. The SM7...well if you need a screen on THAT...! I would go with the RE-20, and don't let them try to sell you the flashier RE-27. Some may like it, but it's a good bit brighter and that can translate into more sibiliance problems.
Did you ask about preamps in another post? When you want a clean, transparent box at a decent price (

RemyRAD Fri, 01/13/2006 - 15:48

The RE20 has Electro - Voices' " variable D backbone" which reduces a lot of the proximity effect even though it has a built-in bass cut filter. Very smooth and flat and virtually impervious to pop and sibilence problems. Sound almost reminiscent to a ribbon for voices.

The SM7b, already has a built-in foam pop filter and much more proximity effect along with the bass cut, and midrange contour switches. Nice for announcers, a glorified SM58.

The Sennheiser MD421 is OK but has a very edgy quality and really does require the foam pop filter. Has been popular as a disc jockey microphone in radio over the years but I don't prefer it on voices.

I love and own all three.

Remy Ann David

ccool Wed, 01/18/2006 - 09:51

You mentioned you have a deep voice. Mine is bass (very low baritone) and I'm running a RODE NTK, have used the NT-1000 (both condensers) and the RE-27. For me, doing voice over work, the RE-27 is the ticket. My voice is so deep that the brightness of the RE-27 gives my voice a presence and brightness that is more intelligible to my ears. I use it most often when doing work that will be broadcast, or used on a CD or DVD as VO with video content. No clients have complained, so far.

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