Here's part 2 where we cover voice over microphones: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-YyjzH_x3_dI.html And here's another where we cover pro-level lavalier microphones: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-tXb7Ov-S6dc.html
I have a Yamaha MG12XU mixer. I’m interested in the SM7B, the Electro Voice RE20, the Earthworks icon pro/sr314 (or maybe another mic all together that works best for this mixer). I read that you don’t need a cloudlifter with the SM7B with the MG12XU. Do you have any advice or recommendations? I have a more deeper voice.
@@juju8470 I haven't used the Yamaha mixers so I'm not sure. I would try it first and only buy a cloud lifter or equivalent if the Yamaha doesn't supply enough gain on its own. Best wishes!
I have no idea how you talk for so long without needing multiple takes that're cut together. Coherent, useful, well produced content is a rarity these days with the number of channels shilling products; you're quite a breath of fresh air, good sir.
The SM58 is always impressive to me. Not necessarily perfect, but so very usable in so many situations. I also love how inexpensive the windscreens are for it, and they REALLY cut down on the plosives. It doesn’t have the visual appeal of some of the cooler looking mics (especially with the windscreen), but gosh I love it.
The SM57 is a little more versatile in appearance due to not having the built in screen, so they make several different style of windscreens to attach for it which can make it look “cool”. It’s small size will always look a bit goofy being handheld, but it looks fantastic on a podium/fixed stand, it’s literally the “presidential” microphone.
@@jcap8391 They are objectively the same microphone. As in identical. The only difference is the 58 comes with a tuned windscreen and the 57 does not. In EVERY other aspect they are identical.
Absolutely loved the video Curtis. It's always great hearing your opinion and take on microphone selection and everything about it. Keep up the amazing work!
Saying this as a person that spent many years in a recording studio, with some of the best producers in the world. The secret for me, to all sound is that you work from the source out. This applies to all instruments. A singer or a voiceover artist learns how to control their voice - anything that happens in front of the mic, should be dealt with in order. YOu apply a pop screen if there is a problem with pops, you get closer or further from the mic for best sound. then the sound goes to the mixer - everything you can do to get great sound before EQ ( i.e. gain etc. ) should be done. EQ is the last resort. I worked with an engineer on a kick drum sound one for about 4 hours on a record, it was sounding great to us and we were really happy, then the producer ( household name ) walked in and listened to it. Went out into the room and moved the mic about a foot. Came back in to the control room and flattened everything and set the gain - pulled up the fader and BOOM - the best kick drum sound I have ever heard. Lesson learned. Source out. I have applied that principle with sound and now video production. Fix it in the mix is never a good choice. Audio or video.
Thank you, Curtis! I've been a 'thorn in the side' to some local radio stations because I've told them that their DJs have such low voices that the mic is emphasizing the lowness and it gets drowned out when driving on any road.
Also, I would LOVE it if you, Bandrew, Kevin, Gerald, and the prolific Mike Delgaudio were to collaborate on the specific point of addressing voice ranges and how to find a mic to correct for such variations.
@roberto When you have mics with a low output gain then you need a preamp to push them up, in addition to your audio-interface. The FetHead can push up around 25db. Something like the TritonAudio FeatHead which is the most affordable option you get: www.tritonaudio.com/fethead
Well he does have that cover on it and the cover is kind of thick which could be muffling it. I haven't tested with it on mine because I don't really need it so idk but that's my theory as to why it may sound "muffled".
This is exactly why i returned my sm7b. I know the comparison is crazy but i have a u87 and a cu29 and wanted a dynamic for quick practice or recording on the go without alot of treatment since it's a dynamic. I just couldn't get over the boxy ness of it, after using my other condensers for so long. For podcasting i think all of these mics will be fine tho.
Thanks Curtis.....your videos have been very helpful to me recently and this one has answered a couple of question I've been wrestling with. Appreciate the effort these videos require.
My favorite was Electrovoice RE-20 with your voice, sounded clean and balanced. The SM7B was similar quality but I feel it has an unnecessary amount of low end, sounding almost muffled compared to RE-20. But I guess in isolation they both sound great just different.
I used the sm58 as my first mic and still do. Many big streamers have complimented my mic and wondered what I used because they are gamers and not audiophiles so they didn’t know how to properly setup/use their sm7b. This is an extremely accurate review. It’s not the prettiest mic but it’s reliable and can take abuse in other use cases. Plosives are also annoying but I don’t like the windscreen look, so my workaround is speaking at an angle. Maybe I’ll upgrade eventually, but I have a slight sentimental attachment now 😅
Ah wow, now im finally seeing regular mics that I see all the time in real life.. that I've come to accept as "the standard". This whole audio recording thing is no joke when it comes to mic quality. Thank you for the amount of time and research it took to make this awsome demonstration. I feel a little more like a professional now 😂
*WAIT! WHAT???? INTO A CANON C200!! YOU SON OF A ....* (Just Kidding). What a great camera. Been eyeballing this for a long time. Sorry, this is about mics. LOL! I'll watch the rest of the video now. 👍
Curtis Judd Son of a Mr. and Mrs. Judd. 😁 Still watching. Great stuff. Can’t wait to hear the story on the camera. Stupid thought of the day...maybe I should play with the buttons on the back of my SM7B. I’m voting for either the 7B or the Re20. Both sound great.
Thanks for the review of the SM58. You really nailed it.... There are a lot of plosives and also sibilance in it mostly because you have to speak so close into small diaphragm dynamic mics.
Curtis, I have thanked you on many videos in the past, and I am going to do it again. You are always thorough, articulate, and well researched. This is no exception. Thank you for creating yet another well rounded video here. I am in the market to replace my Yeti Pro with a dynamic microphone for the tall ceilings in my house where I record, and this video is now a key piece of research for me.
We are currently on Rode Procaster and Zoom L12. Five different (male) voices all sound pretty great without any EQ, and then we tweak it a little in post to get warmer sound and an even loud mix.
Curtis another super helpful segment. Observation from a lifetime broadcaster the RE20 seems to be the all-time favorite of radio broadcasters FM and AM. They seem to work the best across a wide range of voices, both men and women. More forgiving on plosives. Built like a tank.
I love your videos! You make so much sense, you're generous in sharing what you know, the audio sets the bar really high for other youtubers, and the videography is technically perfect in a lot of ways (lighting, b-roll, etc).
I'm in the process of recording a series of audio books, and have an acoustically well treated recording space in which to record it. Even so, the SM7B without the foam windscreen proved to be the best choice. Even though I have some more expensive condensers in my cupboard, I kept coming back to the detailed yet warm and intimate sound of the SM7B. Also, I think a lot of people don't realise how clear the SM7B can sound without the foam windscreen (I use a mesh one instead) ... it really opens up, but still manages to avoid sounding excessively sibilant.
@@AmadoWildlifeVideos Its a male voice, but soft and gentle rather than deep. Very average really. A little sibilant too which I have to fix in post even with the SM7b. I don't like my voice, but people tell me my recordings are pleasant.
The neodymium magnets, which were starting to roll out in the early 90's, became a game changer for dynamic microphones. In addition to the RE-20 you mentioned, the RE-50 became a useable mic since it's signal was no longer deep in the noise floor. Plus, if someone is contemplating an SM-58 for Live sound, spend the extra $50 and get the Beta version with the neodymium magnet. Actually, I prefer the Beta 57 on voice in live situations.
I've used an RE-20 since 1980 for video narrations. I had used a SHURE SM-7 and a Sennheiser MD-421U before that for radio announcing, and of the three, the RE-20 colored my voice least. It has a FLAT response unless you switch in the high pass/low cut filter. The Variable-D feature means it has less proximity effect than other cardioid dynamic mics. It sounds good on my voice between two feet and around 4 inches. I've used it on kick drums, male voices (my favorite), female voices, choral ensembles, and for sound effect recordings. It's generally natural-sounding, but it has one problem: the foam surrounding the capsule deteriorates over the years, and requires replacement about once a decade! When the mic starts shedding, it's time for a visit to EV for reconditioning. Last time I checked, it was $250 to have it reconditioned. Mine needs it soon... It's the RE-27 that has the Neodymium magnet for higher output...
Love your content man! Nice and polished. Would love to watch the part 2 as I just bought the rode NTG because of one of the reviews on your channel and I wanted to say that it is really helpful!
Excellent video as usual. I definitely feel like I sound too muddy and dark on my SM7B and have considered switching to another microphone. My use cases are podcasting, streaming and voiceover. I’ve considered the RE20 or RE27.
Thanks Stevie! I assume you've already tried the high pass and presence boost. With both of those engaged, it sounds somewhat similar to the RE20. *somewhat.
Great discussion. RE20 doesn't have a special magnet -- its main features are its proximity effect suppression, off-axis tonal coloration consistency, and ambient noise rejection which is why it is ubiquitous in live radio broadcast where the announcer/voice talent is doing all sorts of tasks while talking, potentially moving around on its axis, possibly varying distance some (which a compressor will mitigate some). I believe you may have meant the RE27N/D closely related microphone when you mentioned the special magnet. The RE27N/D uses a neodymium (the N/D in the model name refers to neodymium) alloy magnet which has a much stronger and denser magnetic field compared to the probable alnico (or similar) alloy magnet in the RE20. There are some other internal differences between the RE20 and RE27N/D, but the main one and the one responsible for most of the sound difference between them is the magnet/coil design. The RE27N//D is brighter with more articulation detail without becoming harsh. I wouldn't call it a condenser sound although it has more of the differentiating properties a good vocal condenser has when compared to a dynamic mic than the RE20 has. I own both and use them both for live video conferences and meetings -- I like both of them. I also have a Shure SM7B and a Heil PR-40 which I sometimes use -- both of which are also very good. I agree no one mic is dead perfect for everything and certainly not for everyone. Thanks! Love the info!!!
I just got a Samson Q2U, in a "Recording and Podcasting Pack". It comes with the foam windscreen, small tripod mic stand with clip and both usb and xlr cables. Great value and it sounds great, imho. It's the recommended budget microphone by many game streamers and podcasters. I am waiting for the new Samson Q9U broadcast mic to be released.
I think my voice sounds similar to yours. So, as I'm looking to upgrade I'm listening to what sounds good on you. I record my VO in a sound treated room with a Senn e835, pop filter, fethead, and into a Zoom H5. I use desser plugin in FCPX to cut down the sibilance along with EQ and Compressor. And that seems to be pretty good although sounds a bit too "processed". I'd like to use more of just what the mic records so I think the SM7B would work better for me. I await Part 2 of this. Great work!!
@@curtisjudd If you get a chance to listen a bit to my last video let me know what you think of the VO. Am I right in thinking it's a bit too "processed"?
If you like eating the mic I recommend trying the bcd1, a lot of people give it crap but I got one in grey for around 80 dollars and it is very nice, the proximity effect is deep and there is some sparkle in the highs, doesn't require much gain either
@@curtisjudd its the successor to the MXL bcc-1 which was a 150 dollar end address condensor microphone (which seems more interesting than the bcd1, wish they still made it), its hard to find much about the bcc1
Great video and comparison; I only recently stumbled on your channel here and have been playing catch up. To my ear the SM7B just seems to be a bit heavy on a mid range presence, on a variety of voices. Just like a smidge much, for my personal preference anyway. Whereas I feel like the RE20 is maybe a little more balanced overall. I wound up picking one up the other week and it might be my favorite piece of audio kit I've ever purchased. One of those rare times I get the "fits like a glove" feeling from day one. Looking forward to checking out more of your content!
Good video, as usual with you :) A few comments on the video and the format (I personally know these answers, but for a larger audience I thought I mentioned them): - You don't really talk about live usually needing a hotter signal at the end of the chain. On podcast or RU-vid you can adjust in post; for live presentation sure the audience can boost up the audio a little bit but there's a usual need for a louder sound. - You don't demonstrate noise rejection, apart from the usual advice of "dynamic good in untreated room". Like specifically for the mics you suggest, how their noise rejection compare one to another. That may be important or not for podcast depending on the format, but for streaming that's a critical point, it may well be the most important point. - You don't talk at all about interfaces, I'm not sure if it's by design or not. From a beginner point of view, especially for hard to drive dynamic mics and hot signal for live presentation, giving at least three names of interfaces (like cheap, decent, very good) that can drive those might help. - That's an easy thing to find, but similar to the last point, you don't mention FetHead or preamp like the DBX 286s. For those last two points, maybe in a part 3 video? And maybe a bigger mention of room treatment, even with dynamics? I think you did a short video on that in the past, at least mention it and link to it? Maybe with a short (a few seconds) demonstration of same voice, same hardware, treated vs untreated room?
Thanks Lirae. All good points. Addressing all of the above would make for a great mini course in recording and live sound reinforcement. Have to keep things to a reasonable length but will surely address them all eventually.
I'm currently using a Rode NT1 for voiceover, but once I start streaming I think the SM7b will be a good match for my voice. Looking forward to part 2, Curtis. Cheers.
Thanks much for this. I'm on the edge of buying a new mic for voiceover on YT videos. I can't wait to see your Part 2 on condenser units for comparison. I am especially looking at USB mics, as they eliminate a lot of claptrap and cables for input to Audacity on my PC and for headphone monitoring. I find headphone monitoring very helpful as it keeps *me* in a position to sound best. So far, I've been sniffing around the Rode NT-USB and the NT Mini USB. After watching to this, I'm also looking at the AT2005USB. Looking forward to Part 2, after which I'll probably click on *buy*
A good review. We are using Q2U + F8n, speaking English and Chinese. Very satisfied with the performance up to now, indeed, they pick up p sound, but for now, we don't perceive it as an issue, since we use the sponge hat.
Thank you for acknowledging the interaction of vocal properties and microphones. I am female and have a high-pitched voice. It's difficult to find microphone reviews with female voices, so I'll likely go with one of the popular mics in the end.
Thanks iunderscoream. In my microphone reviews where we look at a single microphone, I have started including samples of my wife and daughter speaking into the mics so I hope you find that helpful as well. Everyone's voice is different, of course, but hopefully that provides a little more value.
Hey Curtis, thanks for the great video. I have an Sm7b and am very happy with it for my voice on podcast but I’d like to get another for guests. I’d like to try the Re20 to see if it works better my voice and would have a choice but another sm7b would give me a consistent sound from both Mics. Do you think it would be better to get the second Sm7b or grab an re20? Appreciate it! Love the channel, reviews of l8 and rodecaster we’re very helpful
Hi Michael, I think an RE20 would make sense to give you options. I'd find which of those work best for your voice and then use the other for your guests. :)
Hey Curtis, This may sound like a silly question but I was wondering if you knew of a good microphone for podcasting that has a gold screen? I know I could take apart another Mike and paint it but I don’t want to do that. But I want something good in gold for our upcoming podcast episodes. Thanks, Adam
Hi Adam, dynamic or condenser? If you have a SHURE SM58, you could just add an aftermarket grill like this: amzn.to/36dN9mJ Full Disclosure - this link is an affiliate link. As an affiliate, I earn from qualifying purchases.
@Curtis, I think you will love the Lauten Audio LS-208 or Earthworks Ethos (I prefer the the Icon Pro but from all you videos you seem to prefer darker tilt mic)
Hey Curtis! I can always learn so much from your videos and would like to thank you for all your efforts! I've been using a RODE NT1-A condenser microphone for the past few years and think that it's a great microphone for most things but isn't the best when it comes to sibilance. I also have a fair amount of sibilance in my voice and was never able to fix that with an equalizer in post just like you've pointed it out in the video. My setup looks a lot like yours. I have quite many reflective surfaces (desk and monitors) and also tried using a RODE NTG-3 shotgun microphone slightly out of frame, which sounded really dull due to the reverb compared to the NT1-A but did a lot better job when it comes to sibilance. I don't really mind a microphone in the frame, so now I'm thinking about getting the SM7B to replace my old NT1-A to help with some of that unpleasant high end and reverb. Do you think the SM7B could fit my voice? Would love to hear your opinion on that!
Yes, the SM7B tends to emphasize sibilance less than microphones like the NT1A. It also rejects room noise and reflections better than most condenser microphones. However, it doesn't sound quite as realistic - more like a traditional FM broadcast microphone. That's a great sound, but not something you may want all the time. I have an SM7B and do NOT regret the purchase. 😀
@@curtisjudd Thank you for your very quick response. I really highly appreciate that! I'll get the mic and just try it out to see how exactly it sounds with my voice. I plan on using it with my GH5 and DMW-XLR1 adapter, which I know you have also tested on your channel in the past. Do you think that there will be enough gain with a fethead so that I can feed the signal directly into my GH5?
@@ValentinKossenko with a fethead, yes, I think that will work. The XLR1 is not the cleanest so you may experience a bit more self-noise than you do with the NT1A.
I've got the SM7B and the RE-20. Currently using the RE-20. We might switch back to the 7B. I think we have the same issue you have. Sibilance is a problem on the RE-20. I think you sound much better on the SM-7B. We need to do some testing. Thanks for the video.
Hey Curtis, great video as always, would you say that one way you could get a better sound while staying within the SM58 form factor is to get a Beta58A?
Dude as a starter in the XLR audio game I agree with using dynamic mics. The AT2020 is a good mic if you put it in its comfort zone. However, it's still sensitive since it's a condenser. I setup my fiancee with an SM58 and Behringer 302USB mixer. It's very directional which is important. When she was playing with friends, they could hear me eat in the next room. Now they cannot. Obviously when she streams I won't be clanging dishes in the background. I do agree it has flaws with plosives but good mic technique could take care of that and the pricing is nice. Plus for a higher female voice like hers, the mic suits her in my opinion. Plus, on a note of vanity, she was able to customize it on Colorware.
Thanks Curtis for the video! As my new covid quarantine project, I would like to get into podcasting. So I just ordered the Shure SM58 (with the on/off switch) plus the Audio Technica AT2005. Also ordered some Shure SM48 (with the on/off switch), plus the Focusrite Scarlett 4i4 3rd Gen audio mixer, and the Zoom H6 recorder. Can't wait to receive all the items so I can start putting things together.
@@curtisjudd Hi Curtis, another question please? Is there any noticeable difference in quality or features between the Audio Technica ATR2100x versus the Audio Technica AT2005 mics? They are both dual XLR and USB, the 2100 model is USB-C and the 2005 model is the older mini-USB. But other than those differences, do you have any major preference of one over the other? Thanks!
@@curtisjudd Okay, thanks Curtis! I think Podcastage says the "tone" is different between the two A.T. mic models but he doesn't elaborate further. Some reviews say they like the sound of the AT2005 better. Other reviews say the 2100x has a little bit more power. Only reason I'm asking this question now is because the 2100x model is currently available on Amazon after being out of stock for awhile. I currently have the AT2005 model which I rather like and have no complaints, but was wondering if I should get the 2100x model instead. So far from what I can tell, the very minor differences aren't very compelling, plus the 2100x model costs a little more at $99 versus $79 for the AT2005. But I do rather prefer the black color and flat top design on the capsule of the AT2005 versus the round and silver color of the 2100x. I realize those are only cosmetic differences though, LOL! What will probably make a significant improvement is getting a Triton Fethead for $89 to use on my AT2005 mic which many reviewers are saying will add an extra 25 to 30 dB for clean gain. Even though I have my gain dial set at near maximum on my Focusrite Scarlett 4i4 3rd Gen audio mixer for the AT2005 mic, I'm still not getting quite as much volume as I'd like. If I turn the gain dial on the Scarlett mixer to absolute maximum at the 5 o' clock position, there is noticeable unwanted hiss/humming background noise, so that's not a valid option. That's why I can only go to the 3 or 4 o' clock position for usable maximum gain on the Scarlett. I'm guessing adding a Triton Fethead to the A.T. mic means I will have more volume/gain and be able to go lower on the Scarlett mixer gain dial for more headroom. Is that a good idea you think?
Is it reasonable to use my shotgun microphones for the podcast I’m starting? I have the MKH416 and Rode NTG3 .. it would be nice to use mics I already own instead of 800 additional dollars on two Sm7b’s Thanks Curtis for the most helpful audio videos out there
Very informative. Enjoy your reviews as always. By the way, rode podmic, podcaster, procaster were not mentioned. Are they competitive in their price range? I prefer sm7b but budget won't reach
Hi Mark, I haven't. That's Heil's stand which runs about $100 as I recall. I have retired it because I was having trouble with the knob and joint which positions the microphone. I now use much more expensive desk boom arms from OC White and M!KA, but I haven't reviewed them because people tend to complain when I review the more expensive gear. ☹️
@@curtisjudd how about a video comparing the pros and cons of the less expensive stands, like the Heil you retired, and the higher priced replacements you are using now. Gives your viewers the knowledge to make a choice about which option to take.
This was useful! What do you suggest if you have two people in the same room as co-hosts? Right now, I have an MKH-416, ME66, and SM57. The goal is to either pair or buy a new set of mics. Any thoughts?
Thank you for the test. I'll be saving my money and getting the 58 because: I was clicking between the 58 and the 57B and to my ears the 58 is clearer. Also when you were doing the plosives test, I didn't hear any plosives with the 58. But when you said plosives at 17:35 with the RE-20 with all the special doohickey stuff to keep plosives from happening, you can clearly hear the plosives. It could be that you were pretty close to the mic, though.
👍 Keep in mind that the SM58 is quite prone to plosives. You may want to also add a foam cover to the 58 to help prevent plosives. We just got lucky in this sample.
Great video, as always. It amazes me that anyone uses the Shure dynamics for anything but a low-end durable road mic’s. The SM dynamics sound so flat, artificial and muffled that it’s painful to listen to. Even an EV 767 or a Lewitt 440 DM sounds so much better, let alone the more expensive Eathworks options. Personally, I try to use an LDC for any decent environment.
Great Video again , Curtis ! I've seen so many people used dynamic mic for interview ( even at the noisy environment e.g. event ) But usually omnidirectional mic like Shure SM63 or Rode Reporter . My question is why not cardioid mic like sm 58 or supercardioid like beta 58 ? cheers !
Hi Ming Suet, the advantage of an omni-directional is that it is less likely to "miss" when the interviewer doesn't aim it perfectly. I typically use a RODE Reporter or Electrovoice RE50L at NAB each year for interviews with good results. The fact that they are dynamic microphones means they don't pick up too much of the surrounding noise.
I heard omnidirectional mic has less popping from plosive sounds compare with a unidirectional mic , is it true ? is it one of the reason why using omnidirectional for interview ? BTW , I watched those NAB videos by you , they are great !!!
Thanks Curtis for your awesome video! My natural voice is low and nasal. If my average voice pitch lies at around 110 Hz and my volume at 62 dB does the RE20 or the Sm7b suit my voice best for podcasting. I don't want the mic to make my voice unclear and more nasal than what it is. Haha
Great video. About to get started... I am a little surprised you do not have the AT2020 here... been my go to for many years and I think tough to beat for around $100.
Oh, well, the AT2020 is a condenser microphone and we only covered dynamics in this part. I don't have an AT2020 on hand, so I won't be able to include it in part II unless one happens to appear here before then. ;-)
@@curtisjudd Want me to send it to you? Or would love to swap to test out if you are open to it. I have the AT2020 usb, quite convenient but interesting to see which would work best with my voice.
Thanks for this video. Very informative. Currently im looking for solution for Zoom/teams/skype calls. I have electret mic ZM-MIC1 which is true legend in terms of quality/price ratio, sound is MUCH better than 80-90% electret mics out there. But it picks up too much background. I live with my family in tight flat and this is a problem. Thats why im interested in dynamic mics. I think that ATR 2100/2005 + maybe mtrack solo/behringer umc22 should be nice and affordable combo. The only thing that bothers me is that you have to keep your mic close to you and im afraid that turning my head left and right (to look on multiple screens) might be a problem. Maybe shotgun mic would be better here? Or 2 dynamic mics?
sir i want to do voice over I want professional quality. But my room is not sound proof. I want to record poetry. Whose emotional low voice and high voice have to be recorded. Which audio interface and microphone would be best for me? My budget total is $400. In which the complete studio setup is done. i have laptop
Awesome Video Curtis, Is it necessary to have a cloudlifter to boost my signal if I plan to use the Shure Sm7b with the Rodecaster Pro or The Zoom F6? Is there a major difference using or not using a cloudlifter? Lastly, Do you know if Rode plans to have a specific mic profile for the Shure sm7b like the RE20? Thank you.
Hi My Ford Noel, It is not necessary if you will do post processing and can boost the levels in post/edit. However, if you will be live-streaming, then yes, I'd recommend a cloud lifter since you won't have a chance to lift it in post. There isn't a major difference in audio quality one way or the other to my ear, just level. I don't know if RODE plans to create a profile for the Shure SM7B. Best wishes!
Thank you, great video. Do you mind testing the A2100 and its ability to maybe record a phone call or VOIP call using the multiple options...i.e. XLR onto a mixer (I have the Zoom H5) and maybe a TS cable to line in?or a splitter? what options can be used?or alternatively, how do you recommend someone record a phone call onto a separate track and the ability to monitor both individuals using the headphones?
Curtis Judd sorry I should have been more clear... ATR 2100x which is one of the mics you have reviewed. I am wondering if there’s a cheap and cheerful way to do phone calls using my equipment. Otherwise my last resort would be to pay for an online subscription based service.
i AGREE FULLY! You cannot make up for bad sound or improve your sound quality from a poor sound source... you need to learn to have the best sound available for recording for your needs. Period. sOUND TO ME Is more than getting it right, it's imperative, fundamental and more important then the image you want to portray.
NS1 by waves is a great noise supressor for live suppression. It works really really great and I always use it on twitch. Gets rid of my annoying gpu fan pretty good
Thx! I have the Rode Broadcaster mic. Lovett hear your thoughts on that. Also, I haven’t been able to afford a preamp mixer like yours. So using h6n with phantom power. Think that works?
If it sounds good, it definitely works! The RODE Broadcaster is a condenser microphone so it is in a different league than the dynamic mics we covered here. Would love to try it out some time. Best wishes!
Classic dynamic instrument mic and also used for live vocals/speaking. Not the perfect fit for every voice but a solid performer.
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@@curtisjudd But it's less gain hungry than SM7B and with simple EQ sounds almost identical to SM7B... Don't know, I like it better than SM58 for speech :) Always great to hear your opinion though.
The SM-7B and RE-20 are $400 mics. If you're on a budget there is the Shure SM-48 at $40, one tenth the price. The SM-48 uses a Unidyne III capsule like the SM-57, SM-58 and SM-7B. The SM-48 is transformerless and thus sounds a bit crisper than the others.
Thanks alot for sharing your knowlege in these videos, they are of great help :-) I have a question, my use case is that I want to create technical video tutorials based on PC screen casts (without my face in the video). I use a pen tablet to draw on presentations while explaining and capturing the video tutorials using camtasia. I wanted to upgrade audio quality, so I baught the zoom h6 and a couple of microphones most of wich where decieving except a condenser microphone, but it has the flaw of capturing everything (fan noise, steps in the next room and even my stomac noises :-( ). I can't get the mic very close to me as it gets in the way of doing the presentations (typing, using the tablet pen, looking at the screen, ...). I saw your previous video about shotgun microphones, do you recommend that kind of microphones for this use case ? Or are lavaliers best suited ? What about headphones/headsets ? (I tried a cheap lavalier, but the quality of the cheap condenser was way better).
Thanks, Curtis for another helpful video. An alternative to the SM58 is a SM57 + the Shure A81WS windscreen. The windscreen handles plosives much better than the 58 and rolls off slightly above 10kHz. Some people say this makes it sound more like a SM7B, but I cannot confirm this. The windscreen is comically large and a bit pricey for a piece of foam. Still, it's an affordable option for a good dynamic voice-over microphone. www.shure.com/en-US/support/find-an-answer/a81ws-windscreen-and-high-frequency-response
Hello Curtis, I also have a huge problem with sibilance. After recording an online course with a condenser mic, an audio editor advised me to switch to a dynamic mic instead. I was going to get SAMSON Q2U but someone, possibly Bandrew Scott?, said it may pick up more sibilance than Shure SM58, which I'm also considering. Which one would be better for me (for online courses and youtube videos)? Or perhaps something else in this price range? And I guess it's better to use Q2U with an interface rather than with USB? I'll appreciate any advice! Thank you! Magdalena
Interestingly, neither of those two mics seem to be easier on sibilance in my experience. And I also find the Electrovoice RE20 and it's less expensive variants to also be quite sensitive to sibilant voices. The editor hasn't had any luck applying a de-esser? You might also try positioning the microphone a little higher above your mouth which will reduce the sibilant effect - with the capsule around nose height instead of in-line with your mouth. There are several voice over artists who use that technique.
@@curtisjudd I've tried 3 editors (I've asked for de-essing). Two of them has done a great job with overall sound but not with the sibilance. The third one said he would pass on the project as there were too many problems with the audio; he advised switching to a dynamic mic. I'll try the technique you advised. Thank you very much for your reply!
@@healthvalley386 Do you have any samples online I could hear? I’m curious what other problems exist because sibilance on its own usually isn’t too difficult to address.
So Curtis, I have a pretty naturally deep voice but it’s articulate. Would you recommend I use the high pass filter on a microphone AND since I have the Focusrite 3rd gen audio interface use the “Air” feature on it too?
Sir I am very confused. Which audio interface and mic should I get? I want to do professional poetry recording. In which my words will go high and also come down emotionally. My room is not sound proof. And I have a budget. $300 to $400 in which my entire setup is made.
The acoustic treatment? That's a set of GIK Acoustics panels. They use some sort of proprietary material - not sure on the details except that it is formaldehyde free and is not rock wool, though is similar and a bit more dense.
I like the Aston stealth. It sounds good on my voice and has a really good preamp built in. I think they tuned V1 mode really well and it gives me allot of range to eq. But hey, it's my voice and my opinion, what works for me might not work for others.
Hello Curtis... I have watched so many videos about sound as I am learning and I found your video above today... and I have a question (and I have a video with proof of my question down below): Recently a friend of mine gave me a mixer and the brand is Allen and heath ZED 10 and a BM-800 microphone and he wanted me to help him find a way to hook it up to a laptop because he has an online radio out of his computer and he wanted to use the mixer and connect couple more microphones when sometimes he has a guest... I have struggled to do that for the past week and half doing different tests and watching several youtube videos, buying different cables and doing this and that... and I always thought that whenever there is nobody talking to the microphone the computer should not get any sound.. I managed to connect the mic to the mixer fine and got good level of gain, but I found that when I first connected the mixer to the computer using a regular TS 1/4" cable to capture the output to then convert it to 3.5 TRS connector, I hear noise when I am not talking... I have searched how to solve that and I cannot find any answer to this... then after so many videos watched, I recently then plug an RCA cable to get the sound from the mixer and voila! no noise... why is that? I just found your video today and I cannot hear any noise when you are not talking... do you treat the sound recorded from the microphone in post so you remove the noise? Is it supposed to be the norm? I mean, to pickup noise with a TS output and no noise with a RCA output? I even bought online 3 days ago and I received it today a Radial Pro48 DI box because I saw in other videos that those DI boxes remove noise, but I wonder now if the cause is the TS cable or the TS output because no noise with the RCA output... I don't even know anyway where to plug that DI box... I would appreciate if you can make sense of this mistery on why no noise with RCA output and noise with TS output because I don't know... here is a video I made of this test and you can hear what I am talking about: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-1uZH1TtLuv4.html
Hi MiQuel, Both are unbalanced connections (RCA and 1/4" TS) which have a tendency to pick up noise. Most 3.5mm microphone inputs are unbalanced so it is good news that at least the RCA cable was clean. A DI box won't work if your camera's input is unbalanced. In my case, I am have my microphone attached to a Sound Devices MixPre-10 and then line out with a balanced XLR camera from the MixPre to my camera, a Canon C200. Balance connections like that are much more immune to interference. I did NOT apply any sort of noise reduction to this or any of my videos here on RU-vid. Best wishes!
@@curtisjudd Thanks for taking the time to reply out of your busy day! Happy Fathers day, just in case you have kids... In my case (as you can see in my video of my test ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-1uZH1TtLuv4.html) I am not trying to connect the mixer to a camera, but to my laptop... I realized by looking at your other videos that you specialize connecting them to a camera, not to a laptop... I guess I will just have to accept the fact that the TS to TRS 3.5 is noisy and the RCA to same TRS 3.5 is not noisy. Regards!
My current setup looks like this... the room is not deeply treated though about 25% of the wall space is covered in moving blankets which I use instead of curtains. It is fairly quiet, but there is a computer fan. I am mostly a podcaster though I also vlog on this setup. For a long time I was using the Diety V3 Pro you see on the arm, but honestly, the audio was not great. I added the close-up SM7B you see, and while I LOVE that sound, I would love the freedom of a good boom out of shot. I was wondering if an NTG5 might work? It would be about 18 inches away, but the room will still be at best semi treated and I worry that while the NTG5 is good, that a cardioid mic in a "hard-walled" office like this will still never really have the performance of the SM7b. I know no one can tell me FOR SURE if it woudl work for me, I would still love to hear thoughts. imgur.com/a/JBGWZQ8
Curtis Judd fair enough and as I suspected from all I’ve managed to learn from years of your videos. I was just hoping 😊 Still, I noticed your streaming setup went for a close up dynamic (the sm7b I think) so I’m in good company 😀
Hi I bougth sm57 and Im impresed because I have echoee room. But I have question I plug in to zoom h4n pro plus DM1 dynamite and the questin is what is the perfect volume level for this set up? Regards from Poland Jarek
The RE20 sounds very good on your voice. (Much better than the SM7B which I don't like). The RE20, by the way, is currently crazy expensive in my country (Denmark): about $820. Thomann in Germany sells it for "only" $623, but given the price I could easily put up with my SM58, or just about any of my many other mics.
Oh, I despise the sound of the RE20 on my voice. Far too sibilant. This is not a criticism of you, just an illustration that we all hear a bit differently.
I think I just officially confirmed that I like more "Natural" sounding mics (bit more sibilance?) . I know for work, I don't mind feeling the "space" a bit, so I'm coming from that mindset. I also really really dislike the proximity effect lol. Thanks for the Video.