Home recording myths engineers ACTUALLY believe 🙈🙈
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- Опубликовано: 27 июл 2024
- Are these home studio VOICEOVER / PODCASTING recording MYTHS actually TRUE??
This week we discuss whether you NEED to use a dynamic microphone for podcasting, if dynamic mics are better than condensers for poorly treated rooms, the transparency of microphone gain boosters, signal to noise ratio and also whether you can record voice with plugins.
My name is Paul Third and I am a Scottish youtuber / audio engineer / mixing engineer / audio geek. I mostly cover audio engineering related content ranging from audio plugin shootouts / plugin comparisons (acustica audio plugins, universal audio etc etc) to actual analog vs digital / gear vs plugins plugin tests via access analog and mix analog. I even include ddmf plugindoctor tutorials in my plugin reviews so you can be your very own plugin tester and experiment and understand whats actually going on under the hood. I also discuss digital music distribution from time to time and like to give my viewpoint on online music distributors such as onerpm and distrokid.
All of my audio blind tests involving music production software are conducted in avid pro tools 2021 which is my main daw and I also use HOFA blind test 4U as my blind test software. In terms of my audio interface I record and monitor through my audient id44 and use an audio technica AT2050 for all of my voice overs.
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📖 CHAPTERS
0:00 intro
0:13 is a dynamic the best microphone for podcasting?
1:10 are condenser mics better than dynamic?
2:29 se dynacaster vs lewitt lct 440 pure vs AT 2050
3:00 are dynamic mics better for room acoustics?
4:40 does the kaotica eyeball work?
6:10 are microphone gain boosters good at being transparent
7:42 se dynacaster with and without se dynamite preamp
8:38 can you record with plugins?
9:07 presonus revelator io24
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*FEW THINGS I LEFT OUT*
1. use closed back headphones instead of open back headphones when recording. Difference in bleed is quite audible.
2. Buying a shure SM7B isn't going to automatically give your voice the "podcast" sound. Finding the right mic for your voice will. The only reason there are "industry standard" microphones is because on average they give a certain result and are reliable.
3. You don't need to go buying really expensive cables. I compared expensive cables I bought with neutrik connectors vs moderately priced hosa ones from amazon and the noise floor and frequency response was near identical.
Its more about build quality and longevity but if you get a decent cable and look after it then it's not a worry.
I always use closed back headphones. dt100 and krk8400s.
Exactly this on cables. I know that I'm rough on cables as I do a mix of studio and live, so soldering up my cables myself using high end parts made sense for me. I've not lost a cable in over 15 years, while the cheap ones I used to buy would typically only last me a year or two. If you're just in the studio and you're gentle with them, cheap'll do just fine.
Cables at the same length will sound identical, not near identical, but actually identical. They won't have different noise floors or frequency response, not even slightly. Freq response will only change in comparison when you have one cable getting over 60m long whilst the other is short. If you null test cables against each other, you'll realise they're identical.
Damaged cables can get noisy ofc, as they can start acting like antennas, good quality balanced cables of same lengths will be identical in sound.
Hi Paul. You've got scammers pretending to be you leaving responses to comments. I've reported them but maybe you'd want to address that aswell. Happening on every second channel I'm subscribed to atm. Feckin' annoying.
Hid them all now 🤓
The more expensive the microphone is, the better you can hear how not expensive the room treatment is
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Good balance of Paulisms, debunking, engaging, lively, great positive to negative ratio!
Think it was a step too far content wise though. I've been on a crazy views streak so I purposely experimented with this too see if I could spread to the home studio recording / podcast side but I dunno now haha
If my core audience isn't interested it'll probably flop UNLESS when it eventually gets spread a bit further after time it can act as ever green content but I knew I wasnt in my comfort zone in this specific part of youtube so we'll see.. BUT I agree, I'm happy with the balance I ended up at with this 🤓
Paulisms LOL.
whatever you did looks and sounds way more professional! congrats on your growth! also that lighting is simple and awesome!
Thanks. I'm getting there slowly 🤓
Dynamite and similar things are useful when you need to connect loooong cables mic to pre. At the top of the chain: mic->very short cable->booster->looong cable->pre. Very useful with ribbon passive mics.
The transient response of dynamics is slower than that of condensers, so hf is not captured as well with dynamics which gives the impression of them ‘hiding’ the room better. Although you could get a similar effect recording on a condenser and low passing - compressing it. Dynamics sound ‘compressed’
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Those little foam eyeball things are actually detrimental to the recording. Not only do they not remove reflections, they often introduce comb-filtering (which I can hear in your example) as well. They should be avoided.
Yeah. Still can't believe I paid £35 for it 🙈
Jesus Christ thank you. I've been telling this to people for ages but no one believes me. It's like putting your mic in the tiniest room imaginable haha best thing to do in a pinch is acoustic treatment of some kind behind your back, not behind the mic, and absolutely not a foam box around your mic 🤣
I like using ribbon mics best in my treated room for voiceover/blog work. AEA N8 - More low end from further away, so I don’t have to stick a mic in my face when I speak and still captures that nice low end on my voice.
Genuinely the only mic type I've never tried 😥
I sold my Cloudlifter after a gain matched a/b with and without it into my audient evo-4. The noise floor was pretty similar with and without, but the evo preamp was just a static hiss that was easily reduced when needed with RX, whereas the cloudlifter introduced an extremely annoying to reduce crackly noise floor. Possibly to do with the evo's phantom power so other interfaces may fare better - but I have def joined team crank-the-gain
I build my own vacuum tube condenser mics using B&K capsules. These are electret. I have also built large diaphragm multi pattern mics based off a U47/.U67. When I was doing FM radio shows the station had an EV RE-20. Paul Carlson YT electronics channel uses condenser. Rogan and many others use the Shure SM7. James Hetfield was singing into an SM7 with the foam removed in a Metallica movie.
I think the different mics just need different production to sound good in a speaking situation. I use the best cable I can afford. Mugami is great cable. Canare Star Quad is very nice also. Buy bulk and solder your own cables if you can. Major savings.
Good stuff. I’ve never understood the aversion to just… turning your preamp higher if you need more gain 😅
signal:noise is life.
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As an old bugger living in sheltered accommodation, I can't put up loads of room treatment. A few hooks in the ceiling and acoustic blankets and my 440 pure sounds great. If I turn up my monitors some of my very old neighbours would pass away. 😄
I'm actually really gutted I feel I can't use my 440 pure for voice over. My wife knows I'm gonna get a studio eventually but it's getting really frustrating having to do everything from a corner of a bedroom of a busy house.
Studio space isn't cheap though 😅
@@PaulThird One day you will be in a space rammed with stuff like Rick Biato, Warren Hurt or Adam Steel. All you will have to worry about is the ridiculous size of video files.
Less analog gear though haha I want to have a future studio with as much tech as I can get my hands on! 🤓
@@PaulThird Earmark one wall to a huge modular synth and you will never get any more work done!
"You don't need hardware!"
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*Me throwing out my interface
Touche sir.. Touche
Since most people are in less than ideal recording environments, a hyper cardioid mic is often the best choice for vocals.
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Great channel Paul! Cheers from Glasgow
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with regards to that SNR and maxing out the input, I think it actually depends on the "quality" of your interfaces mic input preamps. From watching a number of Julian Krause reviews, I saw that for some interfaces if you push the input gain too far, you start getting more distortion. So it's not always a good idea just to max out the input gain, unless you actually like your preamp's distortion.
Good point, suppose in my head it was a given most would invest in an interface with good mic pres, especially if they have the budget for a dynamic and a gain booster BUT for whatever reason that's not the case sometimes and some record expensive mics through cheapy pre's which in 2022 shouldn't be the case as quality is so unbelievably affordable these days.. But.. Yeah the world can be a confusing place haha
Nice lighting and camera upgrade!
Thanks man. I'm getting there very slowly haha need to work on the lighting more
I kid you not, I've been contending on whether to get the LCT440 or the Dynacaster. I've been at it for days now.
This is a tremendous help. Thank you.
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Loving the sound of that dynacaster my dude,,,gots me thinkin 🤔🤔
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There are my list for best voice over:
1.- A good leveler tool for audio consistent
2.- A best denoise plugin
3 a good de-reverb plugin
4.- a best EQ balance with a EQ
5 a best transparent compressor, and know use it for best values
6 a Good plugin emulation Hardware for a finally touch
7 good limiter for correct LUFS
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@@PaulThird hahaha! lol!
Those Eyeball foam things just introduce more problems which occur right up next to the mics capsule.
Yup. Waste of money
@@PaulThird 100%
I suspect that RUclipsrs like dynamic mics, is that they think they LOOK like a "proper broadcast mic" especially as they always seem to make sure they are fully visible in the frame, all the time.
Thus making, they hope, the audience think they are "Pro-Level"!!!
When i worked at the BBC, i can tell you, just about every voice over recorded, at least around the time I was there, was done with Neumann U87s . In the dubbing theatres, and in the Commentary recording studio which I ran for about 6 months. About the only non-condenser mics I encountered were the occasional Coles Lip mic and some Coles ribbon mics, the name of the model of which I can't remember, but you know the one!
(Of course any mic that sounds good with a voice is the "correct" mic.
As soon as I buy my next house at the end of the year and I have my own room I can acoustically treat properly ill definitely be using the lewit. Or maybe upgrade to a tlm103. Think that would sound really nice on my voice
@@PaulThird For anybody who doesn't think a small end diaphragm condenser works for voice, just check out the voice quality on the 20th Jan Camera Conspiracies YT video, where Kasey uses a small diameter Oktava mic. Sounds great! Almost too much bottom end!!! (His channel is a hoot, if you are into cameras, BTW!)
I think your vocal sounds good with the Dynamite Pre. It’s just a matter of opinion bc the we’re both good. But with that limited example I thought the pre engaged was best.
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I’ve noticed I usually prefer the sound of podcasts that use RE20s over SM7Bs.
Re20 would probably suit my voice. That or a tlm 103 or sennheiser mkh shotgun. I definitely couldn't get away with a shotgun in my room.
@@PaulThird give the Rode Procaster a try if you like the RE20. It's not exactly the same, but it's got an extremely similar frequency response and feel, for about a quarter the price (sounds great on toms too...). I do recommend beefing up the foam inside the grille though, as it's got pretty rubbish plosive rejection as it comes out of the box, but that just takes a $1 foam microphone wind sock (I used one design to slip over a 58), some scissors, and 5 minutes of your time to fix.
Love the Lewitt 440. It’s my daily driver.
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I found those that completely covered the mic made the mic sound a bit hollow… a mic does need a bit of air to breath.
Take a vocal booth that’s just big enough for the singer to fit in it and there will be a similar effect.
A bigger on say 4 times the size, you get a bit more life out of the sound of the mic
Yeah my aim is to have my own studio in the future. Completely treated but still a decent size
Yep, people are finally starting to realize this, a big room/space will always sound better (more natural and pleasing) than a little box/room/space/closet. If you record in a closet (booth/small space) it will sound like it was recorded in that closet/small space.
Are you sure that it's not just your microphone preamp at its maximum that is causing the frequency shift? Because I ran some tests on the standalone dynamite capsule accessory and it was very transparent!
This could be different for the Dynacaster which I also have in my possession. Either way you are correct that people should experiment with having the gain boosters on versus off and pick which one is best for a given voice.
Audients pre's are really stable though even when cranked.
True though, there may be a difference in how the dynamite circuitry is housed in the dynacaster compared to dynamite purely standalone. I dunno how they managed it personally haha
I use eyeball on all my songs, it came with two layers of nylon in front, remove the back one it'll sound way better
I got rid of my Khaotica ball quick
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A big epiphany for me was realizing cardboard/professional-looking-foam/etc is garbage for room treatment
6" thick panels, filled with rockwool, are the minimum for reducing boomyness in a room (9" is way better)
Thin panels don't catch the lower mids and lows, and subs, no matter how fancy they look
With a really dry room (especially with cloud panels) your voice on condenser mics sounds super detailed
Yeah Im pretty gutted I still dont have my own studio that I can properly treat but.. Good things come to those who wait 🤓
@@PaulThird I build and sell free standing gobos. The people who buy them most are folks that can't drill into their walls. This way they can still treat their rooms and not have any permanent scars on the building. They're stupid easy and cheap to make. I can't exactly ship a bunch over seas to you, but I can give you the plans if you want.
I watch a lot of studio engineers who use condensors to talk into, but all i can hear is the saliva rolling around in their mouth lol to me it sounds like water torture lol they also lack mic technique. I thought they were supposed to be pros? Lol thanks for using a dynamic and caring paul lol how can some of these (wytse for example) still be seen as a pro mixing channel but they dont know mic technique for condensors during speech lol im just moaning here lol
I use izotope rx for my cleanup though so that helps haha
Hello Paul,
I was thinking about buying a dynamic mic as a spare mic, but because someone told me that i needed a fethead or something similar to get enough gain, i didn't buy it yet. I see you telling that you dont use the dynamite or something else for the gain. So my question is: Will my ID4 MK1 also have enough gain to handle a dynamic mic, or does your ID44 have stronger preamps in it? The mic i want to buy is a behringer sl75c or xm8500.
I hope i explained my situation well, sorry for my bad english.😬
Id4 will be fine
@@PaulThird Thanks for your answer, I will buy one then❤️
Heeeellllllloooooo. Do you know of any books or resources on advanced reverb techniques?
Recording or mixing?
rick Rubin uses AKG c414...outside.
it is not necesary, only need to learn more about fix a voice with any mic. This is a cheap microphone: ruclips.net/video/zT6hv2TDFds/видео.html
You don't need on-board interface DSP to track with plugins obviously, otherwise amp sims would never work.
The reason there is on board dsp on some interfaces is purely for tracking. You can record with any plugin you like but it's about the latency added when recording. That will vary per plugin and how many plugins you use as well as sample rate.
You can lower your buffer to 64 samples but then you run the risk of maxing cpu when adding plugins, especially if you record at a higher sample rate like 96k.
Is neural dsp Corey wong amp sim anywhere near zero latency when I record with it at a low buffer?.. Nope, there's audible latency
I'd like to know what microphone Dan Worall uses. I dont know if he has the best mic or the ultimate voice. Its probably a bit of both, knowing yourself enough to exploit the mic you are using. The 'coffee with Cameron' dude, the same, brilliant voice and mic
He made a video on his voice over chain but I dunno if he revealed the mic he uses
@@PaulThird He did reveal his mic
other thing: I don't use noise suppressors just a de-reverb plugin and that's it
I was using the spl deverb up until just this week. I'm just settling for the reflections I do have in as I can hear that it impacts the voice in a way that's a little unnatural.
@@PaulThird Because dont use the correct plugin, spl dereverb is so bad, use Accentize De-Room for example. Obviously the noise supressors are the best option, but sometimes cant have its for multiple reasons. When you going to travel, is very useful use a de-reverb in other site.
@@PaulThird uad c suite works way better than spl deverb, it keeps some openness whilst removing the reflections, compared to spl deverb sounding dead. You can still get a dead sound from c suite, but you can also dial in the ambience so you don't sound like you're recording in your car boot
Full stop, the BEST thing about Cloud Lifters/Dynamite/Soyuz inline preamp is very simple and not sonic:
It absorbs phantom power and won't fuck up your ribbon mics. 🤣
Come on, who HASN'T left +48 engaged and plugged in the wrong mic? Leave the inline preamp plugged in to your mic, EQ to taste to make up for any tonal changes, and stop worrying. 😎
Well thank god I use different pre's for certain mics haha
@@PaulThird I'm too cheap and/or broke - $100-150 is less 😀
But yeah, if I had a bunch (or, you know... more than the one lol) of vintage ribbons or sensitive dynamics I would probably invest in at least one "ribbon mic" pre, and maybe something for dynamics. My old EV has a CloudLifter plugged into it full-time. I'd solder it on if I made even worse decisions than I do.
I wouldn't go so far as to debunk a myth about the kaotica eyeball with a cheap Chinese knock off. In live or untreated settings they do a really good job of removing the room and focusing pickup of the mic towards your voice in surprisingly similar way a treated room would. You wouldn't buy a €100 box of foam diffusers from China on Amazon and come up with the conclusion that all foam kit home solutions are useless just because you expected it to do what a more expensive, better quality solution achieves . Wavy Wayne does a shooutout video where he compares the Eyeball, an untreated room, and a similar product to the one you showed. The results speak for themselves.
It's foam. There's no real difference in the eyeball compared to others.
I've watched all the videos regarding the eyeball and others and not one corrected the eq and properly level matched, and most didn't even compress or limit.
They all add in the same boxiness and low build up as well as dampen some of the highs and midrange.
The best test is to take away the distraction of the low mud added and compare both with similar eq to effectively compare the resonance suppression. As well as compress and limit to the levels you will output at as reflections become more apparent after compression and limiting.
Without that you are simply hearing a lot of added low mud and loss of presence which makes many feel that it's less reflective.
There many variables that should be taken out in a lot of those videos. Loads don't even record at the same distance to the microphone.
If you are gonna test stuff like that then do it properly
is a myth that need a mic for each diferent voice, all is resolved with a EQ, if the mic is to low for only one, only atenuate it with a eq, until goal a balance in it. All is in you know modeled the sound correctly. So if you spoke about quality sound, there are exist diferences throw all type of micriphones. The cheap are de wrong mics
Nah I believe in getting it right at the source first. The better the recording is, the less moves are required. The less phase shift you incurr on the vocal by having to forcefully eq it to make it fit.
Its good practice to get the best microphone for the source.
@@BrunodeSouzaLino Obiously some mic have his own sound character, but, it is not a super necesary topic. If you have the money and a super studio, ok ok, very well. If you only have a only mic if you know really what do you doing, it can sound fantastic, so so much that a expensive mic. All is thing that to know.
Can you record with Plugins? Sure. But there is latency involved. Certainly, when you're recording voice only -as you did here- it doesn't matter as much. But if you have context - as in instruments, especially drums this latency can matter. It depends a lot on the talent and their (and your) ambitions - but it plays a role. The plugins add up and the latency is not zero-latency due to the AD-DA conversion anyway - so you gotta add that on top too.
So no, I'd rather be very minimal with the DSP-powered plugins - a highpassfilter and a simple compressor are something one can get away with, but no, that's not as instant as analogue (and even that isn't instant - although I'd agree that's pretty much zero-latency). I use RME btw.. and they are pretty damn fast. Don't care who says you can record with plugins - I know I won't.
Sure there's latency but nowhere near anything audible enough for it to bother me when recording live or doing a podcast. Don't really see any difference in tracking with the fat channel comps compared to an analog compressor.
For voice over and a podcast id go as far to say investing in an analog compressor or eq is pretty redundant. I can print on the way in with dsp in using the revelator, and Ed can do the same with his apollo & luna and neither of us are bothered with any latency. Not distracting and very real time use
@@PaulThird don't get me wrong.. with podcast or voice over I'm 100% with you and investing in an analog compressor or eq stays redundant pretty damn long - even if you're recording twista spitting doubletime, because more likely than not the talent grew up with recording/monitoring without a compressor so equing/compressing post-recording works. Sure, recording and monitoring through a compressor (preferably analogue - or a very "fast" dsp one) is best - but if you can't it won't break the production.
@@akagerhard What?.. it's not ad/da conversion adding latency to plugins lol, where did you get that from?
@@1337murk ..my man, in order to even reach the plugin, your analogue signal has to get converted to a digital signal that adds latency, then it goes through the plugin - which adds latency and then it needs to get converted back to analogue for you to hear it on your headphones. So yes.. of course you get AD/DA-latency every. single. time you use a plugin while recording (and monitoring it).
Now of course you could split your mic-signal before processing it and listen to that unprocessed signal - but that pretty much destroys the main reason for recording through processors, because you want the talent to hear the interaction between his instrument/voice and the processing.
But let's say you use DSP-based plugins - still happens. Yes, even my beautiful RME adds latency both for the DSP-Plugs AND the AD-DA conversion - eventhough it manages to process all of this without ever reaching the PC inbetween (as far as I understand it.. and I've spent a couple of hours on this).
You will not ever hear me say that for mixing or mastering, but in production/recording.. nothing beats hardware in terms of latency. There, I said it. BUT you don't really NEED hardware unless you and your talent are "up there".
@@akagerhard Yeah, actually I might have misread your comment there, I read it as if you were saying the plugin adds latency *because* of conversion, but on a re read, you were just mentioning both the conversion latency, and plugin latency.
The rest you didn't need to explain, could have saved your time there
rik Rubin uses 414s outside for his apple podcast interview. rule 1 of microphones. use it correctly. rule 2. use yer
fn lugs/ears.
Rick does what the f*ck Rick wants haha
Those foam things don't do nothing. I already ran tests. No difference in db drop sounds exactly the same. Basically a glorified wind guard at most.
I had somebody try to tell me that I was wrong cause I didn't test the kaotica eyeball and instead tested a cheap knock off.. It's F*CKING FOAM!!!! 🤣
Double negative.. don't do nothing, means do something. You're saying they do something, whilst attempting to say that they do nothing
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Remember to check out my autism channel if you want to learn more about my life 🤓🤓
random question that has nothing to do with the video. Do you like Biffy Clyro ?
Yeah bits and bobs. I like their sound. Watched a documentary on them couple of months ago which was good. Not my style of music but I think their sound is pretty iconic for Scotland
@@PaulThird what do you mean Scotland, it's the best band in the whole world! lol. 😜 Thanks for the honest answer. Love them and been referencing their new 2 albums (for mixing) a lot lately. Especially the big not-metal-at-all guitar sound. It's one of a kind.
Hey Paul, @07:12 respectfully and imho, I hear your sound "topped" as without much headroom and you may not be using compressors, but it sounds compressed, the amplitude taking over the whole space, not much dynamics *even though, the waveform seems to have much headroom, I belive the transients should be more pointy, less rounded...so that may be not to good compression.
@07:54 ...to my perception and listening with good studio monitors, WITH the Dynamite sounds MUCH better. Much to do with this signal, it sounds with more dynamic and clean (the without one, sounds dirty)
Remember, the Dynamite provides 20 dB (ball park) of Clean gain, that is, without pulling up the noise floor... that's what they claim and there are some youTube videos from very trustowirthy sources that have checked this up and corroborated. *check Featherlightstudio
I have Fethead, cloudlifter, and SE Dynamite, sounding pretty much alike, this last one, I like the most.
Check the EQ and best settings and try more WITH the Dynamite, so to gain in your preamps don't need to be so stressed. I tell you this because what I perceive in your recordings @08:00 is not "high end" and "low bump" without the Dynamite, au contraire, I hear resonance in the highs and muddiness in the mid/low(lack of clarity).
We'll have to respectfully agree to disagree on this one.
I want more of a toppy sound out of the microphones built in high shelf. I get less of that with the dynamite engaged which compared to a mid forward voice like my podcast co-host Ed Thorne sounds too dark and a bit murky. I end up having to hack away at eq to make my voice fit better where without dynamite I don't. The top end is just enough to work when we are speaking side by side.
I've been tweaking with the dynacaster for months for the Produce like a pro podcast and the sound of the id44 pre's maxed in combination with the mics low cut and highest hi-shelf sounds the best compared to Ed's voice through the sm7b.
Theres no compression in those audio examples. Just dry unprocessed and the audient pre's don't compress when maxed as I've checked on plugin doctors hardware dynamic function. The audient id44 pre's are transformless as well so they are very clean even when cranked.
I heard the same thing when Bandrew did his dynacaster review and the dynamite actually suited his voice more but we have very different styles of voice so it's all about context.
My experience will be different to others due to the boominess of my voice. My low end needs controlled as its too rich and naturally a bit muddy. Adding more emphasis to that just makes my voice less detailed.
I have just as good a monitoring setup as the next guy so it's not a "you aren't hearing what I hear".. Its a "I percieve what you hear differently" which is simply audio engineering. We can all hear stuff differently from eachother
@@PaulThird Hey Paul, I appreciate your answer and I believe it elevates your channel (that's why I'm subscribed), you've done your work and you have found the sound you preffer and that is what it's all about. My interface (UA Apollo) can easily lift the SM7B, and I can get great recordings that way, but with the lifter, I feel the sound is smoother and richer, so that's my prefference.
a Tennent's Lager to you my friend 🍻
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@@PaulThird I think you misunderstood what he was getting at with topped, he didn't mean toppy as in the high end of the frequency response, he meant topped as in the tip of the transients being shaved off, kind of like the converter clipping technique some used to use back in the day during mastering etc
@@PaulThird Question, do you think your monitoring gives you as much insight as someone listening on ATC's, Quested, PSI or Kii's?