In this article Julian Rodgers looks at the options available for professional VO using the Townsend Labs Sphere L22 . Among the new additions to the models are some classic choices for VO. Why are these mics so popular?

The Townsend Labs Sphere mic modelling system is something of a revelation the first time you use it. Preconceptions that a model of a mic can’t be as good as using the “real thing” do tend to dominate and that’s totally understandable. AB tests aren’t as helpful as you’d think because if the model is close enough to the mic it’s modelling for things to become really marginal, and when you try this they do become very close indeed, then the small variables of the testing methodology like the position of the mics and the differences between individual examples of the same mic come into play and when things are as close as this they actually dominate the discussion.

The Sphere L22 has been notable in that it has succeeded in converting the, usually rather conservative, recording community because the models deliver what they are supposed to. The models sound great and the flexibility offered by being able to get mic position right at the tracking stage and worry about mic choice later means that you can just get on with engaging with the performer and getting good takes rather than committing to this mic or that mic.

VO - Not As Simple As It Looks

Voice-over is a huge and important sector of the industry. Superficially simple but anyone who has done it knows that it’s only simple when it’s right. If we thought the music recording community are a conservative bunch then the VO community are, on the whole, too busy working to experiment. If it works then why change? Townsend Labs have enlarged their collection of mic models to include models popular for VO work. Most of them also popular for music recording, although they have wisely included the Sennheiser 416 which isn’t something you often see in music studios.

The four models we’ll concentrate on here are the DN-20 (modelled after the Electro-Voice RE-20), DN-7 (modelled after the Shure SM7b) the LD-87 modern (modelled after the Neumann U87ai) and the SD-416 (modelled after the Sennheiser MKH 416). All popular choices for spoken word. Using the L22 and Sphere you can access all three and considering the cost of an L22 is considerably less than a U87, let alone an 87 and the other three mics as well, the economics of this solution absolutely stack up. Given the flexibility being able to change mics for different sounds presents, there’s as much to like about this way of working as there is using an L22 for music. And that’s without talking about IsoSphere.

IsoSphere

IsoSphere is a new feature to Sphere. It’s a way to correct for and alleviate the colouration introduced by reflection filters. A dry vocal booth is a prerequisite for a professional voice-over. Nothing marks out inferior VO as quickly as room reflections making it sound as if the voice-over was done in someone’s dining room. However in the last year world events have meant that a great deal of VO work is being done in people’s dining rooms (or other available space in the home). This remote working is inevitably going to be a feature of VO work in the future and an easily implemented way to get a good sounding, dry recording is more valuable than ever. Accurate models of the most popular VO mics combined with the benefits of IsoSphere arguably make using the Sphere system not just as good as using the real thing but possibly better?

Let’s look at each of these mics in more detail with some audio examples from professional Voiceover artists supplied to us by Townsend Labs. The voiceover artists are: Jordan Reynolds, Mara Junot and Brent Allen Hagel.

DN-20/RE20

The RE20 is strongly associated with US radio, in the UK it’s probably best known outside the audio community as the “Frasier mic” as it’s the mic you’ll see Seattle’s most pompous radio host behind and for good reason. While it’s not the only mic used for radio in the US it’s the one which shouts “radio studio” the loudest.

Looking at the specs and design of this mic the reasons for this are clear. It is almost impervious to plosive pops even when used very close. The very clever Variable D design makes it almost immune to the proximity effect and its off-axis response is very consistent with its on-axis response meaning that the sound varies remarkably little with angle or distance. Add to that the humbucking coil for hum rejection and a frequency response flat enough to rival a condenser mic and it’s easy to see why the RE20 has been as popular as it is for as long as it has.

Introduced in 1968, Its distinctive design and large size make it visually striking and while its been popular as an instrument mic in music applications, including being a fine bass drum and brass mic, it might be because of the increasing popularity of the next mic, the SM7b in vocal applications that we’ve noticed an increasing popularity as a vocal mic for this mic as well.

Variable D, short for variable distance, uses an extremely clever arrangement of three separate back paths - routes by which the sound arrives at the back of the diaphragm - which offers an alternative method by which to control the movement of the diaphragm. Most dynamics mics use their mass to control their movement and extend their frequency response. The RE20 uses the resistance through three carefully designed back chambers of different lengths to achieve an extended LF response.

The RE20 is robust, consistent and sounds great. No wonder it’s still around after all this time.

DN-7/SM7b

It’s difficult to discuss the SM7b without mentioning its sibling the SM57 and like the SM57 it’s wildly popular and like most things which are conspicuously popular, somewhat polarising. That said for every detractor there are ten ardent fans. Interesting response to a dynamic microphone!

Based around a modified version of the Unidyne III capsule found in the SM57, the SM7b traces its history back to the SM5 an enormous (look it up!) broadcast mic introduced in 1966. The SM7 started life as a more manageably sized alternative to the SM5, sharing some sonic characteristics of the SM57 but with extended low frequency response achieved through tweaks to the capsule and housing that capsule in front of a larger housing.

Introduced in 1973 and conceived of as a universal microphone for almost any application, its prominence in broadcast and VO was helped by its relationship with the SM5 but to explain it’s remarkable popularity in music recording we probably need to namecheck Quincy Jones and his use of this mic recording vocals with Michael Jackson at the peak of his powers. In the Thriller sessions Jones could have used any mic you care to think of but his choice of the SM7 has cemented this broadcast mic as a first choice for many engineers. Just make sure you pair it with a preamp with plenty of gain unless you’re recording something loud!

LD-87 Modern/U87ai

You might hear people describe the SM57 and the “do anything” microphone. No it isn’t. That accolade has to go the the U87. Humorously described as “everyone’s second favourite microphone” it’s a case of while everyone might have a different first choice, if that’s not available then an 87 will be just fine. This multi-pattern large diaphragm condenser mic is the ultimate pro studio workhorse. Why is that?

It’s difficult to talk about the U87 without referencing other Neumann mics. Everyone knows the U47 and most people know that the U67 replaced it when the valve used in the U47 was discontinued. The U67 was designed with modern and, at the time new, close-miking techniques in mind. With headroom for close use on loud sources and a high pass filter to control the proximity effect. By 1967 the advantages of a FET design were incorporated into the design and the U87 was born.

The convenience of dispensing with the power supply needed by valve mics in favour of phantom power, the chisel shaped grille inherited from the M49 via the U67 which reduced standing waves within the basket and switchable pad made it as at home over a drum kit as in front of a singer. Maybe it’s the ubiquity and reputation for quality which helped it become a first choice for VO but the reputation as a do anything mic definitely extends to VO. The familiar midrange rub of an 87 just sounds “correct” on spoken word. The U87 has been around for decades, it’s changed over the years and while inevitably debates rage about the relative merits of old vs new, the newest version, the U87ai is still recognisably an 87, with the same capsule as used in the 67 and all the iterations of the 87, a transformer balanced output and a FET circuit.

SD-416/MKH 416

An absolute standard in film and TV, this shotgun mic is as ubiquitous as the SM58 is in live sound. The MKH series are RF mics. Exactly how this system of phase modulating a radio frequency signal works is less important than the fact that it works so well. The aim was to lower the output impedance but the benefits included durability and resistance to humidity. These qualities of course benefit use on location but for the VO artist it is the clarity and warmth available when using this mic at a distance which mark it out as a top class tool. Using a large diaphragm condenser up close can give all the deep resonance you might need but the proximity effect can get boomy. The ability to get warmth at a greater distance makes the 416 a perennial favourite for voiceover. Factor in the benefits of the tightest of directional characteristics and the familiarity the whole post sector has with the 416 as a location mic and it’s hardly surprising that the “senny” is a first call mic for VO.

Voiceover Presets

Here are some examples using the custom VO presets that Jordan and Brent created. These are particularly interesting because they provide sonic variety and combine a go-to VO mic with something a little bit more unusual in the VO world. It's worth experimenting with and mixing mic models to bring out specific characteristics. Take a listen.

Do you work in VO, have you tried the Sphere L22 and if not, would you? Share your thoughts in the comments.

Download the free Sphere Plugin and some free demo sessions to try out the Sphere mic models.