| |
| Author |
Message |
|
| Lucien |
 Posted: Fri Aug 26, 2011 11:12 pm |
 |
|
|
Joined: 14 Dec 2007
Posts: 182
Location: Los Angeles
|
| Knowing your opinion on the 416 microphone, If you are forced to work on one for a project, what techniques or adjustments would you make to downplay it's faults, or play up it's strengths? Are there any VO roles/projects that you feel the 416 is an "acceptable" choice for? |
_________________
~Can't I Scream in Peace?~ |
|
| Back to top |
  
|
| CB |
| Posted: Sat Aug 27, 2011 4:12 pm |
|
|
|
Joined: 14 Dec 2007
Posts: 905
Location: HERE!
|
I've become pretty adamant about the 416 as a matter of general principle, across the board - I don't understand why anyone would opt for a fairly pricey microphone that, to put it plainly: Makes everything sound UGLY. Most other shotgun designs even have a more pleasing, sound-flattering profile; whereas this persistent default choice merely rips its' way through to the front of any mix by brute force - emphasizing hard and shallow timbres, while muting anything warm, complex and musical.
Since I've been so densely booked lately, I can afford to be "difficult" about session particulars and simply won't perform with a 416 in my face; either substituting my own Gefell UMT70, or insisting on whatever else might be more suitable be swapped at that studio location. But because the location sessions I attend are nearly all animation/character voice jobs, they favor Neumann/Gefell models anyway (which I take partial credit for influencing, thanks to my close advisory relationship with DCV staff when consistent quality standards were put in place for the recording of their Animated Character voices, worldwide); and I rarely leave my own ISDN outpost anymore for solo VO work, regardless.
But if you find yourself with no choice but to perform under the harsh glare of one of these character voice assassins, you can at least try minimizing its ill-effects by getting it out of your face to an elevated angle, to cover a "whole performance" region - from the bridge of the nose down to the bottom of the ribcage; and just deliver the performance as if "overheard" in a zoom closeup shot on a movie studio soundstage (which is how the microphone is designed to work in the first place). Mainly, avoid pushing the voice directly into the end of the stick, as if forcing your characterization through a straw to the ears of your audience. Make the microphone "reach" for the acoustical space in front of you, where the voice has room to blend and balance all the resonant components into a "whole body" sound, instead of highlighting what comes only from the throat through the mouth (as if using a megaphone). There aren't "presence"-enhancing mic "techniques" that will work with any shotgun model, so all you can do is play the character as authentically as possible, and hope for the best.Lucien wrote: Are there any VO roles/projects that you feel the 416 is an "acceptable" choice for? |
|
|
| Back to top |
|
| Mike Sommer |
| Posted: Sat Aug 27, 2011 9:57 pm |
|
|
|
Joined: 14 Dec 2007
Posts: 455
Location: Los Angeles
|
| Speaking of man on the street sound. There is an LA street/investigative reporter that is now using the 416 as a hand held mic. Not only does it look hideous and phallic as he shoves it in the interviewee's face, it's not helping as the wrongdoer is fleeing the interview and it's pointed at the back of their head. Did i mention it just looks stupid? |
_________________
The problem with reality is, there's no background music.
The Blog:
http://voiceoveraudio.blogspot.com/ |
|
| Back to top |
|
| Lucien |
| Posted: Mon Aug 29, 2011 10:05 am |
|
|
|
Joined: 14 Dec 2007
Posts: 182
Location: Los Angeles
|
| How do you politely phrase your objection to working on the 416? What is the range of reactions you've received from engineers upon your specification? Is it only the engineers who put up a fuss, or does the producer (or other team members) also weigh in? |
|
|
| Back to top |
|
| CB |
| Posted: Tue Aug 30, 2011 12:54 am |
|
|
|
Joined: 14 Dec 2007
Posts: 905
Location: HERE!
|
I've learned that "polite discussion" doesn't work; so in the most non-confrontational way possible, I simply take charge of the situation. When I see a shotgun on the stand, I comment that "we'll need to put up another mic - you got a U-87?". If they complain that they don't have one, or time to go fetch one, I pull out my Gefell with its' Atlas QuickConnect piece already attached to the plastic mounting clip, and ask if they'd like to "do the honors". If they protest that there will be trouble with the producer or mixer if I'm on a different (as if "illegal") mic, I tell them that the character voice I'm performing WILL NOT WORK on a "shotgun"; truthfully stating I've already tested and proven that fact exhaustively, to the point where there can be no further discussion.
If they're worried about what the producer will say, I turn to the highest producing authority in the room and explain how the 416 destroys the very character I've been hired to perform, and if they want it to sound "right" (or the same as the audition that got me there), they must use a character-appropriate microphone. The clock is ticking, and there's no more time to argue, so they have to go along or risk running over into the next session. While the change is taking place, I enthusiastically extoll how much better they're going to like the qualities of this superior instrument, and assure them that it will "cut" just as well as what they're used to, while hinting that the resulting "full flavor" tracks will reflect well on their engineering knowhow. If they've got any taste at all, they'll be glad I forced the issue; and most do confess that they indeed know better, but have to obey "convention" or risk dismissal, and I sincerely sympathize with their plight - but hopefully have inspired them to show a bit more professional backbone in the future. Everybody Wins!
If the denial of my request and expertise is absolute - I will not say another word, record a minimum number of takes with professional efficiency, and write the session off as a loss - never to return to work with the particular "engineer" again. If the producer wants me again, it will be recorded ISDN from then on. Fortunately, today's lack of proper planning necessitates mainly off-site recording anyway - so I really only go to decent studio facilities with first-rate audio staff for animation and interactive character work anymore. Nowadays, my solo VO sessions are all ISDN, or not at all. |
|
|
| Back to top |
|
|
|
All times are GMT - 7 Hours
|
|
You cannot post new topics in this forum
You cannot reply to topics in this forum
You cannot edit your posts in this forum
You cannot delete your posts in this forum
You cannot vote in polls in this forum
|
|
|
