5 Basic Pieces of Equipment Every Voice Actor Needs
Dec 18, 2017 0:39:55 GMT -8
Brittany Ann Phillips, benedict, and 4 more like this
Post by Lady Stardust ★ on Dec 18, 2017 0:39:55 GMT -8
When someone aspires to do voice acting from home, the process of purchasing equipment and materials can be daunting. There are so many options for things like microphones and headphones that the search can be overwhelming. This guide, however, will focus less on specific recommendations and more the general equipment/hardware that you need to think about budgeting for. (It will not cover software or recording space, as those are their own separate topics.)
1. The Computer
This one is pretty much a given. Your computer is where you will do all your voice work from. You may have heard talk of people recording from their mobile phones or tablets, and while these can be made to work in a pinch, it’s not ideal or as easy to work with.
Whether you use a Mac or PC, laptop or a desktop is all up to personal preference - you’ll usually see desktop computers in professional studios because they need to be able to handle lots of power, but unless you are a full-on audio engineer doing studio mixing in ProTools for instance, this probably won’t be a concern—-laptops can handle practical recording applications and basic mixing. If you plan to use a simple program like Audacity, as many people do when they first start, most computers will be able to handle it no problem.
The one thing you want to be cautious of are loud computer fans, which can be an issue for both desktop and laptop computers. A noisy fan will seep into your recording and may cause headaches trying to edit out (noise reduction can take care of a faint hiss in the background, but if the noise is too loud, attempting to use heavy noise reduction will degrade the quality of your actual voice recording and cause it to sound tinny.) I had to ditch my old laptop because it had the noisiest fan imaginable and the recordings became near impossible to salvage. I ended up going with a MacBook Air at the technician’s recommendation because it doesn’t have a fan blowing air out into the open or a loud spinning hard drive, so as a result it is virtually silent.
If you have no choice but to record on a noisy machine, try to record as far away from it as possible. This may involve getting creative, such as magnifying the text on the screen or pulling up your script on a phone or tablet so you can record farther away. The goal is to at least keep the background noise minimal so it can be reduced fairly seamlessly.
2. The Microphone (and possibly, interface)
Obviously, if you’re going to do voiceover, you need a good microphone. There are many viable options and brands suited to individual voices and preferences, but the general consensus is that you want a condenser microphone as these are best suited to VO work.
The following types of microphones should NOT be used for voiceover:
You’re probably wondering what exactly the difference between XLR and USB mics are and which one you need. There are plenty of resources on Google about the differences between the two, so you’ll want to choose what works best for your recording application.
A microphone that connects through an XLR cable requires it to be plugged into a separate preamp/audio interface to work. The interface itself will then plug into your computer, and you can use it directly to control gain, monitor through your headphones, etc. So the chain will go like this: Microphone > XLR cable > Audio interface > USB cable > Computer. You may need to purchase the microphone cable separately, so double check to see whether the microphone includes one, or you’ll be sad when your fancy microphone arrives only to find out you can’t use it yet! Also, double check to see if your mic requires “phantom power” and if so, make sure to purchase an interface that has a phantom power switch.
If you plan to do extensive professional recording from home for clients who require broadcast quality, this combination is probably your best bet. However, it can be complicated for beginner or hobbyist voice actors, not to mention the additional expense of purchasing the preamp/interface.
USB microphones do not require a separate audio interface to work—-everything is self-contained. You just plug them directly into your computer’s USB port, download the driver (if necessary), and they’re ready to go. Some even let you plug in headphones so you can directly monitor your recording without the latency issues that USB mics are prone to. Some people will tell you that it’s impossible to get professional quality sound from a USB microphone and that they are more prone to excess noise, but plenty of people have managed to get great sound from them by recording in a quiet space and setting their gain correctly. Overall, a USB condenser microphone is a great option for beginner to intermediate or hobbyist voice actors and is also suitable for travel. You can always upgrade in the future if you feel the need.
3. The Headphones
As uncomfortable as you may initially feel having to hear your own voice, it’s essential to play back your auditions and recordings before sending them off! Listening back with a critical ear will help you identify any flaws (performance or technical) so you can adjust them on your next take. Monitoring your voice in real-time while recording (if your interface/microphone/software allows for this feature) can also be helpful and is relatively standard in professional voice work, though some actors find it distracting and prefer not to do so.
For the purposes of voice work, you want a pair of high quality, over-the-ear headphones with a “flat” EQ if possible (for instance, headphones that advertise a built-in “bass boost” may be good for listening to rap music, but won’t accurately reproduce the sound of your voice). Studio monitor-style speakers may also be an option, but do not use earbuds or especially built-in laptop speakers. Earbuds will do in a pinch for travel or a last-minute audition, but the reason for the over-the-ear headphones is to allow you to really listen to what’s going on in your recording (especially when editing) and hear it the same way the producers will likely hear it. Laptop speakers can often sound tinny and you may not be able to notice things like huffs of air, background hiss, room reverb, unnatural “breath” cuts where parts of a line are spliced together from two different takes, etc. It can be embarrassing to send off a recording with technical flaws that you didn’t notice because you couldn’t hear them properly!
Example of a high-quality headphone option: Sony MDR-7506 Professional
Example of a budget-friendly headphone option: Sennheiser HD202
(As always, there are plenty more viable choices - so do your own research and read reviews to find out what will likely work best for you!)
If the headphone plug is too big or small for the jack on your computer or audio interface, fear not! You can easily and cheaply buy a converter that will transform a 1/8” plug into a 1/4” or vice versa.
4. The Stand
(Yes I know, insert Jojo’s Bizarre Adventure reference here.) Having a stand (and shockmount, if applicable) for your microphone is essential. A full-sized stand is the best option as it allows you to record either standing or sitting, but if you only plan to record seated and don’t have the space for a full stand, a desktop-sized stand will do. It will act as a stable foundation for your microphone and allow you to position it at the optimal height and distance for recording (you may need to play around with it until you get the best sound.)
Why can’t you just hold the microphone like a singer would, you ask? Well, in voiceover, every little unwanted noise tends to get picked up in the recording. Even the noise of moving the microphone or cord around a small amount can get into your recording and ruin a good take. Not to mention it’s harder to keep it a consistent distance from your mouth if it’s not in a stationary place, and it can be tiring and distracting to hold it up for long sessions. Also, if you use a pop filter (which you should, and we’ll get to that in the next section) you’ll need a stand to attach it to.
Condenser microphones will usually also require a shock mount (looks like this) which will screw onto the stand. You will then place the microphone inside of it and it will hold it into place.
Certain USB microphones such as the Blue Yeti may come with a basic, miniature stand attached. That type of stand is generally not ideal as you can’t adjust the height, but if it’s all you’ve got to work with, you can try raising it up by putting it on top of a stack of books.
5. The Pop Filter
If you’ve been inside a pro recording studio or even seen pictures of one, chances are you’re familiar with that weird circular thing that goes in front of the microphone. This is a pop filter and it’s meant to control things like harsh “pops” of air on certain consonants (ever see someone speaking into a microphone onstage and mildly cringe at that distracting sound of air hitting the mic whenever they say words that start with p/b/t sounds?), “wind” (huffs of breath that cause distortion—think of the sound that happens if someone blows into the mic, for example), and even (yuck, I know) spit. It’s not magic, and sometimes these sounds will still get through if they’re particularly harsh, but it does cut down on them significantly which reduces your chances of having a good take ruined by extra noise.
If you choose not to use a pop filter, you can expect to spend a significant amount of time doing extra takes because it’s so easy for them to be rendered unusable by pops and huffs. You will also need to be extremely careful to speak in a way to avoid them and position the microphone off-axis, which can result in a less “present” sound or extra reverb creeping in. (So in other words, just get a pop filter. You’ll be glad you did.)
While you can technically make your own from things like a wire loop and pantyhose, pop filters are very affordable now so it’s usually simpler to just buy an actual one online. Some are made of nylon-like material, others made of metal, and either works (I ended up switching to a metal one after my cats scratched through the material on the nylon one!) Avoid putting a sock over the mic (it will cause your voice to sound muffled) or a foam windscreen (okay if it's all you've got to work with, but generally not as effective for VO as a regular pop filter.)
Examples: Nylon, Metal
There is also the Kaotica Eyeball which not only includes a pop filter, but goes around the entirety of the mic to help control unwanted reflections. It’s significantly pricier than just a pop filter by itself, but is a good option to consider if you don’t have an ideal recording space and need something to cut down on the reverb from the room.
__________________________
What if I get sent auditions to do at home, but always physically go into a studio to record if I book the job?
If the client knows they’ll be bringing you into an actual studio to record if you book the job, your recording quality isn’t going to matter as much. However, it’s still important that they can hear an accurate representation of your voice, which is why you should try to record from a proper microphone rather than something like your phone if at all possible. Having a home setup also expands your opportunities for work as there are quite a few clients that record remotely these days—-for instance, I have a client in China who regularly sends me scripts for mobile games and educational narration. She has me record from my home studio in California and e-mail the files back to her within 24 hours so that she can download and review them on her end. If I did not have a proper setup, this type of working relationship would be impossible (remote clients usually won’t pay for you to book studio time and chances are you’re not making enough from the job to justify the expense of doing so yourself!) In this day and age, it is a very good idea for every voice actor to have at least a decent home setup, even just for recording auditions (though you won’t need to be as meticulous for auditions as someone who records actual files for a job from home.)
As you can see, doing voiceovers from home requires a significant financial investment, though you can and will slowly upgrade your setup over time. When determining what products to get and what to spend, here are some questions to ask yourself:
If you already have equipment but you’re not sure whether you need to upgrade it, you may want to ask yourself the following questions:
And remember, while you do tend to get what you pay for, the most expensive option isn’t always the best. That’s why it’s always good to ask other working actors for recommendations on what they like and don’t like, and to read reviews from other voice actors on products such as microphones and headphones.
________________________
Side note: All of the guides and resources on this forum are provided on a volunteer basis as I believe everyone deserves to have access to this information. However, if you find them helpful, please consider buying me a coffee!
1. The Computer
This one is pretty much a given. Your computer is where you will do all your voice work from. You may have heard talk of people recording from their mobile phones or tablets, and while these can be made to work in a pinch, it’s not ideal or as easy to work with.
Whether you use a Mac or PC, laptop or a desktop is all up to personal preference - you’ll usually see desktop computers in professional studios because they need to be able to handle lots of power, but unless you are a full-on audio engineer doing studio mixing in ProTools for instance, this probably won’t be a concern—-laptops can handle practical recording applications and basic mixing. If you plan to use a simple program like Audacity, as many people do when they first start, most computers will be able to handle it no problem.
The one thing you want to be cautious of are loud computer fans, which can be an issue for both desktop and laptop computers. A noisy fan will seep into your recording and may cause headaches trying to edit out (noise reduction can take care of a faint hiss in the background, but if the noise is too loud, attempting to use heavy noise reduction will degrade the quality of your actual voice recording and cause it to sound tinny.) I had to ditch my old laptop because it had the noisiest fan imaginable and the recordings became near impossible to salvage. I ended up going with a MacBook Air at the technician’s recommendation because it doesn’t have a fan blowing air out into the open or a loud spinning hard drive, so as a result it is virtually silent.
If you have no choice but to record on a noisy machine, try to record as far away from it as possible. This may involve getting creative, such as magnifying the text on the screen or pulling up your script on a phone or tablet so you can record farther away. The goal is to at least keep the background noise minimal so it can be reduced fairly seamlessly.
2. The Microphone (and possibly, interface)
Obviously, if you’re going to do voiceover, you need a good microphone. There are many viable options and brands suited to individual voices and preferences, but the general consensus is that you want a condenser microphone as these are best suited to VO work.
The following types of microphones should NOT be used for voiceover:
- Headset mics. These are designed for things like gaming chat and Skype calls, not VO. Not only is it impractical to do shouting lines while wearing a headset (it will often sound distorted and you can’t properly adjust your distance), they are also prone to picking up breath huffs and popping sounds.
- Non-condenser style USB mics. Those of us who voice acted 10+ years ago will remember when everyone was using this type of Logitech mic because it was before the advent of affordable and accessible USB condenser mics—-and the audio had to be compressed in Flash animations, anyway. But now, times have changed, and a higher quality sound is expected.
- Dynamic/karaoke-style mics. These are meant for live performances as opposed to studio recording and will capture your voice in a different way. You also want to avoid any type of microphone that plugs into your computer’s audio jack (rather than the USB port or a separate interface) as it will run through your computer’s sound card and likely not sound as good.
- Built-in laptop or webcam mics. This is the worst possible option for you to record with! Not only are they poor quality (they’re basically meant as a convenience for Skype/Facetime calls) but they’re omnidirectional, meaning they pick up sound from the whole room rather than just what’s going directly into it. So you’ll get a lot of noise and echo even if you’re recording in a relatively quiet space.
- Your phone. While phone audio is actually pretty decent for say, making a FaceTime call or filming a quick video for use on social media, the quality isn’t going to hold up in terms of a voiceover production. If you’ve been to conventions, you may have heard tales from voice actors about how they ended up booking a job from an audition recorded on their cell phone from the hotel room, but keep in mind 1) it was for an audition and not the actual job, 2) because it was a job where the actors would be brought into the studio for the actual recording, they weren’t being judged too much on the technical quality of their audition. A phone should only be a last-resort option if, say, you get an urgent audition from an agent that needs immediate turnaround and you have no time to get to a proper setup.
You’re probably wondering what exactly the difference between XLR and USB mics are and which one you need. There are plenty of resources on Google about the differences between the two, so you’ll want to choose what works best for your recording application.
A microphone that connects through an XLR cable requires it to be plugged into a separate preamp/audio interface to work. The interface itself will then plug into your computer, and you can use it directly to control gain, monitor through your headphones, etc. So the chain will go like this: Microphone > XLR cable > Audio interface > USB cable > Computer. You may need to purchase the microphone cable separately, so double check to see whether the microphone includes one, or you’ll be sad when your fancy microphone arrives only to find out you can’t use it yet! Also, double check to see if your mic requires “phantom power” and if so, make sure to purchase an interface that has a phantom power switch.
If you plan to do extensive professional recording from home for clients who require broadcast quality, this combination is probably your best bet. However, it can be complicated for beginner or hobbyist voice actors, not to mention the additional expense of purchasing the preamp/interface.
- Popular brands for XLR mics include Neumann, Sennheiser, Shure, Rode, Audiotechnica, Blue, etc - there are many different options suitable for different voices so read reviews and listen to samples before purchasing. The Scarlett FocusRite is a good example of an easy-to-use audio interface. It connects to your computer through USB, includes phantom power option and headphone monitoring.
USB microphones do not require a separate audio interface to work—-everything is self-contained. You just plug them directly into your computer’s USB port, download the driver (if necessary), and they’re ready to go. Some even let you plug in headphones so you can directly monitor your recording without the latency issues that USB mics are prone to. Some people will tell you that it’s impossible to get professional quality sound from a USB microphone and that they are more prone to excess noise, but plenty of people have managed to get great sound from them by recording in a quiet space and setting their gain correctly. Overall, a USB condenser microphone is a great option for beginner to intermediate or hobbyist voice actors and is also suitable for travel. You can always upgrade in the future if you feel the need.
- USB mics can be hit-or-miss, but generally accepted/popular options in the online voiceover community include the AT2020 (USB version), the Blue Yeti, and the Samson C01U. The Blue Snowball is okay for beginners who want to do hobby voice work (many are drawn in by the very reasonable price point) but you will probably need to upgrade later.
3. The Headphones
As uncomfortable as you may initially feel having to hear your own voice, it’s essential to play back your auditions and recordings before sending them off! Listening back with a critical ear will help you identify any flaws (performance or technical) so you can adjust them on your next take. Monitoring your voice in real-time while recording (if your interface/microphone/software allows for this feature) can also be helpful and is relatively standard in professional voice work, though some actors find it distracting and prefer not to do so.
For the purposes of voice work, you want a pair of high quality, over-the-ear headphones with a “flat” EQ if possible (for instance, headphones that advertise a built-in “bass boost” may be good for listening to rap music, but won’t accurately reproduce the sound of your voice). Studio monitor-style speakers may also be an option, but do not use earbuds or especially built-in laptop speakers. Earbuds will do in a pinch for travel or a last-minute audition, but the reason for the over-the-ear headphones is to allow you to really listen to what’s going on in your recording (especially when editing) and hear it the same way the producers will likely hear it. Laptop speakers can often sound tinny and you may not be able to notice things like huffs of air, background hiss, room reverb, unnatural “breath” cuts where parts of a line are spliced together from two different takes, etc. It can be embarrassing to send off a recording with technical flaws that you didn’t notice because you couldn’t hear them properly!
Example of a high-quality headphone option: Sony MDR-7506 Professional
Example of a budget-friendly headphone option: Sennheiser HD202
(As always, there are plenty more viable choices - so do your own research and read reviews to find out what will likely work best for you!)
If the headphone plug is too big or small for the jack on your computer or audio interface, fear not! You can easily and cheaply buy a converter that will transform a 1/8” plug into a 1/4” or vice versa.
4. The Stand
(Yes I know, insert Jojo’s Bizarre Adventure reference here.) Having a stand (and shockmount, if applicable) for your microphone is essential. A full-sized stand is the best option as it allows you to record either standing or sitting, but if you only plan to record seated and don’t have the space for a full stand, a desktop-sized stand will do. It will act as a stable foundation for your microphone and allow you to position it at the optimal height and distance for recording (you may need to play around with it until you get the best sound.)
Why can’t you just hold the microphone like a singer would, you ask? Well, in voiceover, every little unwanted noise tends to get picked up in the recording. Even the noise of moving the microphone or cord around a small amount can get into your recording and ruin a good take. Not to mention it’s harder to keep it a consistent distance from your mouth if it’s not in a stationary place, and it can be tiring and distracting to hold it up for long sessions. Also, if you use a pop filter (which you should, and we’ll get to that in the next section) you’ll need a stand to attach it to.
Condenser microphones will usually also require a shock mount (looks like this) which will screw onto the stand. You will then place the microphone inside of it and it will hold it into place.
Certain USB microphones such as the Blue Yeti may come with a basic, miniature stand attached. That type of stand is generally not ideal as you can’t adjust the height, but if it’s all you’ve got to work with, you can try raising it up by putting it on top of a stack of books.
5. The Pop Filter
If you’ve been inside a pro recording studio or even seen pictures of one, chances are you’re familiar with that weird circular thing that goes in front of the microphone. This is a pop filter and it’s meant to control things like harsh “pops” of air on certain consonants (ever see someone speaking into a microphone onstage and mildly cringe at that distracting sound of air hitting the mic whenever they say words that start with p/b/t sounds?), “wind” (huffs of breath that cause distortion—think of the sound that happens if someone blows into the mic, for example), and even (yuck, I know) spit. It’s not magic, and sometimes these sounds will still get through if they’re particularly harsh, but it does cut down on them significantly which reduces your chances of having a good take ruined by extra noise.
If you choose not to use a pop filter, you can expect to spend a significant amount of time doing extra takes because it’s so easy for them to be rendered unusable by pops and huffs. You will also need to be extremely careful to speak in a way to avoid them and position the microphone off-axis, which can result in a less “present” sound or extra reverb creeping in. (So in other words, just get a pop filter. You’ll be glad you did.)
While you can technically make your own from things like a wire loop and pantyhose, pop filters are very affordable now so it’s usually simpler to just buy an actual one online. Some are made of nylon-like material, others made of metal, and either works (I ended up switching to a metal one after my cats scratched through the material on the nylon one!) Avoid putting a sock over the mic (it will cause your voice to sound muffled) or a foam windscreen (okay if it's all you've got to work with, but generally not as effective for VO as a regular pop filter.)
Examples: Nylon, Metal
There is also the Kaotica Eyeball which not only includes a pop filter, but goes around the entirety of the mic to help control unwanted reflections. It’s significantly pricier than just a pop filter by itself, but is a good option to consider if you don’t have an ideal recording space and need something to cut down on the reverb from the room.
__________________________
What if I get sent auditions to do at home, but always physically go into a studio to record if I book the job?
If the client knows they’ll be bringing you into an actual studio to record if you book the job, your recording quality isn’t going to matter as much. However, it’s still important that they can hear an accurate representation of your voice, which is why you should try to record from a proper microphone rather than something like your phone if at all possible. Having a home setup also expands your opportunities for work as there are quite a few clients that record remotely these days—-for instance, I have a client in China who regularly sends me scripts for mobile games and educational narration. She has me record from my home studio in California and e-mail the files back to her within 24 hours so that she can download and review them on her end. If I did not have a proper setup, this type of working relationship would be impossible (remote clients usually won’t pay for you to book studio time and chances are you’re not making enough from the job to justify the expense of doing so yourself!) In this day and age, it is a very good idea for every voice actor to have at least a decent home setup, even just for recording auditions (though you won’t need to be as meticulous for auditions as someone who records actual files for a job from home.)
As you can see, doing voiceovers from home requires a significant financial investment, though you can and will slowly upgrade your setup over time. When determining what products to get and what to spend, here are some questions to ask yourself:
- How new are you to voiceover? Are you just starting out and looking to get practice, or have you been doing in-person sessions for a while and are just now thinking about a home setup?
- How serious are you about voiceover? Do you mainly plan to do it as a hobby for online projects, or do you expect to regularly have clientele who send you paid projects? (There is no right or wrong answer to this question by the way; it’s okay to not be seriously pursuing a career and just wanting to have fun voice acting for videos, but either way it will affect the caliber of equipment you need)
- How often are you expected to record from home? Do you mainly just record auditions from home and go into a physical studio if you book, or are you regularly asked/invited to audition for jobs that record remotely?
If you already have equipment but you’re not sure whether you need to upgrade it, you may want to ask yourself the following questions:
- Are your clients pretty cool with the files sent as long as they’re reasonably clean and edited, or do they have high expectations in regards to expecting a “broadcast quality” recording? If your clients expect a higher standard of audio than you can deliver—-and they’re paying you appropriately—then it’s usually worth upgrading if it’s something that’s easily fixable.
- Are the issues you’re having more to do with your technical quality, or your actual performance? Many newer voice actors think that if they just get a better or fancier microphone, it will fix all their problems and they’ll get cast a lot more. Now, if your problems are directly stemming from a bad microphone, then it’s probably worth upgrading, but be forewarned that even a high-end microphone can’t salvage a poor or unfitting performance. It’s also worth learning good mic technique (proper distance and positioning, as well as setting your levels appropriately for the volume you are recording at) because again, even an expensive microphone won’t save you from poor technique. In a real studio you’ll have an engineer who will set everything for you, but when recording from home, you need to be your own engineer!
And remember, while you do tend to get what you pay for, the most expensive option isn’t always the best. That’s why it’s always good to ask other working actors for recommendations on what they like and don’t like, and to read reviews from other voice actors on products such as microphones and headphones.
________________________
Side note: All of the guides and resources on this forum are provided on a volunteer basis as I believe everyone deserves to have access to this information. However, if you find them helpful, please consider buying me a coffee!
Would love for someone who is experienced in acoustics to write a specific tutorial on that---I had a lot of issues with it, so I finally saved up and bought a VocalBooth!
