1/13/2024 0 Comments Adobe audition voice over settings![]() When I go on the road, here’s what I take with me. That’s the backing singers, now what about when I go on the road, let’s take a look at the… Tour Bus She helps with currency conversions, can tell me what the time is (when my clients are in far-flung places) and she never gets cross when I get “snippy” with her… ![]() Then, when I’m done, I just say “Alexa, end recording” and she’ll put everything back the way it was. When I say “Alexa, I’m recording” she’ll turn off the air conditioning, turn on my recording light (so anyone at the door can see I’m working), and turn off my Bose speaker and the humidifier I use to keep the plants happy. While my Studio Manager is still the ever-reliable Ted, Alexa is an invaluable member of the team, too. Preamp/Channel Strip: Focusrite ISA 430 MkII Producer Pack I nearly switched to the Dark Side and a Sennheiser 416, though - more on that later… Like many people, I find it to be a little finicky about the space being “just so”, and that’s partly how the TLM 193 became my go-to microphone over a decade ago. I also took the U87 for a run at one point, but it didn’t like my old room. Interestingly, one of the criticisms I hear (particularly from female colleagues) is that they feel the 103 can exacerbate their sibilance. I test drove a 103, but it was too harsh for the slight edge my voice already has. It’s said to have a slightly darker sound than its brighter, and more popular, stablemate, the TLM 103 (in fact I’ve heard tell that it was Neumann’s least successful microphone ever, in terms of sales!)īut it’s a great match for my voice – especially on the longer narration projects, which I enjoy so much. My main voiceover microphone is the Neumann TLM 193, which I first started running into in studios in London, at places like National Geographic and HISTORY. These are the star players in my current lineup: the kit I use and depend on every day and we will start with the microphones… There are also the Support Acts, further down in this article, but let’s start by meeting the band so please put your hands together… Meet The Band I can vouch for all these members of the team, and tell you why they’re here. Inspired by the latest in a series of such requests, I decided to go one better, and give you a walk through what’s in my rig - and how each earned its place in the lineup. More and more producers are rightly paying more attention to the build and makeup of a voiceover artist’s home studio setup, and asking for photos and a list of kit. The room is 8’ x 11’, double-walled with Roxul Safe-n-Sound in the space between, and with a selection of acoustic panels, foam and bass traps, to give it a sound I’m still proud of. In this article, I am going to give a tour around the workspace I created back in 2015. I prefer working at my DAW and at my desk, to heading into a booth every time I want to lay something down. “Studio 3” is the third studio I’ve built in my time as a Voiceover Artist. ![]() For me, broadcast-quality is definitely still a 'thing’. I grew up in “proper” radio studios at the BBC, so I’ve used and seen lots of kit over the years, as well as watching the tech evolve. In this article, voiceover artist, Mike Cooper shares what he considers to be the essential products for a professional voiceover’s home studio. Not all home studios are created equal… And since the pandemic, more and more producers have found themselves caught out by voice talent using sub-standard spaces to record in – only finding out that the ‘studio’ isn’t up to the job when they’re already working on the clock, or working with a client.
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