As a new member of the Voices.com community, I spent an hour or so this evening drifting through various blog pages until I came upon your contributions. Are you an old radio-head? I haven't heard anyone mention OPTIMOD in years, and frankly, I almost quit my radio career when I began seeing computers creeping into the various studios.
However, that was then, this is now...after 34 years on the air and six more years trying to squeeze out some extra income doing voiceovers out of my home studio, I think I've created a modest but well-balanced home studio. I have a custom-configured computer with an Athelon dual-core processor, an M-Audio Delta Series DI, a Shure SM-7 studio mike running through a Mackie Micro Series mixer and recording into Adobe Audition. Everything seems to work just fine, but I do have one question...because the Mackie mixer is a few years old and was previously used by me on many a remote broadcast, I'm thinking of replacing it before it up and croaks on me suddenly. What would you recommend?
Is there a decent, reliable mixer for not too much money that connects via USB, or should I pick up another Mackie? The reason I use an analog unit in the first place is that I have several other sources feeding into the computer which have no way to be fed otherwise (turntable, VHS tape player, audio cassette player...you get the picture). Remember...for me, verstility and cost are two biggies. Thanks for your input...and I've really enjoyed reading your comments to other questions!
A radio head? Well, I'd like to think I just had a head for radio. 15 years behind the mic doing everything. My favorite and most creative position was a Production Director. I learned a great deal from the last generation of great radio voices and the masterful creativity of guys like Dick Orkin, (Chicken Man and the Tooth Fairy) who I got to meet this summer. What a wonderful biz it used to be. I too saw its demise in the late 80's when canned satellite programming came into prominence. It was a young person's job for those of us who didn't have to support a family. With that change, I had to move on.
For those of you wondering, an Orban OPTIMOD is a broadcast audio compressor that squeezes every last ounce of sound out of the audio so all can be heard, and the signal can be thrown a longer distance. Those old analog devices just held such fascination to me. And, they make a great inside joke to us old geezers.
But to your questions about a mixer...
I would ask, what are you mixing? Are you still making commercials on the fly with a turntable, your finger and a cart machine? (For an explanation of what I'm talking about, go to) and read about the old days of production I talked about when discussing recording software.
Like most of us these days, chances are, you are only using just your mic most of the time and not mixing music and sound effects. Adding those elements with multi-tracking software is a breeze. You just drag, drop and manipulate for optimum placement. A mixer can be used for a couple of things. One, adjusting your mic levels for when your using more than one mic with more than one person, or, if you are introducing another sound element like music in real time with the voices (Like the introduction of a football game on TV). A mixer can be used in post production to do that same thing, only with the pre-recorded tracks of voice and music.
Andy, you're making the same assumptions that any radio vet would make. You do production? You use a mixer. However, all you need to do is look at the recording software interface to see that the software has replaced the need for an external analog or digital mixer. Your only requirement for inputing a signal to your computer is a digital input connected by USB or firewire. Even that has become simple.
There are USB mixers made by everyone including Mackie, Alessis, M-Audio and Yamaha. Again, I have to point out that all this gear is designed for bands making music, not single track, mono, flat response, well modulated voice. You and I know how to use these things from our radio days. However, with the limited need for us to produce mixed projects, why bother? Why use an external mixer and add a noisy additional link to the audio chain?
Simplify and concentrate on reading and interpreting the copy, not adjusting your levels. Depending on which M-Audio Delta Series DI you are using, you should be able to directly plug your mics XLR cable to it either through its breakout box, or via an external USB or firewire DI, or one of the new generation USB studio mics or USB converters. After that, set you mic level and forget it. Its ready when you need it for an audition or job, and it won't need to adjust it from a mixer. Simple elegance!
Radio veterans need to understand the technological paradigm shift that has occurred in simple digital voice recording. The old set-up of Mic, Mixer board, interface to computer is essentially obsolete. Mic to DI to computer or mic directly to computer via USB is ALL YOU NEED!
It was how we were taught. But like Pluto is no longer considered a planet, technology has evolved how we record our voice.
About The Author
Buffalo, NY native Dan Lenard has been a radio personality, an insurance sales consultant, a high school Media and Social Studies teacher and a stay-at-home dad. He earned his BA in Broadcasting from Buffalo State College in 1980, a New York State teaching certificate from Buff State in 1997 and then in 2002, an MA in Creative Studies from again, his hometown Alma Mater.
Interesting reading. Myself, being a former musician turned broadcaster, I felt compelled to purchase a mixer just two days ago so I could perhaps use it in conjunction with my Adobe recording software. Since reading your article, I believe the money could be best spent on something else and I plan on canceling the order.
Thanks for the tip.
:)
Regards,
Allen Michael
Whoa! I'm way too late to tell Allen not to cancel his mixer order. I'd like to remind everyone that MasterVO did say there may be times when one is essential. If you ever want to do material with other people in your studio a mixer will allow you to work the script in real time and play off one another. Very important if you're doing voice acting and not just spots. If you want to do Podcasting and feature guests for interviews, you'll need a mixer. And here's one you may not have thought of. Directed Sessions! Yes...it sometimes happens that a client will want to "direct" your session...to get things right the first time around. And that's good for both of you. Our good friend and colleague, Terry Daniel gives an example of this at http://amazingvoicetalent.com/2009/05/live-directed-voice-over-session/. Check it out. Skype was used...not for the actual production tracks, but for the director to be able to communicate with Terry AND a second talent at another location! What does this have to do with a MIXER? Well, most compact mixers, good ones like Mackie, Yamaha, Behringer etc., offer Tape In and Out plugs. Usually, these include ROUTING options; Tape to Phones & Tape to Main Mix. And this is PERFECT for directed sessions. Hook up your sound card output to Tape IN. Don't route Tape to Main Mix but DO route Tape to Phones. Be sure to wear leakproof phones that don't let sound out. Now, you can hear the Director via Skype, but s/he won't be in the mix! This is important because if it were, all sound from Skype would be in the final product and, of course, we don't want that. Hey. Turntables and Cart machines may be museum pieces. But, in my opinion (for what it may be worth), it will be a long time before the Mixer starts to gather dust. Keep on Trackin'!
Hey Andy. I like your set up. I also use the M-Audio Delta Series DI but i use a Shure SM-58... you know, the old work horse. I also like your approach to recording. I'm going to see how I can weave some of that into my approach. Thanks for the info.
THANK YOU for discouraging unnecessary purchases of overkill equipment. It's part of a syndrome of perfectionism that I know I fall prey to at different times and in different ways, and it usually starts with "if only..." and ends with "...then I would kick even more butt in the vo world."
But truly, patient development of technique and cultivation of solid contacts in the part of the industry you enjoy most are much, much more important than spending a chunk of your annual net income on a WhisperRoom!
Learn how to use Audacity's "Noise Removal" feature--when I use it, clients always say what wonderful sound isolation my studio has, and I just agree, with a big smile on my face.
Andi
I talk to people about this all the time. The recording scene in general is very volatile right now and always changing. The days of sitting on your hands and doing the same ole thing is over.
Yes, you are right. We have voice talents here in germany who record with sm58 in their living room and it sounds great. The main focus should be on the voice and not on the euipment...
An old thread this, but I saw Dan's mention of Optimod. Here in UK the BBC (worked there) used Orban stuff from the start. They recently fitted their central longwave AM transmitter - Radio 4 - with the latest Optimod and the intelligibility is incredible! Every syllable audible, no 'holes' punched after peaks, no clattering overshoots of course, minimal breathing into background noise. I asked, but the Beeb wouldn't tell me their settings - commercially sensitive. I would love a three-grand Optimod for narration, but on a Brit's freelance budget that's one for the future... after perfecting the studio ambience!