I'm looking for a USB mic for use with my iMac making voice overs through FCPX. The Shure PG42 USB seems to be my #1 choice but is too expensive (~ $1000.00), I see there is the "brother" to it, the PG27 USB. Would the PG27 be better to go with rather then other models/makes in it's price range? I read it's not made for "voice" as much as the PG42 is made for voice.Any suggestions appreciated on any mics.
Also, any recommendations where this equipment could be bought "used" by chance? I have had no luck finding a used PG42.
After that it will be purely up to your recording techniques. Use a professional pop filter (nylon stockings and cheap-o filters don't work), learn proximity effect, controlled recording environment (room noise, reverb, etc), vocal techniques. These will greatly reduce (often eliminate) the need for EQ, Compressor, Limiter, etc.
Thanks for the selection, I have considered the yeti. Also have been reading on technique. Since I don't plan to do the voice overs but have the wife do them, is there a better choice for female voice over male on this level? She has a normal pitch voice, as I would describe it.
As for mic, voice is voice in the price range you're looking at. I've been doing pro VO for many, many years, and singing, and recording other artists as an engineer. You only match a specific voice to a specific voice when you're spending big bugs on a mic. Love my Mohave MA-200, but other voices sound better on other mics.
Everything I posted is equal between male and female voices. Proximity effect is the most important. Get that down, and you're good. It is tricky.
Oh, and have a GREAT pair of audio monitors. Not headphones, which are good for when you need to isolate external sound during recording, or in a room of other editors. But not for sweetening, mixing, or mastering.
Her voice, your voice, my voice, a good mic is a good mic. Don't sweat that micro-level of detail, unless someone is paying you HUGE dollars, for a project that goes to THX private theaters.
I've used many of those reflector shields, and Samson's is the cheapest, I hate it. The Reflexion is the best on the market. And yes, there's HUGE difference in results. Reflexion makes a large one (we've been using it for almost 10 years and love it), and a smaller one that's really good. The "X Portable" will dance circles around the Samson, I've tested them.
Some folks hang up blankets, especially moving blankets (type used by moving companies to wrap furniture in the truck). Don't use those if you can afford it. Actual acoustic tiles, like Auralex, is fire retardant. Those blankets are fire hazards, super flammable. And some sheets of packing foam that are popular as a cheap alternative, give off toxic fumes. They weren't formulated to line walls of an enclosed room. Remember, you've got a lot of electronics, don't put fire hazards around them.
I have a pair of JBL 4312A studio control monitors (bought new years ago but still like new) and headphones & understand room acoustics. I see I need to learn about "proximity effect" and "vocal techniques" though, which is what I'll do next. Then read about each of the recommended mics & necessary accessories before deciding on one.
Only works with directional mics, not with omni-directional mics.
The closer the voice is to the mic, the louder, but more important, the more low end/bass the mic will pick up and record.
Rule of thumb, voice talent, singing or VO, should start 3-6 inches from a mic, and experiment with recording closer, or further from the mic.
Find the sweet spot, with a good mic, and you'll rarely need EQ on that voice. To remember the sweet spot, most pop filters are on a goose neck mount. So adjust it to bring the singer to the same sweet spot every time.
I understand what your saying. What I would need to know, is there a correct method to speak into a pop filter- as far as how close your mouth should be to it? Then set the filter to allow for the sweet spot distance to the mic. I guess that working distance to the pop filter could be a personal (changeable) pref (but maybe shouldn't be?).
I don't mean to belabor this point but it's nice to know how things should be from an engineers standpoint.
You don't want to eat the pop filter, but you don't want to be too far away. An inch or three is fine. I'm usually very close to mine. I also speak across the front of my mic, not directly into it. Just how my voice works best with my MA-200. But in general, don't speak directly into the mic ribbon. Position the mic slightly above or below the mouth. Or, as I do, angle it about 45 degrees from your mouth, and off slightly to one side. Experimentation is vital to getting the right combination.
If answering questions was a bother, I'd not be hanging out on forums. LOL