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Sennheiser 416 V/O Test Results
Recently we had a very lively debate regarding microphone selection for Voice Over work.
There were many good suggestions.
Spot suprized many of us by recommending shotgun mics.
I must admit I have never considered the shotgun for
closeup vocal recording. I have often heard it said that
their is more than one way to skin a cat. I decided to
do some testing of my Senn 416 shotgun to see how it would
fair doing some V/O’s. I was suprised and would like to pass along my observations.I recorded a male vocal using the Senn 416 shot, RE20, and
Senn 421 (my goto V/O mic).The Senn 421 turned in a very nice sound as expected.
Clear, Full and smooth.The RE20 was also very nice and sounded a little bigger on
the bottom end.The Senn 416 Shotgun, placed 6-8 inches away sounded BIG and articulate. It sounded much better than I expected.
By varying the distance from the talent I could dail in just how big it sounded. It’s perfomance was quite
useable.Did I prefer the 416 to my 421? For most things I would still go for my 421. However, If I was out in the field and
needed to cut some V/O’s, I would be more than pleased with
the performance of the 416. If I needed a big, full sounding
V/O I think I would give the 416 a go.It has been proven time and time again.
There really is more than one way to skin a cat.I would like to thank Spot for putting a new tool
in my bag.Regards, Rick.
Rick Mac
Director of Audio Production
TCT Network – Directv 377 -
4 Replies
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Hey Rick
Yeah, I’ve found this to be true as well.
When I got one of my cameras, a couple years ago, I had the opportunity to tape a radio show. So, the first time I used the camera, I left the lens cap on (avoid that spitting on the lens!) and taped audio with a shotgun mike, setting the record levels manually (exclusive video guys needed to be reminded of this occationally). I made a CD right from the Vegas timeline and the radio station said the quality was very good and asked us what studio we were using for the recording. I taped it in the talents office!
Brian Sinks
IN1ACCORD Productions
Tulsa, Oklahoma -
In my testing of the AT 4073a Shotgun for VO, I would add:
1. A pop-screen is mandatory!
2. Tested on a man’s voice – very realistic and detailed. Rich! Fine-wine-rich without calling attention to itself.
3. Tested on a woman’s voice – how can I say this? Too rich? Too much detail? Not lyrical and sweet? Too complicated?
Thanks Spot and Harlan Hogan (get his book!) – this was an ear-opener!
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Raymond,
[Raymond Motion Pictures] “1. A pop-screen is mandatory!”
It depends on how you place the mic. I’ve used a short shotgun for VO for years with excellent results, plenty of compliments and never a need for a pop-screen. I put the mic on a stand with boom to one side and over the talent and aim it at the mouth from slightly in front, slightly off vertical axis above the talent. Talent is always looking slightly down at copy and breath pops are never a problem. In other words, place the mic as if you were close booming from above.
Ron Shook
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Right, Ron, that’s exactly how I have always used a shotgun. The revelation here is to place the shotgun 6-8 INCHES from the talent for a voice-over or narration. I could not accomplish that without a pop-screen – every explosive popped and ruined the recording. In the test, I did not try the mic off center, angled to the mouth – that seemed counter-productive to using a shotgun in the first place.
What I got, as if in an extreme close-up, was every detail, including the parting of the talent’s lips, all was defined and heard. The effect was a one-on-one conversation. The question is: Is that conversational (the narrator in front of you) tone maintained at 6-8 inches off-screen inches vs. 12-18 inches on-screen? My ear says ‘yes’ and accepts the dialog as directed at me, the viewer.
It is soooo subjective – that is the beauty of the art and perfection of it to which we all strive. We are counted upon for the technical, but honored for the artistic. May WE never lose the distinction.
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