The Studio for audiobook productions

Example of an audio studio of professional readings. Status quo - Development Stage 8

The correct microphone position My way to the correct micro-position Blueprint - Studio for audio book production

Example of an audio studio of professional readings.

Development Stage 3

The heart, a microphone of AKG. Before the microphone, a pop protection. Both installs on a micro stand. A second micro stand for the text transfer. The text installs on a note clamp. A taple adjustable in the slope. Pronunciation Dictionary A number-pad for the commands to the cut center. An electronic dictionary with audio pronouncing: English, Spanish, French, German and large Brockhaus in one. In front, in the back, on the left and on the right sound-absorbing walls.

Status quo - Development Stage 8

Some discussions in special forums compelled me to rethink my acoustic concept. A homemade was not considered (clumsy) - there were only expensive purchase absorber. Eight of them had been mounted in a U-shape around the microphone; in front of the mic is still a traditional pyramid foam (on a beveled glass plate) mounted; behind the microphone I have a 70 inch high, 3 inch deep and 47 inch wide absorber box. The higher price of the bass absorber comes from the much greater density of these components (long-wave bass frequencies). Difficult to absorb! An improvement of the acoustics is hearing, but only for fine ears - the curtains improve the acoustics at best. Is this narrating-place only for practice (main recording in studio), so you do not need expensive bass absorbers - is trimmed to studio, of course, is invested diligently.

Then there is the possibility of a selfconstruction. A wood-frame (bed frame, bed frame) with insulation (mineral wool) stuffed and covered with a cloth. Some of these about 5 inch thick bass absorbers were positioned behind the microphone. Because only there they make sense: A cardioid micro records only in the direction of narrator. At the front you have to just take care of reflections (inclined glass plate, ...). Manuals are plentiful on the net.

Preamp signal path (signal path Mindprint Envoice MKII)

The correct microphone position

A highly sensitive microphone has a similar character as the one or other superficial pedantic woman. "It" does not forgive the slightest mistake! Therefore should be used every conceivable trick, to tame this volcano.

First, a good distance to be found. 5 to 10 inch. At best you take the headphones and narrate the micro in the right position. Professional Narrators work at the recording with headphones. How? - See "My way to the correct micro-position".

The narrate-direction should not pass directly into the mic ... in the membrane.Then you get problems with popping, sibilance and s-lutes. When one speaks past the membrane, thus the volume is not low, only the mouth output is channeled better, and the delicate air moves (pop- a. s-lutes) are better compensated. Below I've included a few "YouTube" videos every now and then I'm also very lazy.

Narrate direction (up, down, right and left)

Micorphontechnics

Example: Neumann U87

Example: RODE NT1, E-MU 0404

My way to the correct micro-position

I've been experimenting for a long time to find the right micro-position.The extremely sensitive large diaphragm condenser microphone gives the narrator only a small corridor. Without a good headphone amplifier can not work it! - But, everyone should have his own head and find his own micro-position. "My way" describes just one example.

A simple 10 inch long piece of wood will help me to always find the same position. For the height (the membrane hangs down), I take the piece of wood and keep it just below the right eye (this scheme) toward membrane. Thus, the height of the microphone is determined.This must be done only once make neat, and later reaches a short control.

The microphone is positioned slightly to the right and the script slightly to the left; while speaking is the head directed to the micro. The mic is tilted forward so that the membrane (which stays above the mouth) is aligned directly to the mouth. The distance to the capsule varies depending on the content of the text:during quiet passages you go closer; farther away at loud passages. The recording level is adapt on the content of the text.

It can and should be experimented.For example: the same position when one comes from below (capsule, from the chin to the mouth), some Actors narrating nasal. For me the above is currently the best imaginable. Without live-monitoring (Headphone Amplifier - Headphone) to work, is nearly impossible! - especially with a highly sensitive microphone!

Blueprint Studio for audio book production

Normal

Record