Chintarmanya Vivian (VO)
Listening Assignment 2 - Lost in New York
Microphone Mythbusters
As a Voice Actor, it is important to be able to determine what microphones will work best for particular roles. Whether that will be character, narration, audio books or commercials, the right gear will help you deliver quality audio to the client.
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With this assessment piece, I will be exploring the microphones that I have at my disposal, and walk through the question "Are USB mics professional enough as a Voice Over mic within a treated space?"
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Why? I hear you ask. New voice actors are introduced to USB mics from various internet places such as Youtube, and are unable to determine WHY these mics are not suitable for professional, quality audio. I aim to showcase with my gear as to why.
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To lay out my Mythbuster-inspired enquiry, I will give you the specifications of the tools that were used to conduct this experiment.
Testing Parameters
In the words of a ballistics expert (Alex Jason) and immortalised by Adam Savage: "Remember kids, the only difference between screwing around and science is writing it down." (Savage, 2015)​
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In this test, we will be reviewing the Proximity effect through stages of distance: 6 inch, 12 inch, 3 inch. These will be directly into the diaphragm.
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We will also be reviewing common techniques on ways to perform to the mic. We will look at projection over, under, and 45° off axis to note any discernible difference.
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And comparing both experiments to the Blue Yeti.
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So let us prepare the testing environment.
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Booth - Treated with moving blankets, mattresses and a gazebo frame. Pictured to the right:
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The mics used in this example: Blue Yeti and the Rode NT1a.
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Monologue used:
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Beatrice - 'Much Ado About Nothing'. Shakespeare. This gives a more dynamic performance into the mic and will demonstrate audio pops, plosives (the blast of air that you get when you pronounce 'P' and 'B') and sibilance clearly.
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The performance aimed to be a similar projection all around, to showcase how a dynamic performance, with quiet and loud moments, responds to a cardioid polar pattern.
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The same pop filter was used on all mics.
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ProTools was used on the NT1a. The Blue Yeti was recorded on Audacity, as the program did not like the drivers for the USB mic.
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The Rode NT1a uses an XLR cable which provides a mic level signal into a Audient iD14 interface. The signal then becomes line level and is sent through to my Windows PC via a USB-C cable (Sean Hutton, 2022). I am currently learning this in APLSR2.
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The Blue Yeti uses a USB 2.0 Male to USB Mini Female connector which goes straight into the PC's USB 2.0 port.
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All audio is recorded at the same gain level, where the gain level is set to '12 o'clock' on both the Audient iD14 and the Blue Yeti.
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Audio is Raw, only edits were fades in and out of the clips and the -10dB on the Blue Yeti because that was LOUD.
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Oh, and the Performer? Myself.
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Disclaimer: The audio you are about to hear is RAW. This experiment will not take responsibility for emotional reactions to mouth noises, clicks, background noise (LAWNMOWERS), or breaths. Be prepared to hear mouth-click central.
Blue Yeti
The Blue Yeti was how I started out. This mic was an impulse purchase to help me with my Voice Over work, which then kicked off my Gear Acquirement Syndrome.
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This little microphone does not require a XLR cable, and can switch around polar patterns through a switch near the gain knob.
The Cardioid polar pattern is recommended for voice actors though, as it provides a rich clarity to vocals, captures nuance and subtle emotional inflections in the voice, and rejects sounds from the back of the mic in its null field (Blue Microphones 2021).
Specifications
Taken from the Blue Website (Blue Microphones 2021):
Frequency Response Graph
The frequency response is all over the shop in this microphone. Most of the signal on the Cardioid polar pattern is attenuated by -1dB or -2dB and the main 2 to 5 kHz range of the speaking voice is attenuated by almost -4dB. This mean that there is colouration which will negatively impact a natural read (Blue Microphones 2021).
Proximity Effect Recordings
The Proximity Effect as described by Max McAllister is when a performer is close to the mic, the mic exaggerates the low end frequencies. (McAllister 2021).
This test aims to review the mic's response to the distance of the performer.
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Warning: Loud. Turn your volume down.
6 Inch
12 Inch
3 Inch
Performer Microphone Technique
The Performer Microphone Technique is how a performer may project towards the diaphragm to gain the best sound. (PROCOMM Voices 2009)
This test aims to review the mic's response to performance technique by:
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Under the capsule: where the performer is placed 6 inches away from the mic, with the capsule being 5 cm above mouth level.
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Over the capsule: where the performer is placed 6 inches away from the mic, with the capsule being 5 cm below mouth level.
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45° Off-Axis: where the performer is placed 6 inches away from the mic, and performs at 45° off axis.
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Under
Over
Off Axis 45°
Observations
First thing to note is that the Blue Yeti had to be pulled down -10.5dB in ProTools so that I don't hurt anyone's ears. Even starting at the 6 inch proximity, the 12 o'clock positioning of the Blue Yeti was just too loud and you can hear the audio distortion right off the bat.
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The 12 inch distance created less clipping and reduced the number of plosives and sibilance artefacts. However it introduced the room into the voice and filtered out the clarity of the voice. It felt faded.
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3 inch was a lot more intimate, however it became wildly distorted for the performance, and the plosives were very present. Mouth noises were more obvious. For bass frequencies, mostly the room provides this, but my vocals have more low-mids which are really pronounced in this performance. On the word "rancour' it pronounces the 'gravel' compared to the 6 inch distance.
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One thing to note: Due to its mostly attenuated frequency response, my natural sibilance was not as obvious on this microphone.
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Under: My 2nd favourite take on the performance. It demonstrates the least impact for the plosives and the sibilance, despite still being close enough for mouth clicks. However, it still feels like there is too much room between the performer and it sounds like it has lost the low end energy, which gives the performance an airy feel.
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Over: My favourite take on the performance. It sounds close (whilst still peaking - thanks Blue Yeti), and it captures more of my chest voice whilst maintaining my high end energy.
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45°: This one was interesting. I can tell that the top end of "Oh that I were a man" disappeared. It felt like a combination of Under and Over and this was Goldilocks meeting in the middle. It still kept enough mid-low energies to keep the sound from becoming airy like in Under, but got rid of the sibilance which I normally have.
Conclusion
The Blue Yeti USB mic, if used correctly, can be great as a gaming mic. However, due to its unruly amplification and its erratic frequency response, I would not recommend for serious voice actors to get work. Play with it, learn the different polar patterns and performing techniques and get used to working the microphone.
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Then upgrade when the budget allows. And keep the microphone as a guilty secret, like your love for Nickelback.
Disclaimer: I don't love Nickelback anymore. But I had my moment in my teenage years where I was listening to Nickelback. That secret cannot haunt me any longer. I have grown. My taste has evolved.
RODE NT1a
The Rode NT1a was my first condenser microphone. This mic was a huge learning experience. Learning about using XLR cables, the Scarlett 2i2 and how the interface works, there was a lot of information however I truly only knew how to turn the volume up on the interface.
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This microphone is a Cardioid with no other discernible features, however it came in a bundle including the shock mount and the XLR cable, and I was not going to complain.
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It advertised as "Ultra-low self noise" (King 2015) and as a new Voice Actor, I was keen as my booth setup is considered 'MacGyvered'. (For anyone under the age of 25, 'slapped together' is a good synonym.)
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Specifications
Taken from the Rode Website (King 2015):
Frequency Response Graph
The frequency response is flatter than the Blue Yeti, with a boost to the low-mids of 1dB which is where some of my vocal range sits. There are boosts to the top end from 3kHz onwards which my vocals will need to be wary for sibilance, however this is not too much of an issue as there are brighter condenser mics out there.
Proximity Effect Recordings
The Proximity Effect as described by Max McAllister is when a performer is close to the mic, the mic exaggerates the low end frequencies. (McAllister 2021).
This test aims to review the mic's response to the distance of the performer.
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6 Inch
12 Inch
3 Inch
Performer Microphone Technique
The Performer Microphone Technique is how a performer may project towards the diaphragm to gain the best sound. (PROCOMM Voices 2009)
This test aims to review the mic's response to performance technique by:
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Under the capsule: where the performer is placed 6 inches away from the mic, with the capsule being 5 cm above mouth level.
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Over the capsule: where the performer is placed 6 inches away from the mic, with the capsule being 5 cm below mouth level.
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45° Off-Axis: where the performer is placed 6 inches away from the mic, and performs at 45° off axis.
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Under
Over
Off Axis 45°
Observations
First thing to note is that the Rode was quieter than the Blue Yeti due to the mic level signal. However, I kept the 12 o'clock positioning of the Rode microphone to observe the differences.
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6 inch is already improved from the Yeti, the noise floor is not as noticeable. The headroom for the entire piece has so much more room for the dynamics of the performance, and the peak did not clip and create distortion. Sibilance was not as pronounced, and the mouth noises, although were still there, were less obvious.
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The 12 inch, well, I was impressed! The NT1a's promised low self-noise made that noise floor almost non-existent. None of this audio has any filtering on it, so the clean mic signal was a surprise to see (I don't work on that mic anymore - I work primarily on the Sennheiser MK4). There seems to be just a quieter signal overall, but does not introduce more of the room, which was a huge surprise to me.
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3 inch was a lot more intimate again and the plosives were very present. Mouth noises were more obvious. However, I was amazed again that the closeness of the mic seemed to be okay with my natural sibilance. I have heard myself on the Sennheiser MK4 and the Audio Technica AT2020, and woah, this microphone seems to be gentle with my hissy 's' and bright 'T's. Certainly more low-mids were in this, however it was a good balance of the overall tone of the voice.
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Under: Right off the bat, I heard my nasal cavity. It captured my nasal passages closing on 'kinswoman'. Yuck. Again, mouth noises and also was more vulnerable to plosives. Not much difference between the 6 inch recording, except the nasal cavity.
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Over: Oh yes. Again, my favourite take on the performance. Yes, the plosives are still there and the clicks are present. However it, like the Blue Yeti captures more of my chest voice whilst maintaining my high end energy. It gives my entire vocal range a good sound.
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45°: I went ham on this one, to see how the peaks would occur. There definitely a noticeable drop in top end energy and the audio sounds distant, even though I was standing 6 inches away from the mic.
Conclusion
Okay, revisiting this microphone has given me a new appreciation for the Rode NT1a. And now that I am working on training myself to listen to the differences in microphones, I can hear what this does to my own vocal performance.
I am keen to keep learning about the different microphones to better my own understanding of not only how to identify the right type of microphone for my vocals and my circumstances. But also help other voice actors in Australia to be able to determine the right mics for their own circumstances. This has been very interesting indeed, as it demonstrates that I am starting to apply critical listening to my own work.
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However it is quite clear, in this instance, the original hypothesis: "Are USB mics professional enough as a Voice Over mic within a treated space?" has been answered quite clearly. No, they do not provide enough clarity of voice, clean audio (less artefacts like clicks and pops) and appropriate gain structure for a dynamic performance.
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Large Diaphragm Condensers are here for the WIN.
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Myth Busted.