VO Weekly Workflow: What Gear Travels Well?

If you will be hitting the road and plan to record voiceover audio, it’s worth asking whether the efforts from recording outweigh the benefit of revitalizing yourself. This week, let’s assume the answer is “yes” and examine what gear you might consider.

Anyone listening to your audio is going to make some judgement about the audio quality. It’s possible that “litmus test” may not matter. If the producer has more experience, they may be more likely to listen past any shortcomings in the audio. Or, if a known quantity with the client, they could focus more on the actual performance. This encourages me to focus on auditions from my agents or a production company I’ve worked with in the past when out on the road.

For online marketplace opportunities, it can be possible to sound “good enough” to clear the bar for those projects. Many job posters there may lack the experience to recognize overprocessed audio. However, if we put too much polish on our recordings when on the road, that can be just as bad as a noisy, echoey recording.

What VO recording gear do I bring when traveling?

When considering what gear goes into a traveling voiceover recording kit, size matters.  Any time I can obtain acceptable quality with smaller, lighter gear, that is a plus. Though at a certain point, compact gear can get a bit “fidgety” with hard to adjust controls causing more distraction.

Reducing the number of items pays dividends. With less to wrangle, I’m less likely to either forget to bring things or accidentally leave them behind. While most airport shops do sell USB cables, I’ve yet to see a display of XLR mic cables by any cash register.

Another oft-overlooked concern is how you will deal with copy. Can you really read off your phone without getting frustrated? That might be a challenge worth testing before your trip.

Travel recording gear item 1 – Recording Device and Software

Under most travel situations, I’ll bring my laptop, which I prefer for recording as it provides full access to the core processing tool plug-ins. The current Macbook Air models have no internal fan or other mechanical sound, so can be placed close to the microphone.

While recording on a phone or tablet could save space, there still isn’t a fully functional recording option within iOS/Android (as opposed to operating system – MacOS or WinOS – used on laptop/desktop computers) that allows third-party plug-ins. With a laptop running a fully functioning computer operating system, it’s seamless to use my licensed copy of Twisted Wave exactly as I do at home. It’s a good idea to confirm that any software licenses for apps and plug-ins have been moved to the computer you’ll be using,

Using a tablet or phone as your recording device – or even a handheld dedicated recorder – often complicates file storage, upload, and transfer methods. That’s another variable to test beforehand. I will say that Twisted Wave for iOS (and I would get the paid version so you have access to necessary features) has solved many of these issues, though it does not support 3rd-party effect plug-ins.

Travel recording gear item 2 – The Microphone

A shotgun microphone will tend to have a more focused ear. Since it’s more directional it will ignore off-axis sound. But it will still “hear” reflections in an echoey space. Playing with position and distance can minimize those types of sounds, but it’s important to listen through headphones or isolating monitors to evaluate how much echo is being captured. Shotgun mics like the Sennheiser MKH416 and Rode NTG-5 are designed to be used in location filming, and as such are reasonably rugged travelers. I’ve also been very impressed by the Audio-Technica AT875R, which lets me take a smaller, less expensive mic. Contrary to some popular youtube claims, it won’t be confused for either a 416 or NTG-5, but it’s a good, usable sounding microphone. I avoid the need for an XLR mic cable by connecting the microphone directly into the interface. However, often the wall thickness of the microphone is greater than the clearance of the XLR connector on the interface. This short adapter can fix that. When connected, the AT875R and the XLR connector are about the length of a Sennheiser MKH416.

Travel recording gear item 3 – Audio Interface

As of this writing (Spring 2025) there just aren’t any USB-direct-connected options for a decent shotgun pattern microphone. Some may choose a dynamic microphone that can be connected directly to a computer, such as the Shure MV7 or Rode PodMic USB, but I prefer the detail of a condenser microphone and will opt for bringing a separate audio interface.

My new CEntrance PASport VO is well equipped to handle travel. WIth its two interfaces, smooth compressor and versatile routing options, the PASport VO covers any scenario I might encounter. It has a superior onboard LED level meter as well. Previously, I’ve used the CEntrance Micport Pro, a battery-powered option which is about half the size.

The Audio Sigma Mike Hero and Mike Hero DSP are good options as well, with the latter actually containing an effective noise reduction circuit. I cover more about these audio interfaces on this updated site resource.

Travel recording gear item 4 – Monitoring Your Recordings

You will need to listen back and clearly evaluate your audio quality. Playing back over laptop speakers won’t provide the needed level of detail. Therefore, the final gear item would be either good reference headphones or in-ear monitors. I tend to prefer my Byeredynamic DT770’s. They are not the most compact, but I know how things should sound through them. If space is at a premium when packing, I can swap in a set of in-ear monitors. Those do not sound the same as my headphones, but I can judge quality appropriately through them.

Travel recording gear item 5 – The things you forget about

I pack along two USB-C cables. The Micport Pro requires a separate charging connection to revitalize the battery, and the PASport VO can connect via two ports as well. It can help to have a longer one for more options.

The CEntrance interfaces both have a 1/4″ threaded socket on the base, so I can use a bendable tripod like the Joby or a Camvate style clamp with a ball head to mount the microphone. If you are using the Mike Hero which lacks any threading on the device, you’ll need a clamp with a standard 5/8″ thread for a microphone standard connector, and a shotgun clip or shock mount . The Stage Ninja microphone clamp is a useful item, though it may get some scrutiny from the TSA.

All that stuff stows into a small zippered pouch. I’ve added a padding layer to go around the interface for a little extra protection, and the foam windscreen protects the mic. Then, it’s just a matter of finding an isolated space to record, or time to unfurl that TriBooth or VOMO if you brought one along.

Happy recording!

More VO Road Recording Rig Photos

Have you tested your studio’s audio quality to make sure it meets professional standards? For a free review of your vocal recordings, please use the upload tool on my Audio Review page.

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