Gear and equipment for your VO studio. The microphones, cables, interfaces and accessories needed to capture your voice in your home voiceover studio.
Caveat: My bias is that it’s not about the hardware. If you aren’t bringing brilliant performances to your auditions and voiceover work, there isn’t any hardware which will fix things.
That being said, good equipment lets you focus on that performance, and it won’t mask the time you’ve invested in training and practice. The stuff below I’ve either used personally or have had enough clients use it so that I feel good about recommending it.
I’ve provided links to Amazon and Sweetwater where available. The Amazon links are affiliate links so I do receive a small percentage of the sale price. For Sweetwater, I would reach out to Dave Brow, who has helped me well over the years and has always taken good care of my clients and students.
One Last Thought: “Does one size fit all?”
I’ve worked with hundreds of new and experienced voice actors to improve the quality and consistency of their VO recordings. Through all the classes and consulting, there has been one consistent thread: since we are all working in vastly different environments and each have a unique tolerance for technology, there really is no “one size fits all” answer.
That’s one of the reasons I encourage you to set up a free 15 minute consult – even if it’s just to confirm that you are doing the right thing.
As I encourage everyone in my Home VO Recording classes – please don’t buy something just because it’s touted as “industry standard” or got rave reviews on a youtube video. Work from a budget and upgrade as your journey continues.
The truth is that we live in a time of riches for home recording equipment. Pricing for entirely usable equipment is reasonable and if you take the time to set things up well, that will take you a long way in your voiceover career.
If you have any questions or want to ask about something not listed here, please use the contact form at the bottom of this page. Thank you!
Microphones for Voiceover
You won’t find a lot of microphones listed on this page – I’ve only included a few models which tend to use Amazon for distribution. If you are looking for a comprehensive guide to voiceover microphones for your studio, please read through my “Voiceover Microphones” resource article.
As I tell every class and workshop, the microphone is not as important as the recording space. A microphone will never sound better than the room it is in. A “sensitive” mic is just doing its job, and a great mic will find every flaw in your recording area. Buy decent quality and it will support your VO career for a good many years.
More about that here (The Gear We Rely Upon), here (What Matters More? Upgrades or Workflow?), and here (The Winter of Our Microphone Discontent).
VO Studio Resource: Choosing a Microphone for voiceover
I have edited and updated my 6 Part Series on Voiceover Microphones into a single resource: “Voiceover Microphones” which covers the basics of microphone design and continues through specific model recommendations.
The 6 Part Series on Voiceover Microphones which I shared through my weekly emails covers specific individual topics:
- Microphone Basics
- Types of microphones – Dynamics, Ribbon, & Condensers – which is best for Voiceover
- Condenser microphone capsule designs – how that influences sound quality
- What exactly makes a “good” microphone for VO?
- Recommended USB Microphones for VO
- Recommended XLR Large Diaphragm Condenser Microphones for VO
Large Diaphragm Condenser Microphone
I’m always a little careful when a new VO microphone comes out from a small company. After reading a few positive reviews of this microphone, I purchased one for myself and tested it on students in my classes and with clients in their studios. I like this mic.
I’ve swapped it in and out of my booth for weeks at a time, and listening back was happy with the results. Unlike a lot of less expensive large diaphragm condenser microphones, this one has a nicely balanced tone – not overly harsh or crisp in the upper frequencies.
My only question is whether the company can continue to maintain quality as they get more orders (the word is out on this model so they are sometimes out of stock!) But, that’s the challenge for any manufacturer.
This comes with a nice little fitted case, a basic elastic web shock mount and thread adapter bushing. It also has a foam wind shield (mine was actually kind of crumpled and stinky – something they appear to have fixed on more recent shipments).
The TechZone Stellar X2 has ended up on my list of recommended microphones.
Lewitt Microphones
Lewitt is another microphone and gear company which brings a unique approach to their models. Sweetwater began stocking them in the last year, so you can find them through that company now. Lewitt seems to roll out new models fairly frequently, but they are generally reliable and sound good. The Lewitt LCT 440 is a good, neutral-sounding, single-pattern microphone which performs well. I recently began experimenting with the Lewitt Ray, which has a unique circuitry that adjust EQ and levels if you are actively moving on mic. They call it “auto-focus for your voice”.
Shotgun Microphones – Not Sennheiser MKH416’s…
Every few months, it seems like someone posts a review about an inexpensive shotgun microphone which is “just like a Sennheiser 416!” but much less money… Yeah…. no. They may work OK for VO, but they don’t really have the same sound as the Sennheiser MKH416. There are all kinds of reasons for that, most of which are beyond the scope of this article. The short answer is that most shotgun mics are not great for VO.
These are “less-not-great” (I should probably trademark that phrase). In other words, if you have a significant amount of environmental sounds in your recordings, there may be some benefit to using a more highly directional microphone with a narrow pickup pattern. These can help that, which is a plus. However, it’s unlikely that the raw audio will be confused with the Senn.
These shotgun microphones can be made to work acceptably for voiceover recording, and with proper positioning may cut down on off-axis sound. The Synco D-2 sounds very neutral, with none of the cut through that a Sennheiser MKH416 is known for. The Audio-Technica AT 875R is actually a surprisingly good sounding mic for the money. Neither have the exceptionally narrow pickup pattern of the Sennheiser or the Rode NTG-5, but they are significantly more focused than a traditional cardioid pickup pattern (for more information about microphone pickup patterns, check out this resource).
SYNCO Mic-D2 Hyper-Cardioid Directional shotgun-style microphone
Audio-Technica AT875R Line/Gradient Shotgun Condenser Microphone
Audio Interfaces for Voiceover
VO Studio Resource: Choosing an Audio Interface for VO
I have edited and updated my 6 Part Series on Audio Interfaces into a single resource: “Audio Interfaces for the VO Studio” which covers the basics of audio interface designs and approaches, then continues through specific model recommendations.
The 6 Part Series on Audio Interfaces which I shared through my weekly emails covers specific individual topics:
- Why do you need an Audio Interfaces in the VO Studio?
- Audio Interfaces: Can Distortion Sound Good?
- Audio Interface Features and Options
- Recommended Audio Interfaces (specific model recommendations)
- Audio Interfaces With More Features (more model listings)
- Audio Interfaces: A Few Final Thoughts
- I demonstrate features of the Presonus revelator io24 on my YouTube Channel
SSL2 / SSL2+ Two Input VO Interface from Solid State Logic
As I mention in my resource on audio interfaces, I’ve been exceptionally pleased with my SSL2+ since I’ve pastured my first generation Focusrite Scarlett 2i2 (which is now my “loaner/backup” interface – though I did end up getting the new Generation 4 model with some really nice features). I love the rear routing which keeps my desk clean, the clean, quiet gain, and the fact that the output goes up to “11”. It also has the “4K” button for tonal coloration to approximate the tonal qualities of the legendary SSL 4000 series consoles. Solid constructio and easy to wrangle controls make it a pleasure to use every day in my VO studio. I opted for the SSL2+ because I wanted a second headphone output (and MIDI, unrelated to VO-specific work). Two inputs. Clear/neutral preamps with a solid and quiet gain lift. USB-C (for my updated studio computer).
SSL2 – 2 input audio interface
SSL2+ – 2 input audio interface with MIDI and second headphone output
CEntrance MicPort Pro
I was always a fan of the original CEntrance Micport Pro – which put an exceptionally clean A/D converter into a small and portable package. CEntrance has continued to refine and improve this pro-level analog gear and now offers an updated and upgraded version. This has an interesting feature: you can set this up to output a second channel via an onboard Limiter circuit. With a little bit of fancy routing, that lets you record two simultaneous tracks, with the second reduced by -12 dB. Perfect for wide dynamic range performances such as video game or animation work.
This has an internal battery, so many use it both for their studio and “on the road” setup. You do want to keep the battery charged, but that’s simple enough via the USB-C connections.
Note – CEntrance is also the maker of the PASPort VO interface, which is a pretty amazing piece of kit. I think I was order number 7 when this was announced, and look forward to receiving this when it ships.
Connecting Your VO Mic and Interface: XLR Cables
When you have an XLR microphone, you need an XLR cable. (If you ever want to know an obscure Jeopardy-level trivia tidbit, “XLR” stands for “X-type, Locking, Rubber ring… hey – I never said there would be no nerding.) There is a lot of internet hokum encouraging home studio owners to invest large amounts of cash to get the highest quality cables available. And you can spend a lot of money on cables.
However, most of us work within some type of budget. I’m usually buying “good enough” quality cables. That means they have good quality connectors rather than cheaper “molded” bits on each end, are decently shielded to prevent interference from electrical sources, and have robust build quality. Since most voice actors tend to set up their VO studio once and don’t move it, the “robust build quality” is probably a bit less important than it might be for someone who is a touring singer or musician. Most cables fail at the solder joints between the connectors and the cable, which is stressed every time things get pulled apart at the end of the night as gear gets broken down for the next gig.
Inside of most home voiceover or podcast studios, lack of proper shielding is what gets people in trouble. A poorly shielded XLR cable will react to Radio Frequency (RF) Interference – the electrical fields that power cords, surge suppressors and “wall wart” transformers produce. If those things are too close to your XLR audio cable, you’ll hear a characteristic hum or buzz.
Quick fix for Hum/Buzz: Keep your audio cables physically separated from any power cords. If you cannot separate your audio and power cables, try to make them cross at 90 degrees rather than run in parallel.
Since home-based recording spaces are often constructed in cramped quarters, this power cord/audio cable interaction tends to occur. Well-shielded cables work to reduce or eliminate this.
In my experience, “mid-tier” quality XLR cables are generally well shielded. Sweetwater’s ProCo Excellines provided a nice balance between price and quality. The Monoprice XLR cables are surprisingly robust for the money and are very budget friendly (though the price has gone up in recent times).
On the other end of the spectrum are the Mogami brand XLR cables. Depending on the quality level, you can spend a quick $95 or so on a 25 foot cable (that’s versus $25 for the Monoprice or $40 for the ProCo). The folks that buy them will attest to the increase in quality. I’m a bit undecided on that, myself. Yes, they are good, well built and solid kit. You certainly won’t go wrong buying high quality cables.
A while back, I came across the WBC brand. WBC stands for “World’s Best Cables” and these have proven to be an excellent value with solid build quality. The nice part is they are more budget friendly. When I first started using them, WBC built their XLR cables with only Mogami cable and Neutrik connectors. Since that time, WBC have added a wider variety of cable/connector options with studio-quality hardware.
My only frustration is that sometimes they run out of stock with the specific cable/connector options I tend to prefer. But any of their options are good, and I wouldn’t hesitate to switch to their Star-Quad or Canari cable choices. Just double-check your order to make sure you have the correct type of connectors as they have a wide variety of options on their store. Just to be clear, you need an XLR with a male and female connector.
WBC 25′ XLR Cable – Star Quad w/ Neutrik
Microphone Switching
If you want to set up multiple microphones in your recording booth but physically swap XLR cables to change inputs, one option might be a physical switch.
Most microphone switches are designed for dynamic mics, which means they will not provide phantom power to your mic (if well designed) or will abruptly cut and apply your phantom power when switching – not a good thing for your gear.
Abrupt power switching can be tough on mic electronics. They are essentially being “hot-swapped” – plugged in while the power is being fed to their circuitry. That type of switch can also cause a loud spike to you headphones – not good for your ears or your headphones.
The only one I know works well is not cheap – Radial Engineering’s Gold Digger. It has quiet switching and supplies appropriate power to your large-diaphragm condenser microphone. The Gold Digger will handle 4 separate microphone inputs and supply phantom power to each.
Headphone Amplifiers – Multiple Headphone Outputs
If you have high impedance headphones (like the 250 ohm version of my favorite DT770’s), they may need to receive a higher signal input to drive them appropriately. If you are maxing out the output level of your interface, or if you simply want to have multiple headphones available for your setup, a headphone amplifier should do the trick. These provide multiple outputs and a bit more gain to your cans.
Mackie 4-Way Headphone Amplifier – HM4 w/ AC power
If that is not available, the Pyle PHA-40 is a good option
Headphone Extension Cord – One that won’t immediately fail
Routed correctly, a headphone extension lets you move in and out of your booth without taking your headphones off.
But,for some reason, the connection which seems to fail the most in any studio are those headphone extension cable. Most have cheap, molded connectors with iffy contacts. Fairly quickly, most get buzzy, drop signal or play only through one side of your headphones. (You can always peel them apart and try to replace those bits.)
This unit from HOSA is actually pretty rugged, and has held up well for me and many clients. It uses a straight cable which won’t tangle on itself.
Hosa HXSS-025 REAN 1/4″ TRS to 1/4″ TRS Pro Headphone Extension Cable, 25 Feet
More Nifty Items for your VO Studio
Everyone focuses on the microphone, but when that shiny new large diaphragm condenser (or hip/cool shotgun) microphone arrives on your doorstep, you suddenly realize that there are some other bits you need to equip your setup.
Here are some VO Home Studio Problem Solvers which let you position your script (via an iPad or tablet), put your microphone where you need it (especially if space is limited) or simply organize stuff and get it out of the way so you can focus on being brilliant.
Mount your iPad or Tablet to your Microphone Stand –
Neewer 6-11 inches Adjustable Tablet Mount
I’ve been working off the iPad for quite a few years now (and the savings in paper and ink alone has probably paid for another iPad…) but for a long time did not replace the standard music stand which I had used for printed scripts. After sending back quite a few more expensive but ultimately poorly designed or cheaply made options, I found this rugged piece of gear. For around $20, you get a solidly made mount which clamps your tablet securely in place (no elastic bands or light-duty springs!).
There are two ways to mount it – it either clamps to a mic stand or you can remove the right angle clamp and thread it directly into any 5/8″ threaded mic stand or arm. Here it is in my booth (before I upgraded my treatment):
A Proper Pop Filter For Your Slender Shotgun Mic
Since I always get a question or two about the low-profile pop screen on the front of the Sennheiser MKH416 in the photo above – it’s a Hook Studios 842S Pop Filter Hook no longer offer these through Amazon, but you can get them either through their eBay auctions page or B&H photo. Availability can vary.
The Hook 842S Pop Filter fits over the end of any shotgun style microphone to prevent plosives on your recordings. It’s a nifty little hack. No overwhelmingly large screens to get in the way, and does a decent job of prevent popped-p’s. It’s a nice pop screen option for shotgun mics in general and a Sennheiser MKH416 in particular. I’ve definitely seen the factory foam wind screens degrade over time and start filling in the side fins with foam crumbs. You need the side fins open for proper functionality.
Microphone Mounting Options
I frequently build custom-sized PVC-frames to create a solid structure for a blanket booth (scroll down to the bottom of this page for links to the necessary connectors). Or I’ll work with a client to use an existing closet in their home. In many cases, those booth solutions are size-challenged enough to require creative methods for microphone mounting. Often a floor mounted mic stand takes up valuable real estate. Also, the wider feet array on quality floor stands can get underfoot when moving around.
Here are a few solutions I’ve found to mount a large diaphragm condenser microphone in a space-challenged voiceover recording space –
Stage Ninja – Gooseneck Clamp-on Mic Mount
Easy to clamp exactly where you need it on a PVC-framed booth – or easy to adapt if you are on-the-go recording, this has a spring-loaded clamp on one end and a standard microphone mount thread on the other.
Unlike many lighter weight versions which sag under the load of your microphone, this will stay in position (though I do recommend a wrap of tape of rubber around PVC if you are mounting it into your booth).
Stage Ninja MIC-12-CB Mic Clamp Mount
More from Stage Ninja –
Handy Clamp Mount Tablet Holder
If you are just trying to mount an iPad or similar sized tablet, you might consider this from Stage Ninja – the arm is a little shorter overall, and I still prefer the more robust clamp construction in the Neweer clamp above.
On Stage MSA9505 Posi-Lok Telescoping Mini-Boom
A wall mounted rigid boom arm can be an excellent solution when you have a solid wall nearby and can locate your microphone exactly where you need it. (Note – you’ll likely need the “Flange base” below to mount it – and do make sure you find a wall stud.) These will have some movement adjustment and can be locked into position. On-Stage MSA9505 Posi-Lok Telescoping Microphone Mini-Boom
If you have even less space in your setup, this is the shortest option I’ve found – OnStage Posi-Lok Mini Microphone Boom Arm, Black 15 inch
Wall mount / Desktop flange base for the above arms – OnStage TM08B Microphone Flange Mount
Problem Solver –
CAMVATE Ball Head Crab Clamp with Microphone threading
Just one of those handy little gadgets which clamps firmly to a bar or stand, and provides a 5/8″ threaded end on a swivel ball joint. That allows you to connect a microphone mount directly to it. The ball joint lets you position the mic at any angle. Handy for mounting a second microphone off of a stand or arm (though it will add weight). Camvate Ball Head Crab Clamp with 5/8″ Standard Microphone Threading
Note – this company also makes these with 1/4″ camera threading – great for setting up video or webcams – Ball Head with DSLR/Camera/webcam 1/4″ threading.
Problem Solver –
CAMVATE Non-adjustable Head Crab Clamp with Microphone Threading
Same as above but with no adjustability. This lacks the ball head on the above model. Camvate Crab Clamp with 5/8″-27 threading for standard microphone mounts.
Problem Solver –
5/8″ to 1/4″ Thread Converter (2 Pack)
This is a bit of niche need, but if you have one of the Apogee MiC USB microphones, it has a slight quirk. It’s small size extends to the mic stand threads. It uses a 1/4″ thread (like a traditional camera tripod), rather than the 5/8″ thread used in the US. The little tabletop stand that comes with it has this 1/4″ thread. Often, people will toss out the bits in the box, accidentally getting rid of the “Mic Stand Adapter” which lets you connect the microphone to a regular mic stand. When they go to realize this (always against deadline…) many reach for a quick fix (which can be ugly – suffice to say, “Duct tape was involved…”) or forgo proper placement (never a good solution).
This handy Anwenk Mic Stand Adapter 5/8 to 1/4 Adapter Mic Thread Screw Adapter 2-pack gives you a conversion thread from your 5/8″ mic stand to the Apogee MiC+ threading.
Isolating your VO Shotgun Microphone:
Shock Mounts
Most shotgun microphones come with a “clip” type mount. This can cause vibration to be transmitted to the microphone from your mic stand. I covered the topic of microphone isolation in this resource – “Tuesday Tech Tip: Mic Shock Mount Isolation in Action”.
There are many effective solutions to this problem, though some cost almost as much as a “budget” shotgun microphone… I’ve listed two below which work well but won’t break the bank. These two will fit any commonly found shotgun style mic and won’t break the bank. They will connect to any standard 5/8″ thread (and there may be an included adapter if you are using 3/8″).
I prefer the Rode model as it uses the Rycote brand suspension system, which lasts a long time and does the job really well. It holds any common shotgun mic solidly and isolates effectively.
Rode SM4-R Rycote Lyre Shockmount
Eggsnow Microphone Shock Mount Clip Universal Mic Holder Stand Anti Vibration is certainly more economical: I got one of these a while back and it continues to work acceptably. The original bands are still going strong. The X-type tension arrangement is a bit less precise and the mic slides a bit under its own weight – the Rode Lyre mount prevents that. But this works for simple desktop use – as in Zoom classes and sessions.
Moveable Microphone Boom Arms
If you change position between seated and standing while in the VO booth, or if you want a nice, space-efficient way to mount your microphone, an extendable/moveable boom arm is my go-to recommendation. Basically, this is a “Luxor Lamp” type approach, using friction or internal springs to angle the mic just where you need it.
Be mindful that cheaper versions will tend to sag under the weight or your mic (they are dreadfully undersprung in many cases, or the locking mechanism won’t hold), or those with external springs may resonate when you are speaking (ever heard of a “spring reverb”?)
The Heil equipment is good kit, as is the Rode. I’ve had a few clients get the newer Blue Microphones option (which has a desk/table clamp attachment base) and it appears to be working well. You may need to come up with a creative solution to mount the base – I ended up using a 4×4 with an angled cut in my setup.
Heil Sound PL-2T Overhead Broadcast Boom Arm
I probably set more voice actors and narrators up with the Heil – mostly because it has a very solid wall mount option which can be purchased separately – Heil Sound WM-1 Vertical Surface Mount for Heil Booms
Rode and Blue (Logitech) models are solid, pro-level gear. I’ve had some folks note that the spring in the Blue Compass is quite powerful, and may actually tend to “lift” lighter weight microphones.
RODE PSA1 Swivel Mount Studio Microphone Boom Arm (comes with clamp style base) There’s also the newer PSA1+ (not pictured).
Blue Microphones Compass Premium Tube-Style Microphone Broadcast Boom Arm with Internal Springs
Floor Mounted Boom Mic Stands
In order to get the mic up and out of the way of your copy, I generally prefer to mount the mic “inverted” – hanging down from above with the grille of the microphone pointing towards the floor. (I go into more detail about this in the resource “The Well-Positioned Microphone”). That means if you are going to use a simple, floor-mounted microphone stand, you want to get one with a horizontal boom arm.
Be careful as you start to position the mic – some stands are very tippy. Heavy microphone models will easily cause them to fall over. You might need to add extra weight to the tripod base of your stand.
I have kind of a love/hate relation with most of these – a sub-fifty dollar boom style mic floor stand will never go to waste, but most of them tend to sag a bit under the weight of a heavier large diaphragm condenser microphone. You end up cranking down harder on the lock, which tends to cause them to fail or strip after a while. With some models, you can disassemble the locking mechanism and add a rubber washer, which can help. But… cheap gear is cheap gear. Personally, I like a higher quality extendable arm as shown above. They keep things up and out of the way, without having to worry about accidentally kicking the base of the stand.
OnStage brand stands are generally decent quality. As I mention below, most inexpensive boom arms will tend to fail at the clamp, and I’ve broken a few of these over the years. But if you have a limited budget, these will get your microphone in a proper position.
OnStage MS7701B Tripod Microphone Boom Stand
On-Stage MS9701B+ Heavy-Duty Euro-Boom Mic Stand
A Better Boom Arm – K&M
Almost all of the boom arm pivot clamps on cheaper floor stands eventually fail. Why? We hang heavy Large Diaphragm Condenser microphones on them and then lever them out into the recording space. That’s a lot of leverage on the clamp. When the boom arm starts to slowly sag, we simply crank down harder on the tightening bolt. The cheap innards crack or fail. When that happens, do yourself a favor and replace it with this boom arm from K&M (or you can also get a K&M floor stand to begin with!). It’s well built with real metal parts where it matters. K&M do not try to get by on thin, stamped parts or cheaper bushings. It’s likely the best fifty dollars you will spend on your studio hardware. I bought mine from Sweetwater, but it looks like they are now available through Amazon as well.
Of course, if you are already spending ~$50 for the arm, you can just commit to a larger investment and set yourself up with the complete version. The K&M König & Meyer 21090.500.55 Tripod Microphone Stand with Adjustable Telescoping 2-Piece Boom Arm is a dependable microphone floor stand and you won’t have to replace the boom arm later on… K&M is solid kit.
Handling Reflections in your VO Studio:
NOTE:
Before you invest in sound treatment for your recording space, I’d recommend reading the story of my Vocalbooth upgrade process, where I strip out the aging factory “egg crate foam” and replace it with much better performing acoustic treatment options. I also have some site resources where I talk about the benefits of acoustic panels over foam –
Treating your home recording space: Thwack That Echo!
Proper VO Studio Treatment: Acoustic Panel Possibilities
Seriously Heavy Sound Damping Blankets
I’m a big fan of the Producer’s Choice Sound Blankets from VocalBoothToGo.com – Their VB70G blanket is what I most commonly use for PVC-framed vocal booth setups. However, when they are between shipments – or if you need even heavier material, Audimute is a more “finished” option with some serious damping capabilities. They also have more color varieties, if that’s a concern.
Audimute Sound Absorption Sheet Sound – Dampening Blanket – Soundproofing Sheet (Bone)
Audimute isolé Sound Absorber – Sound Barrier and Absorption Sheet – Sound Blocker (Black)
Auralex LENRD Bass Traps
Oft-recommended for damping the bass frequencies in a small space. This is a set of 4 bass-specific modules which should reduce the bottom end resonances in your recording space.
Auralex Acoustics LENRD Acoustic Absorption Bass Traps, 24″ x 12″ x 12″, 4 Pack, Charcoal
Auralex Acoustics Studiofoam Wedgies
If you like the aesthetics of foam, it’s worth investing in good foam. You can find a lot of cheaper “soundproof foam” packs offered on the internet, but that inexpensive stuff is sometimes worse than nothing at all. Auralex is the foam against which all others are measured. For good reason. This is the “wedge” type foam design. You can rotate the panels 90 degrees to sometimes get better damping. As with all foam of this density, it works best in the midrange frequencies – you’ll likely still need to do some bass trapping with specialty units like the LENRD above or the ATS bass traps.
This is a 24 pack of 12″ x 12″ panels – so you can cover a decent expanse of wall.
Auralex Acoustics Studiofoam Wedgies Acoustic Absorption Foam, 2″ x 12″ x 12″, 24-Panels, Charcoal
Acoustic Damping Secret: How to Get That Foam To Actually Stick on the Walls of your Booth
Most commercial VO booths… heck… EVERY commercially available VO booth needs treatment. But nothing with distract you from a brilliant read faster than foam panels raining down from above. Every week, I get questions from VO’s who used tiny hook & loop (i.e. “Velcro”) dots to put their foam panels on the wall, and are continually having to reset them. They don’t work particularly well if they are on the floor of your booth.
(Note – You can get spray adhesive which will do the trick. That stuff is seriously nasty. The idea of spraying that in an enclosed area and then trying to work in that same space is not way up there on my list. Also – once you use that adhesive, you’ll likely have to scrape the foam off the wall with a knife.)
The reason that most hook & loop won’t stay stuck (I’ll bet you a mic cable that it peeled off of your foam panel, rather than detached from the indoor/outdoor carpeting material on your Vocalbooth or Whisperroom or Scott’s VO Booth Wall) is that foam is basically air. You’ll notice that when you stick that consumer-grade hook & loop bit onto your foam, it really doesn’t want to stick. I solve this in a two-step process.
Step One: Get the most annoyingly sticky “Hook” material you can find
I like this – it comes in two separate rolls (you just need the “Hook” part of the “Hook & Loop”), has ridiculously sticky adhesive, and includes a bunch of color-coded cable ties (which is always helpful).
FixZilla 1 inch x 15 feet Black Hook and Loop Strips with Adhesive Heavy Duty
Step Two: Reinforce that annoyingly sticky Hook material with a Hot Glue Gun
You may already own a “craft” type of hot glue gun. Go ahead and glorp a big glob of glue on the back of your “Hook” material. Then slap it into place on your acoustic foam or foam bass traps. That will penetrate into the open cells of the foam material and reinforce the industrial-grade stickiness of the adhesive. (WARNING: Glue gun glue has the potential to give serious skin burns – use at your own risk and follow all manufacturer recommendations). If you need a decent model, this DeWalt is a good option.
DeWALT DWHTGR50 Rapid Heat Ceramic Glue Gun, Yellow
The Hub of Your Voiceover Booth:
Connecting Your Computer or…
“Where the heck are my ports?”
Voiceover Studio Truth: You need more ports. Newer models of laptops have been reducing the types of ports we need to operate a VO studio – here are some ways to address that issue.
Note: New MacBook Pro Models introduced in late 2021 have actually added back bring back some ports and the MagSafe charging connection. One thing that has not yet returned is the ethernet port…
Computers – particularly laptops – get slimmer and lighter every year. But this causes a problem: manufacturers… and yes, Apple, I’m looking at you here… continue to drop off the connection ports we need to get our work done. Your new Macbook likely lacks the ethernet port to be wired on a Connected / Directed Session (and as I mention in this resource, best practice for Source-Connect, ipDTL or other methods is to be wired to the internet). On some models, even the power cord is difficult to attach once you have plugged in your interface.
As I’ve said many times, CalDigit and OWC (MacSales) have very solid, studio-worthy hubs to provide all the connection options you might want. I find the quality to be consistently high and those are my strong recommendations if you can afford it. Like interfaces, hubs have to do their job well every day, so it’s worth budgeting for good equipment for this part of the recording chain.
USB-C Docks from CalDigit and OWC
OWC USB-C Travel Dock, 5 Port with USB 3.1, HDMI, SD Card, and 100W Power Pass Through, Space Grey
If you want something at the other end of the budget, or just to have as a solid backup for your desktop computer (such as a Mac Mini), this Falwedi 10-in-1 USB-C dock offers quite a range of options – USB 2/3, Card Readers, HDMI and ethernet ports, as well as a VGA converter if you need to run a second monitor.
(Note: There continue to be a bunch of these… let’s call them “less well known” brands which to pop up. No matter which one you purchase, it’s good practice to keep the shipping material and open them carefully. In some cases, your hardware might not play well with a given dock, and these sometimes do change spec without notice. If it doesn’t work, send it back!)
The Falwedi above does not supply charging, so if you have a laptop which charges through the USB-C port, this Anker USB-C dock model will permit charging. It is designed to plug into the two USB-C ports found on certain MacBook Pro models.
With the introduction of the Apple Silicon M1 computers, I have had more clients going back to laptops. The speed of the new chip is pretty amazing, and the efficiency means that you don’t end up with a very (VERY) warm computer when you get a fanless model.
The downside is that you eat ports pretty quickly, and need a way to power your laptop. The OWC and CalDigit options above do that, but the smaller Falwedi USB-C multi-port option above isn’t my favorite for trying to power a laptop. In order to power/charge your laptop via a USB-C dock, I had recommended a few other less expensive models, but those have seemed to suddenly disappear this year (chip shortages are everywhere!). The others I have seen get pretty close to the price to the OWC unit above. I’d still nudge you to the OWC 10 Port (above) or the 14 Port Thunderbolt 3 dock below.
Thunderbolt 3 Docks from OWC
If you want to run from the Thunderbolt 3 connectors on the newer Apple computers to maximize the speed or use other monitors, there are the following options – (Yes – Thunderbolt 3 docks are more expensive…)
OWC also makes a “Mini” Thunderbolt 3 dock which does not supply charging – listed below.
OWC Thunderbolt 3 Mini Dock w/HDMI 2.0, Ethernet, & USB
CalDigit Thunderbolt 3 Dock
CalDigit also makes a “Travel” Thunderbolt 3 dock which does not supply charging – listed below.
Reclaim Some Desk Surface Space
With some teaching setups, I’m running laptops and tablets and my regular studio rig all at the same time. I kept needing a little more surface area on my desk when I came across this solution – a nice, sturdy aluminum riser for the laptop. Not only that, it let my – ahem – slightly historic Macbook Pro have a bit more cooling airflow.
Add a Desktop Surface to Your Small Voiceover Space
As much as I encourage folks to keep the computer out of the recording area, the new Apple M1/M2 series computers are dead silent. The Macbook Air has no internal fan, and the Macbook Pros are running so efficiently that many are convinced they don’t have them either. (They do, but most of my clients have never heard them come on…) Also, no matter how small your recording environment is, it can be helpful to have usable horizontal surface space from time to time – whether to just set down your water bottle, or position your keyboard and trackpad for punch-in recording on audiobooks.
This adjustable height desk has a small footprint (less than 22″ square) and can adjust from around 27″ in height to more than 45″. It has a front surface area with an adjustable angle, and a rear section which can be adjusted separately for height. The material is fairly dense and shouldn’t resonate, but you may need to damp it with soft material depending on the sonic quality of your space.
Lighting for Your VO Booth
Anyone remember the “Easy-Bake Oven”? The entire cooking source was a 60 watt lightbulb. We humans put off something like 100 watts (simplifying greatly) of heat. And we seal ourselves in a small space while we’re working. So, the last thing I want to do when setting up a recording space is add heat.
I quickly noticed that the lighting fixture which came with my booth tended to get a bit warm to the touch, so I replaced that with a “cool” LED rope light. Twenty feet of rope light runs the perimeter of my 4′ x 4′ ceiling, and leaves another four feet in one of the corners. Since my scripts are all floated onto my iPad, I’m not using it to read (though still have a clamp-on LED light if needed. The LED’s give a nice glow to the creative space
The lights I’m using actually came from Costco, but they have long since disappeared from the aisles. I’ve had a few clients use this model and it seems to run nicely cool to the touch and trouble-free.
Note: Make sure you select the 20′ option if you want the longer version. Also, when you first install yours, watch the waveform in your recording software for interference – occasionally you’ll get one with a bad converter that makes a bit of electrical noise.
Keeping The Power On – Battery Backup Systems
Pretty simple: If you lose power, you cannot record. Uninterruptible Power Supply (UPS) units continue providing power to your system if you lose electricity, so you can finish what you were working on without a catastrophic computer shutdown. They are basically battery backup systems, but have gained a lot of features and sophistication over the past few years.
You can get quite sophisticated in approaching this problem (generators, solar panels for recharging, etc.), but the best way to start is by figuring out what you want to cover. To keep a Live Session going you’ll need to keep powering your local network and internet access, for example.
As with all electronics, models change frequently. But these are units which have proven to be solid and provide basic backup power in a recording situation.
CyberPower CP1000PFCLCD PFC Sinewave UPS System, 1000VA/600W, 10 Outlets, AVR, Mini-Tower
VO Booth & Studio Air Quality:
Consider a Booth Air Filter
Even if you don’t have seasonal allergies or sensitivities, I think it’s a good idea to take care of your air. Dust and airborne molds and spores tend to settle within enclosed environments. Then we place ourselves inside that same space and breath. All that stuff gets into our lungs and on our vocal folds. Filtering the air in your studio and booth is a good investment in long term vocal health.
After a bunch of research, I purchased one of these Coway filters – it has a four stage filter system with a true HEPA. It’s quiet enough (at low speed) that I can run it outside my booth when recording. It has a sensor which cranks up the intake fan when there is more particulate matter in the air, so it can go into “take off” mode on its own (though you can set a manual speed which won’t change).
3 Years of use – still going strong!
We used ours for a couple years (vacuuming the intake filter regularly and replacing the main filter after each year) and definitely notice the difference. It’s generally in the studio room but every couple of weeks I’ll close it into my booth to run overnight.
Coway AP-1512HH White HEPA Air Purifier, 16.8 x 18.3 x 9.6
Stepping outside your VO Booth:
Using a Standing Desk?
This foot mat has been great!
Switching to a standing desk has been one of the best studio upgrades I’ve made. It’s been a few years now, and the ability to switch between standing and sitting positions helps to maintain energy throughout long editing and audition sessions.
When I first added the standing option at my editing/computer desk (I generally stand when in the actual booth), I noticed simply standing in one place on the floor got less comfortable quite quickly. One of my audio consulting clients put me on to the Topo Anti-Fatigue / Foot Comfort mat which solved that issue quite effectively. In addition to ample supportive padding, it’s got angled sections so you can stretch your calves and change the position of your feet. It encourages you to explore different foot arrangements – resulting in just enough moving around to keep things comfortable.
Topo Comfort Mat by Ergodriven
There are other options out there, of course. But this one has held up well.
Cameras for your VO Studio & Booth:
Zoom Class / Session / VO Workshop Camera Upgrades
Even before the Shelter-In-Place lifestyle of 2020 made Zoom a widespread verb, I’d been recommending the Logitech C920 (now the Logitech C920X) as an excellent upgrade to onboard cameras. They can be placed in better locations, clamp to monitors, have a threaded base which can be placed on a tripod. Once you get the video camera in a proper position, the upgrade in video quality is significant. These will provide HD 1080 video.
The camera’s internal microphone may be better than your computer’s onboard mic, though it’s tough to balance proper camera distance and proper mic distance. I always recommend using your VO booth mic or putting a “backup” mic on your desk to cut down on the typical “echoing” sound of most Zoom or Skype sessions. (And we can cover the “how-to” of that in a short session, if you are looking for better sound in your Zoom sessions)
Availability can be tricky
The only problem with the Logitech occurred when everyone suddenly needed a better quality camera. Availability on these vanished and prices skyrocketed. Things have settled down a bit these days, with models reappearing and pricing dropping (at least to “list”, rather than 3-5x…). The main issue continues to be getting them quickly – so plan ahead!
(Note – the C920 is a good unit, but as of 2021 seems to have been “retired”)
The current model is the C920X
Logitech C920x HD Pro Webcam, Full HD 1080p/30fps Video
If for some reason that model is again out of stock, here are alternative models which may be a few bucks more in price, but are basically the same thing:
Logitech C925-e Webcam with HD Video and Built-In Stereo Microphones – Black
Logitech 1080p Pro Stream Webcam for HD Video Streaming and Recording at 1080p 30FPS
Logitech C922x Pro Stream Webcam – Full 1080p HD Camera
Logitech C920 Hd Pro Webcam (Black) Black
Build Your VO Booth:
PVC Frame Connectors
To build a soft-sided voiceover recording booth for your home studio, you need to have some sort of frame. I’ve crafted dozens of simple, rigid frames to suspend heavy moving blankets – here are a few connectors which always seem difficult to find.
I’m building up a more comprehensive resource for those of you DIY types who want to create your own PVC-frame for a soft-walled vocal booth.
But, since I’ve had to look up these links repeatedly, I’m putting them here for quick reference:
Assuming you are using 1″ (Schedule 40) type PVC for the frame (which you still gotta go somewhere and get – it doesn’t ship easily…):
Home Depot seems to be regularly out of stock on the 4-Way and 3-Way elbows. I typically get those through Amazon (Formufit are preferred, but they seem to go in and out of stock as well, so I’ve listed some “alt” versions) –
4-Way – https://amzn.to/3gLMLiz – (alt) https://amzn.to/3KPKzWR
3-Way – https://amzn.to/33NmahE – (alt) https://amzn.to/3KQajSY
Which means it’s also simpler to get all the connectors at the same time.
T-Connector – https://amzn.to/30JTT9G
90-degree Elbow – https://amzn.to/2XMgh0k
Cross/Plus Connector – https://amzn.to/33KZgHz
Be Careful! PVC can be tricky!
PVC tubes can get really messy (and time consuming) if you use a saw to cut it – I use a specific PVC cutting tool (mine is “Husky” branded but those seem to be discontinued). These are a couple others which are ratcheting and seem to be reasonably well constructed (there are more expensive commercial-grade tools as well). The really cheap models tend to flex and cut unevenly. Ratcheting ones are generally safer (you’ll start to feel it if it’s cutting your hand), but all of these can remove your digits very easily, so BE CAREFUL!
Armour – https://amzn.to/33OBcUa
Ronan – https://amzn.to/3ak8goj
Organize Your Year – My Favorite Calendar
This may not seem like “gear”, but one of the things that I’ve always liked is a simple year-at-a-glance calendar. It serves two purposes – first, as a way to see the big picture (something which I’ve yet to see done well in any kind of digital system. Important dates, projects, commitments, well-deserved breaks are all easy to block out in a way that is a quick visual reference. NeuYear.net has a number of designs – everything from heavy paper stock (the type I prefer) to dry-erasable if you need. Monday first? No problem! Sunday first? They have that too! Vertical or Horizontal orientation. Pick something that works well for your view of the year… then get planning!
Looking for the Reading List?
I’ve created a separate page for books and reference materials which I’ve found to be helpful in developing and maintaining creativity in my voiceover business.
Something you aren’t finding here? Other questions or VO equipment needs? Let me know –
If you have require immediate help
I can work directly with you on-site or remotely. It’s easy to set up a free 15 minute session for new clients, or reserve a time to work together.
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