I did some new voiceover for Char-Broil and their TRU-Infrared grills.

Love these spots as they're very 'attitude-filled' yet friendly. Great tongue-in-cheek irreverence and the guys at The Variable agency are SUPER easy to work with.

thanks guys,

More of these up on the Char-Broil website or Youtube.

Moose

I did some new voiceover for Char-Broil and their TRU-Infrared grills.

Love these spots as they're very 'attitude-filled' yet friendly. Great tongue-in-cheek irreverence and the guys at The Variable agency are SUPER easy to work with.

thanks guys,

More of these up on the Char-Broil website or Youtube.

Moose

I've made (and am making) some updates to the demos in my demo area.

Be sure to check em out if you haven't already.

Thanks,

Moose

Microphones are a tricky thing with voiceover people. Some people swear by the $3,000 mic while others get just as much satisfaction with a $200 USB microphone.

It varies between every talent. What works for you may not sound good for them.

Enter the Virtual Mic System.

A Virtual Mic System, or 'VMS', is essentially one hardware mic that's connected to a software program that allows you to use different models and makes of microphones.

Don't like the Nuemann U87? Click here to try to the U47! Your voice too muddy on that U47? Click on the Sony $10,000 virtual mic in the software!

Of course none of this means a hill of beans if your studio space isn't acoustically right. But I digress.

Anyway, I was lucky enough to get a demo of the Townsend Labs Sphere VMS. Long story short, I was supposed to do a video review on my Youtube channel, 'Sound and Receive', but because of various reasons and health issues (goodbye Uvula!), I haven't been able to get the video done.

Here are my thoughts on these two VMS microphones. I get a little into tech stuff but nothing too 'nerdy.'

Thinking they were going to be beating down my door for the mic to be returned I saw that the Slate Digital ML-1V ('V' for vintage) was on sale for $700 (down from about $900). So, I jumped on it.

I figured I could get the Slate 'in the chain' and comfortable using it when the good folks at Townsend Labs said 'GIVE ME BACK MY MIC, SON!'

Here's the thing, though. The ML-1V (let's call it the 'Slate' from here on out, k?) wasn't that good.

The software was kind of cumbersome to use and, more importantly, it wasn't the best sounding.

Here's my problems with the Slate.

• You need a physical iLok to use the software. They have virtual iLoks but Slate only has that capacity for the products they have that you do the 'annual pass' on.
  • Huh?
• Setting the plugin to get your emulation is tedious. It doesn't remember what setting you had on last and just navigating the options is far from intuitive.
• Did I mention that it doesn't really sound that good?
  • From mic-to-mic I didn't really notice much difference in the microphones in the Slate. Maybe that's an issue with my setup and chain but the same chain was used when dealing with the Sphere. Hmm.
• No pattern switch, high pass, bass-rolloff or other physical switches on the microphone itself. Pad, anyone?
• Mic build quality seems cheap. Yeah, it's a metal bodied microphone but something about it (the chrome around the capsule basket?) comes across as not the best quality.
  

Here's what I DID like about the Slate...

• Classic U47'ish look to it

..and that's it.

As for the Townsend Labs Sphere, I found myself constantly using it in auditions and even for the podcast I do with my wife. Did I book work while using the Sphere? Not really but I did get potential clients hitting me back about auditions I sent them.

I think the non-booking was mostly because I was (naively unaware) that I was sending audio in 96kbps bit rate which doesn't sound too good. But more likely, the reads I gave them (tone, inflection, pacing, whatever) PROBABLY weren't what they were looking for.

In fairness to the Slate, here are my problems and pluses with The Sphere, starting with the problems...

• It's black. I'm not a fan of black microphones. I like a nice brushed nickel beast* in front of me.
• Need 2 XLR inputs to realize the full potential of the mic. Not a problem if you're just using it for forward-address micing. But if you're looking to get into omni-directional stuff or you're wanting to mic 2 sources in a figure 8 pattern, you should have those 2 inputs available. I had to buy a channel strip to accommodate this capability but only because I might need it for the podcast or recording my music (guitar, etc.).
• The calibration mode would just, out of nowhere, start flashing and telling me that I need to calibrate the microphone. "Ugh, I DID THAT ALREADY!"

Here's what I DID like about the Sphere...

• Easy to use. Before I had a UA Apollo interface I had an Audient iD22 and even with that iD22 it worked seamlessly. Just add the plugin Townsend gives you to your track and you're good to go.
  • After I got the Apollo, things got even easier. The Townsend is engineered to work with the Apollo software and it really seems native to the program. You download the Sphere plugin from Universal Audio (it's free), open and install it and it's pretty much ready to go. Open the UA Console and it'll be there.
• Actual physical switches on the microphone for things like pad, rolloff
  
• Finally, it just sounds better. I don't know how to explain it except the sound is fuller and seems more like it's been tested, tried and QC'ed until the cows come home. My guess this is going to almost HAVE to be the case with a company who has one product.

As far as the mics I've emulated with the Sphere, I've used the '47' the '251', the '12' , the '87' and the '416.'

I found that the 251 is what I sound best on with the Sphere. I hear more resonance on my voice with this mic. The '87' has a clean mid-range boost that suits my voice for audiobooks. I've only KINDA used the 416 mic because I have the real thing in the studio. Based on my non-scientific comparisons, the Sphere gets close to the classic 416 sound but doesn't quite nail it. I'll do a quick shootout between an actual Sennheiser 416 and the Sphere 416 hopefully soon.

It just dawned on me that I didn't list any of the emulated mics that I tried on the Slate. I think that's telling because nothing really stood out. I THINK the 251 on the Slate was fine but, honestly, between having to plug in my iLok and the ploddy application of the software, it didn't really invite me in to WANT to mess around with it.

To wrap up, I mostly use my actual 416 but the Townsend Labs Sphere is a fantastic microphone to have on hand.

It's my go-to for doing audiobooks and anything else that I need a natural and not-in-your-face type of read. It's build quality is pretty solid and even the mic itself WITHOUT the emulation on sounds pretty good.

I wanted the Slate to work but I'd honestly pay the extra $400 for the Townsend Labs Sphere. Luckily I have that covered (and then some) from the sale of the Slate.

Thanks to Erik Papp from Townsend Labs for sending me the demo unit. Look for some examples up here soon.

-Moose

*'nickel beast'= worst Nickelback cover band ever.

Had a great time the other day updating a spot I did with The Woo Agency.

Got to work with them and the super pros at 740Sound.