Philosphy? Amps? Wtf??

[PierceVoice]

Disclaimer: I originally came here to talk tech. I don't know where I went astray, but rather than run from my tendancy to wander, I'm just gonna post.
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I've decided that I must... MUST have a Universal Audio LA 610. Dammit. It's gonna set me back something like $1300 when I get ahead far enough to be set-backable. Luckily, I've decided that my current Pro Tools Plugins setup is good enough to be proud of. I've got a great mic, and some great production background to fake it until then. Plus, I actually easily located a lower-cost ISDN studio in town just in case.

Now... what?

Well, I've grown my voice over intake over 600% this year. That said, I've only been really working at seeking out gigs for less than a couple of years. Likely I'm in for a heavy plateau. Also-- to clarify-- I haven't really ever made much of any cash whatsoever in VO, so the stat is sort of misleading. Something always sounds better when you have NOTHING.

BUT, the way I see it, if I can grow by 100% (at least) every year for the next several, I'll be pretty satisfied. Well, maybe 215% every year. Yeah, that might soothe my ever-present need to keep moving.

So, hey, check out the new logo. Neat, huh. I might even use it more. I've got 2 agents sending me auditions, I'm with the made-my-money-back-already Voices.com, and the notsomuch VoiceHunter (which, however, has suprised me with 2 recent auditions). I've even hooked up with a great coach in Marc Cashman.

So, for 2009? I guess I'll keep at it. No one's getting hurt. As for that LA 610-- I may need to stretch the figures a bit to convince my wife. Of course with the support she gives, I probably won't have to dance too much for it. A little, but I'd never complain.

[lanceblair]

Consider:
John Hardy M1, Great River, Speck 5.0. You probably don't need the compressor while tracking.

Also consider:
What is your converter and or sound card? That can make as big a leap in the sound as a preamp upgrade in terms of making it sound full and dimensional.

[PierceVoice]

Lance,

I'm plugged directly into my MBox and it's heading right to the PC via usb.

Thanks for the suggestions-- checking them out.

[Greg Houser]

Consider:
John Hardy M1, Great River, Speck 5.0. You probably don't need the compressor while tracking.

Also consider:
What is your converter and or sound card? That can make as big a leap in the sound as a preamp upgrade in terms of making it sound full and dimensional.

Don't forget Buzz audio, Purple, API, Brett Avril, Little Labs, Sebatron, Avalon, etc.

Loads of good choices out there. A lot will have to do with the type of VO you do on a regular basis.

La 610? Depends on what you're doing, but most the folks I know using them are only using them for imaging and promotion. I still prefer separate outboard units for compression personally, but they're not bad if you're willing to do the compression while tracking (which I do not recommend... limits you in a lot of ways).

If you go for the UA "re-issue", be prepared to spend an additional $200-300 to upgrade the tubes (Mazda, Telefunken, and Mullard seem to have worked the best for me... in that order). The UA 610 preamps don't sound nearly as nice with the el-cheapo tubes they usually ship with.

[lanceblair]

What are the El-Cheapo tubes that they ship them with? Sovtek?

I read that the new LaChappell preamps come with new production cheap JJ tubes and sound good. (I'm a fan of new production JJ and Tung-Sol tubes). I find the Tele and Mullard tubes have far better response...most notably iin the area that usually gets knocked out by the High Pass Filters.

As Greg wrote, there are so many great preamp choices out there today. I hope all the manufacturers survive this downturn.

[PierceVoice]

Looks like it's always gonna be a matter of very personal taste... for voice folk. I don't think producers are as particular about recording devices as our ponderings might suggest we think. Do they know if you're on a Neumann, Audio Technica, or a Shure Handheld? Maybe. If you know what you're doing in your booth and on your DAW, I challenge that though.

So why do I want an expensive doohickey to plug into my other expensive thingamabob? As dumb as it sounds-- because I want it. I can't argue a completely rational point. Hell, just because all those promo guys use a shotgun mic connected to an Avalon doesn't mean that's the way to do it, right? Some of the worst sounding audio has come from the best, most expensive equipment... not naming names, but I've heard it and felt embarassed for the actors.

Anyway, it's gonna be awhile between now & another tech investment for this gearhead. Sure is fun to talk about, though. I'm looking at every brand/model named, too-- thanks.

[Greg Houser]

What are the El-Cheapo tubes that they ship them with? Sovtek?

Pretty much whatever 12A style they can get their hands on at the time. My first UA 610 came with an unbranded Sovtek and a JJ. I wasn't happy wtih them and very nearly returned it until I decided to toss in some better tubes (GE if you can believe it). What a difference! I've experimented from there and settled on Telefunken Platinum Smooth Plates as the best bang for the buck combo.

I read that the new LaChappell preamps come with new production cheap JJ tubes and sound good. (I'm a fan of new production JJ and Tung-Sol tubes).

Not a fan of the Tung-Sol remakes, but the originals are great. Seems like the quality of JJ changes from batch to batch. As for the LaChappell preamps, they'll send them to you with whatever tubes you want, but I think you're right that JJ is the default tube used.

As for the rest of the stuff producers and studios are going to be concerned about three things:

1) Is the gear you use reliable or easily replaced?
2) Is the signal clean?
3) Can you deliver the goods?

The first question is one that's rarely asked, but some folks do ask it. If you know what you're doing, it doesn't matter because you can run down to the local Guitarget and buy a $200 condenser and still do the job.

The second two are the biggies, and if #3 isn't an unresounding "yes", then the answer to question #2 doesn't really matter.

Put another way, my normal recording chain is one that no other VO talent uses (to the best of my knowledge). Much of it is boutique, and really works well for my voice and the voiceover work I do. That said, it doesn't matter whether I'm in my studio or go to another studio to record.

They're probably not going to have the same recording chain that I use.

Regardless of the recording chain used, they're going to get a strong performance from me as the talent.. The only thing which will be up for grabs at that point is whether their gear is capable of recording a clean signal. Everything else is a matter of mic technique, performance, and the abilities of the recording engineer...

If they can't record a clean signal, then they've got bigger problems than me