Here’s What a great home studio looks and sounds like… welcome to studio 3!
Not all home studios are created equal… And since the pandemic, more and more producers have found themselves caught out by voice talent using sub-standard spaces to record in – only finding out that the “studio” isn’t up to the job when they’re already working on the clock, or working with a client. Or both. Not good…
“Studio 3” is - as its name suggests - the third studio I’ve built in my time as a Voiceover Artist. I prefer working at my DAW and at my desk, to heading into a booth every time I want to lay something down. So this is the workspace I created back in 2015. I grew up in “proper” radio studios at the BBC, so I’ve used and seen lots of kit over the years, as well as watching the tech evolve. For me, “broadcast quality” is definitely still a “thing”.
The room is 8’ x 11’, double walled with Roxul Safe-n-Sound in the space between, and with a selection of acoustic panels, foam and bass traps, to give it a sound I’m still proud of.
More and more producers are (rightly) paying more attention to the build and makeup of a Voiceover Artist’s home studio setup, and asking for photos and a list of kit. Inspired by the latest in a series of such requests, I decided to go one better, and give you a walk through what’s in my rig - and how each earned its place in the lineup. I can vouch for all these members of the team, and tell you why they’re here.
There are also the Support Acts, which space doesn’t allow a mention for here, but please put your hands together…
Meet the band!
Here are the star players in my current lineup: the kit I use and depend on every day
Primary Microphone: Neumann TLM 193
My main voiceover microphone is the Neumann TLM 193, which I first started running into in studios in London, at places like National Geographic and HISTORY.
It’s said to have a slightly “darker” sound than its “brighter”, and more popular, stablemate, the TLM 103 (in fact I’ve heard tell that it was Neumann’s least successful microphone ever, in terms of sales!)
But it’s a great match for my voice – especially on the longer narration projects which I enjoy so much. I test drove a 103, but it was too harsh for the slight “edge” my voice already has. Interestingly, one of the criticisms I hear (particularly from female colleagues) is that they feel the 103 can exacerbate their sibilance.
I also took the U87 for a run at one point, but it didn’t like my old room. Like many people, I find it to be a little finicky about the space being “just so”, and that’s partly how the TLM 193 became my go-to microphone over a decade ago. I nearly switched to the Dark Side and a Sennheiser 416, though - more on which later…
Preamp/Channel Strip:
Focusrite ISA 430 MkII Producer Pack
While many voice talent get by just fine using the microphone preamps that are built into their interfaces, there came a point where I wanted more control – and the ability to add hardware compression, for when projects demand I get “shouty”, or require a wide working dynamic range.
The (sadly now discontinued) ISA 430 MkII Producer Pack contains Focusrite’s “heritage” preamp, along with a full channel strip that includes compression, EQ and a de-esser. According to Focusrite, the unit is:
“…closely based on the original ISA 110 mic pre and subsequent ISA 130 dynamics sections originally designed by Rupert Neve for George Martin's Neve console.”
It’s a very versatile unit, although most of what it offers never gets used by me, as producers usually just want a clean, unprocessed sound. But the compressor works very nicely as a transparent “peak limiter”. And anyway, it’s always good to have options…
The 430 has, admittedly, been a slightly temperamental unit for me. The first one I had developed a problem almost immediately and was replaced under warranty; the one I have now ended up going to AMS for repair twice, four years later. My hunch is that it’s a bit precious about the AC supply feeding it, but who knows…
I keep a dbx 286S channel strip for backup (which deputised impressively well for the 430 while it was away). And while it was out I also trialled a Neve 8801, courtesy of the nice people at Sweetwater, and was very impressed by the similarity between the two. So, if the 430 goes down again, I at least know what I’ll be replacing it with…
Primary Audio Interface:
Focusrite Scarlett 18i20
Back in “Studio 2”, in London, I used a mixer with Aux buses to get the sound into my interface and make sure anyone listening in could hear the things they were supposed to. But faders get dirty over time, and when you’re just opening them and closing them, without doing any actual “mixing”, it seems like overkill - as well as a huge waste of space!
When I put together “Studio 3”, after my move to the USA, I decided to Marie Kondo the mixer (it had long since ceased to “spark joy”) and replace it with the Focusrite Scarlett 18i20 interface, which does everything my Mackie mixer did, but is controlled in software.
My one criticism is that MixControl, Focusrite’s control surface, can be a little… buggy. On the Mac it has an annoying screen glitch that’s been waiting for a fix for over two years. But that aside, the whole thing has been very reliable. <crosses fingers>
DAW Software: Pro Tools and REAPER
Around the same time as I started running into the TLM 193 in London studios, I also started running into Pro Tools. I’m sure I must have a reputation among Audio Engineers as The Boy Who Never Stops Asking Questions, but fortunately Engineers usually like to geek out too. The friendlier ones were able to explain some of how it worked, and in the end I took a course with a music producer at the City Lit in London, to fill in the gaps and explain some of its more arcane features.
I used Pro Tools exclusively for over a decade, but like many people I’m frustrated that Avid’s updates lag so far behind Mac OS updates - leaving you in the position of needing to hold onto old system software to ensure compatibility, long after potential bug and security fixes have been implemented. Not good. Then I started to have little problems with Pro Tools on a daily basis that got in the way of my workflow (like it randomly ignoring key presses).
So I decided to take a closer look at REAPER, which has quietly been building quite a reputation for itself. I’m blown away by some of the features REAPER offers - many of which really ought to be available in Pro Tools, and after a few weeks of using it I decided to switch my production to REAPER full time. I love how customisable it is, from being able to change the whole look of the DAW (I “skin” mine to look like Logic Pro, which is gorgeous to look at…) to being able to assign keyboard shortcuts and do some quite complex mastering and file creation stuff - including post process normalisation - at the output stage. Oh, and I also love the pricing.
As a happy coincidence, the introduction of the free Pro Tools Intro software means I’ve been able to let my Pro Tools subscription lapse and still have access to my existing projects, or to work in Pro Tools if a client were ever to insist (though no one ever has).
Plugins & Processing
For any audio cleanup that’s needed, my go-to is Izotope RX Advanced. It’s Mouth De-click module lives in my chain, (usually along with a very small dose of Waves NS1 on non-audiobook work).
And at this point I’d find it hard to live without RX-Connect, which allows for a repair job to do a round trip from Pro Tools to the RX Editor and back at the press of a button – kind of like Adobe Audition’s cleanup tools, but on steroids!
The Waves Renaissance Vox plugin also makes for a great VO compressor, when I’m in a hurry and just want to add a little “punch”, without getting into the weeds of setting up a compressor every time.
Remote Connections
My live remote sessions are powered primarily by Source-Connect Pro (since 2008!) and Source-Connect NOW - find out more here.
I can also connect with you using any VOIP codec of your choice (e.g. ipDTL, SessionLinkPro, CleanFeed), Skype, Zoom, or even the good old telephone…
Phone Patch: JK Audio Podcast Host
Again, many people get by with a speakerphone, or fiddling around with earbuds to give their clients a way to listen in to sessions. As you’ll have gathered by now though, I’m someone who cares a lot about having the right tools for the job.
It sometimes surprises me how many clients still want to “dial in” to listen to a session. But when they do, this little box of tricks ensures they can hear me, and the playback from Pro Tools, properly.
My phone patch in London was a crusty old analogue thing that seemed to create more noise of its own than it let through from the mixer, but this unit from JK Audio is all-digital - and does a splendid job! Interestingly, it’s sold as both the “Podcast Host” and the “Broadcast Host” – the only difference being the decal on the front, and the price…
Backing singers
Bringing up the rear (so to speak) are the following supporting players in my studio setup
Secondary Audio Interface:
Focusrite Scarlett 2i2
The 2i2 is many people’s main interface. In my rig, it’s a backup – and the way I route audio for anyone on a VOIP connection. If you connect with me via Source-Connect, ipDTL, Skype, or anything similar, there’s a good chance I’ll be using the 2i2 to make sure we can both hear what we’re supposed to.
Why? Because some programs like to “take control” of the audio interface and do weird things with the signal chain (I’m looking at you, Skype!) Personally, I like to keep the ones that do sandboxed and well away from my recording chain. And I find it so much easier – having a separate interface – than trying to do that in software…
Monitors: JBL LSR305
Computer speakers and hi-fi speakers aren’t the right thing for monitoring studio audio. Having a flat frequency response is the only way to know what your recording really sounds like – and to hear any defects, like sibilance, or “pops” on plosives (or my “pesky whistly ‘ess’”).
These powered monitors from JBL are the perfect desktop solution, and have served me well since 2015. I miss having speakers that mute automatically when the mic is live - like in radio studios - and have been trying to find a solution to do this from Pro Tools. (If you know of such a solution, please let me know!)
Headphones: Beyer Dynamic DT 770 Pro
People describe wearing these as “like having kittens on your ears”, they’re so comfortable. But they’re also great closed back monitors, with a clean, transparent sound. They have a nice, even frequency response and don’t emphasise anything they shouldn’t.
They’re such great “cans”, I love them for music too. I’m someone who has an almost pathological need to keep buying headphones, but if you only want to buy one pair, then these would do most people very nicely.
Studio Assistants: Alexa & Siri
While my Studio Manager is still the ever-reliable Ted, Alexa and Siri are invaluable members of the team, too. I got into Home Automation a couple of years ago using Apple HomeKit, and having connected devices in my studio means there can be some clever and time saving automations.
Alexa and Siri both have routines that can turn off the air conditioning in my studio, turn on my recording light (so anyone at the door can see I’m working), and turn off my Bose speaker and the humidifier I use to keep the plants happy. The Shortcut on my iPhone can also switch all of my Apple devices to my “Recording” focus mode, so I’m not disturbed. Then, when I’m done, a quick shout to Alexa or Siri and they’ll put everything back the way it was.
They’re useful for quick research questions or setting alarms, can help with currency conversions for invoicing, can tell me what the time is (when my clients are in far-flung places) and they never get cross when I get “snippy” with them…
Tour Bus
When I travel, here’s what I take with me. I keep a “go bag” containing a microphone, headphones, interface and so on, so I’m ready to hit the road at a moment’s notice.
If I have a car, I’ll usually record in that. They make amazingly good recording spaces acoustically, and if it’s not quiet enough where you are, you can always drive to somewhere that is!
If not, I take a Harlan Hogan Porta Booth Pro with me as carry-on. It’s not a perfect solution, but with a little help from software like Izotope RX8 Advanced, it’s amazing what I’m able to turn out when I’m not actually in the studio…
Secondary/Travel Microphone:
Sennheiser MKH 416
This is the mic of choice for many. A shotgun might seem an odd choice for voiceover work, in a landscape dominated by Large Diaphragm Studio Condensers. But TV promo producers in L.A. took to the 416 and made it their microphone of choice years ago, and it’s developed a huge following in the VO community, particularly in America.
That’s because it packs a much bigger punch than that small diaphragm might suggest. It brings an “edgy” sound to the session that can be very effective at cutting through compressed music and FX. Then again, some folks hate it… Personally, I think it has a lot of nuance for a mic that was never designed for voiceover use.
In my home studio, its high directionality means it tends to pick up the little bit of reflected sound off the studio door behind me, which is one of the reasons it now lives in my travel setup. On the road, that same “focus” can be a life saver in a less-than-ideal room (like a hotel bedroom). It sounds uncannily similar to my TLM 193, and as such, it goes wherever I go on the road.
Portable Preamp/Interface: CEntrance MicPort Pro 2
The original MicPort Pro sounded great, and was in my travel bag for several years. But the build quality sadly didn’t hold up, and the “pots” got crusty, eventually rendering it unusable.
The new version is much better, and adds some great features – like recording a second track at -12dB from the first, so you always have a “safety” that’s unlikely to run into clipping. It also has a very nice, smooth, peak limiter. And its built-in rechargeable battery means that the headphone amp can go as loud as I want, which is a great bonus.
Putting it all together
Despite any appearances to the contrary, I don’t consider myself a “gear head”. But I do appreciate having the right tools for the job in hand, and I believe that what I’ve assembled over the years - including what you see here, and some other unsung heroes - help me put my best foot forward when it comes to recording audio of the quality my clients expect and deserve.
If you have any questions, or want to know more, please do get in touch!
MIKE COOPER
Mike Cooper is a British voice talent who swapped big city life in London for log cabin life in the Blue Ridge Mountains of North Carolina.
Mike is recognisable from his many years on air with the BBC World Service, and as the narrator of countless television documentaries and a growing library of audiobooks. A disruptive influence in school, Mike's first break in narration came at age six, when his teacher realised he could tell the afternoon story better than her (and she could get a nap by way of a bonus!)
When he's not hanging out in Studio 3, you'll find Mike enjoying hobby farm life and tending to a small herd of charming pet goats, an adorable mini horse called Annie, and a hornless unicorn called Melodie. among others
Come and see what's happening in Voiceover Valley!
I'm blessed with a great life in the mountains, complete with dogs, goats, horses and more. I love to share the best bits, so I post pictures regularly on Instagram. The latest are below. Please come and join me in #voiceovervalley!
