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Old 22nd July 2011 | Show parent
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1 Review written
🎧 10 years
Originally Posted by Djembe ➡️
I'm sure someone will correct me if I'm wrong, but I always assumed that the reason a 416 was used so often, was that it was a standard location mic. Consequently it was used for ADR so the sound would match. So there was always one around and became a de-facto standard for film/narration/VO work.
Likely true. I also have a theory that some tv promos were voiced in the gallery, for lack of a proper voice booth being available. The 416 came out because it was forgiving of the less than perfect acoustics and ambient noise, but by chance it happened to sound stellar in the context of a dense music/fx mix!

I've done A/B comparisons between a U87 and a 416. Joe Punter probably won't hear a difference, although the 416 is more forward. Voice talents like it because it almost seems to grab the words right out of you with very little effort - sounds a tad compressed even with no compressor in the chain.

For long form work it can also make a good choice, but I prefer a U87 or nice tube mic.
Old 12th August 2011
Lives for gear
mbvoxx's Avatar
2 Reviews written
🎧 10 years
Several times a year I do backstage announcing at convention shows. These are big production shows with a format similar to an Emmys or Academy Awards type show. In the weeks prior to the live event we prerecord all the produced Imag segments, which I voice at my home studio. For the show I just completed in July I voiced all those segments on a 416. (In previous years I've used the U87, although last year I used a new Telefunken AK47). When we did the live show in July I was curious to see how the Imag segments sounded coming thru a large FOH system to an audience of 4000. I'd chosen to use the 416 for a specific reason. Some of the narrations this year required a lot of projection and excitement in the VO. So the 416 was my choice to handle the extra VO energy on those scripts. I look at my mics as tools of the trade and obviously there is a right tool for the job. In this case the 416 was the right tool. About an hour prior to doors opening and audience streaming in, during technical adjustments, they rolled one of the Imag pieces. So I went out front to take a listen and analyze & critique the audio for future tweaks, if needed. The result was all good. It cut thru well, not too boomy, and every word was clear and audible throughout the large room. I've had the same results from the 87, of course, as well as from the AK47 but this time it was the 416 that shined.
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