I'm putting together my first video project. It's time to record the audio and I could use a list of helpful hints on doing spoken vocals.
 
I looked at my microphones and decided on an AKG C214 condenser. I'm just using the factory pop screen and attenuating the bass at the microphone. I look forward to making all the rookie mistakes.

1. Get a template for what you are expecting? i.e., if you could design it? And have Yoda in-studio to do the reads? Well is that your baseline? If so, use it in track1...
 
2. Get your talent on-board... I.e, are you looking for "them?" Or are you looking for a tribute version? Or are you looking for an amalgam? If the requirements aren't' well defined, you'll never achieve success.

My fiance' is on the morning show for the local classic-rock station (QFM-96).
 
Since we have a nice home studio, she's often asked to cut VOs "after hours".
We auditioned lots of different mics (quality condensers and dynamics) and wound up going with a RE-320.
Cut the VO with the RE-320... and it's just perfect.  Sounds "radio ready" for lack of a better description.
 
Although it's a little less expensive than the RE-20, the RE-320 is a slight improvement (hotter output and more articulation in the upper-mids).
 

"I'm putting together my first video project. It's time to record the audio and I could use a list of helpful hints on doing spoken vocals."
 
Effective V.O. for motion picture requires insightful casting.
 
There are a few people that have voices that have the natural quality of sounding "radio ready" with just about any good mic you use.
 
Once you have defined a subset of people that form a pool of voice talent then you have to select just the right character that makes the content of the voice track gel with the story you hope to convey.
 
Casting is the most important aspect of incorporating voice tracks into a sound design. In fact, great casting decisions can defy the idea that some voices are radio ready and some are not. Sometimes a gentle or ephemeral voice is just the right thing. Accent plays a role as well. It's one of those you'll know it when you hear it sort of experiences.
 
Voice over services provide access to "stables" of talent to make it convenient for producers to make appropriate and effective casting decisions.
 
 
An individual, no matter how naturally blessed with a special voice, can only serve certain stories effectively.
 
 
Having said all that, I would not purchase an expensive microphone until after you have investigated the suitability of your voice for the project at hand.
edit: I misinterpreted and thought you were saying you were thinking about buying a AKG214 for the project. I reread your first post and realize that you already have it. :-)
 
I mean, you can't go wrong with a fresh new mic to learn about, but don't expect the selection of microphone to make or break the way an audience receives the choice of voice talent assigned to any particular project.
 
If your voice is going to be the one to use, then you'll get an appreciation for that way before you worry about which mic to use.
 
Harsh, but fair.
 
best regards,
mike

Thanks for the advice guys. Unfortunately I'm the talent for this project. It's nothing fancy, just some technical stuff where I describe what's happening onscreen. Video about tubes isn't exciting to many.
 
I'm using an oscilloscope and other test gear, to show the differences that can be measured when you substitute a 12AX7 with a 5751, 12AT7, 12AY7 and 12AU7. It's tough to explain the difference, but easy to see and measure the effect on output.
 
At this point the video is done and I have to narrate the thing. I thought it would be a piece of cake but it turns out to be very challenging.

 
Good for you!!!
 
I can't wait to watch the videos.
 
The only other tip I can give you is too write a script, edit it carefully and follow it closely. Ad lib will make editing difficult no matter how well you know the subject.
 
all the best.
mike

I forgot to mention... you'll probably quickly realize that you should write first and shoot the video afterwards.
 
The writing part allows you to focus on organization of ideas... and then you illustrate the ideas with the moving pictures and sounds.
 
best regards,
mike
 
 

Thanks Mike. The shoot first approach was my first mistake.

Sounds like a interesting video  - I mean, tubes.  If you are into that.
 
Yea, write first.  Don't just blow and go.  It took me years to realize the adage that it is in the re-writes, so get the thing organized first.  At first glance it may just seem like a bunch of technical talk that doesn't have a beginning or end.  Give it one.  The principal doesn't have to be big, just organizational. It gives you something to push against and is something your viewers will appreciate.  If they don't know nothing about tubes, it will make it easier.  If they are tube'perts, give them something to complain about how you are approaching it but keep them interested wondering when you are going to make the points they think are most important.  One of the worst decisions you can make is because you know the subject you can wing.  Invariably, you try to add too much and end up w/ a mess.
 
As mike sez, once you get the thing verbally organized, you've got your shot content defined.  Two birds, one stone.
 
Good luck and let us know when you've got it finished.
 
@

Any decent condenser mic I use a AT 2035 and AT 2050,
But run these into a Digital MPA II (A.R.T. tube preamp)
The combination purchase won't break the bank and will give you
a much wider choice of production sound.(and since the ART is a dual channel
you have one left open for a guest )Also the VLA Pro (ART) will smooth things out.
costs nothing to check these out at a local store.