The Pro Audio Suite

Hosted by voice-over and audio pros, George 'The Tech' Whittam, Robert Marshall from Source Connect and SUM1, Darren 'Robbo' Robertson from Voodoo Sound and Andrew Peters a voice-over talent home studio expert. The Pro Audio Suite features interviews with key players not just in VO but anything to do with audio and voice over.They also talk about tech stuff, VO tips and industry news!The Pro Audio Suite is delivered weekly.

The Pro Audio Suite is a education podcast hosted by voice-over and audio pros, with 431 episodes on record and a Required Pod Score of 80. PitchCentric scores this show on Booking Probability, Listen Score, and live audience signals refreshed every 24 hours.

voice-over and audio pros hosts The Pro Audio Suite, a education show with 431 episodes published.

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  Episode #18

  Best Voice Over Mic for Women? It's Not That Simple

  Aug 17, 202626 minS9

  Is there actually such a thing as the best voice-over microphone for women? It sounds like a simple question, but once the Pro Audio Suite starts pulling it apart, things get much more interesting. This week, George, Robert, and AP look at why choosing a microphone based on whether the talent is male or female probably misses the point entirely. What matters far more is what the voice is actually doing. Is it bright or dark? Sibilant? Mid forward? Deep and chesty? Does it have a lot of mouth noise? And does the microphone complement those characteristics, or simply exaggerate them? The crew gets into why a bright voice may benefit from a smoother or darker microphone, why a big baritone does not necessarily need even more bottom end, and why certain microphones can sound fantastic on one voice and downright horrible on another. Along the way they get into the Sennheiser 416, RØDE NTG3 and NTG5, Austrian Audio OC818 and CC8, Audio Technica AT4047SV, Neumann U47, U67, U87 and TLM 149, ribbon microphones, the Gefell M930, Grace M101 and even the dark art of matching microphones with preamps. They also look at how much you can fix with a little sympathetic EQ, why ribbons can sometimes be a brilliant solution for bright or aggressive voices, and why auditioning a few microphones on your own voice, in your own space , still beats buying something because somebody on the internet called it "the best". In this episode • Why there really isn't a "male mic" or "female mic" • Matching the microphone to the characteristics of the voice • Bright and sibilant voices versus darker microphones • Why deep voices don't necessarily need more bass • The 416 versus the RØDE NTG3 and NTG5 • Why the Austrian Audio OC818 makes a compelling desert island VO mic • The AT4047SV and transformer character • Why an expensive U87 can sound awful on the wrong voice • Using ribbon microphones for difficult or aggressive vocal tones • Condenser versus dynamic microphones for voice over • How microphone transient response can expose mouth noise • Matching microphones and preamps • Why auditioning microphones is still the smartest way to choose Sponsor and Production Credits Thanks to our sponsors Tri-Booth The portable VO booth that works. Save $200 with code TRIPAP200 . Austrian Audio Making Passion Heard. Recorded using Source Connect . Edited by Andrew Peters . Mixed by Robbo . Tech support from George the Tech Whittam . Got your own audio problems? justaskrobbo.com Join the conversation, suggest a topic or just say g'day at: theproaudiosuite.com

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  Episode #17

  Can You Build a Proper VO Setup in a Tiny Room?

  Aug 10, 202625 minS9

  How do you build a voiceover audition setup when the room is tiny, space is precious, and you really don't want to pull the whole thing apart every time you're finished? AP's daughter has moved into a share house in Melbourne and needs something permanent enough to give her consistent audition audio without taking over the room. The gear is already pretty capable: a RØDE NTG3, CEntrance MicPort Pro, Porta Booth, TwistedWave, Source Connect and a trusty old pair of AKGs. The question is how to put it all together so it actually works. That gets the guys talking about mic placement, portable acoustic treatment, desk stands versus boom arms, why positioning can matter more than buying a better microphone, and Robert's recent experience trying to record someone through a remarkably cheap USB mic. Then the conversation turns to a bigger issue for working voice actors. When did having a broadcast quality home studio become something clients simply expected talent to provide for free? Plus old AKG headphones, MRI headphones, sagging boom arms, remote studio costs, subtle compression and the engineers who can hear processing you thought nobody would ever notice. Featuring George Whittam, Robert Marshall, Andrew Peters and Robbo. Recorded using Source Connect. Edited by Andrew Peters. Mixed by Robbo. Got an audio problem of your own? Visit justaskrobbo.com Join the conversation at theproaudiosuite.com

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  Episode #16

  In Ears for Voiceover: Brilliant Isolation or Total Overkill?

  Aug 3, 202622 minS9

  Do voice actors really need in ear monitors? They offer excellent isolation and can sound fantastic, but they can also feel uncomfortable, create an unnatural sense of pressure, and make it harder to hear your own voice unless your direct monitoring is set up properly. In this episode, George, Robert, Robbo and AP look at when headphone isolation genuinely matters, including WALA sessions, radio interviews, music driven reads, remote recording, pickups and situations where headphone bleed can end up permanently embedded in the recording. They also consider the complete opposite approach. Rather than blocking everything out, could lightweight open headphones give voice actors a more natural performance while still providing enough cue audio for punch and roll recording? Robbo shares how headphone bleed unexpectedly saved part of a previous Pro Audio Suite episode. A damaged recording contained a missing line from Robert, but a faint version had leaked into another host's headphones. After gaining it up, processing it and running it through Waves ReGen, Robbo was able to slip the repaired line back into the episode. The team also discusses reading to music, reading to picture, custom in ear monitors, cheap Koss headphones, modular AIAIAI headphones, and Robert's experimental plan to eliminate Source Connect echo with a ribbon microphone, a loudspeaker and some carefully aimed figure-eight rejection. IN THIS EPISODE Why voice actors consider in ear monitors When headphone bleed actually causes problems Why WALA sessions require serious isolation Radio interviews and remote recording echo Recording pickups when music has leaked into the original take Reading voiceover scripts with music underneath When music improves a performance Reading to picture and visual timing cues How headphone bleed helped rescue a damaged podcast episode Using Waves ReGen to reconstruct missing dialogue Robert's figure eight microphone experiment Why sealed in ears can make some performers feel uncomfortable The importance of direct monitoring with IEMs Open headphones for punch and roll recording Affordable Koss headphones for voice actors Custom moulded in ears Modular AIAIAI TMA headphones

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  Episode #15

  Mic Splitters, Patchbays and the Search for Clean Gain

  Jul 28, 202626 minS9

  What is the cleanest way to connect several microphones, preamps and audio interfaces without constantly crawling behind the rack? AP starts with what sounds like a simple question about expanding the line-level inputs on his Audient iD44. That sends the team down a glorious rabbit hole involving passive switchers, mic splitters, USB converters, matrix routers, the Heritage Audio Synth Buddy, ESI interfaces, Broadcast Tools, Source-Nexus and the Passport VO. Eventually, one decidedly old-school solution keeps winning the argument: the humble patchbay. The team discusses quarter-inch, Bantam and TT patchbays, normalled and half-normalled connections, passive mic splitting, phantom power, transformer isolation, corrosion, loose connectors and why adding another preamp stage may not be the sonic disaster people imagine. Along the way, George mourns the disappearance of simple line-level audio interfaces, Robert explains how passive splitters survive real concert recording jobs, and Robbo demonstrates his remarkable ability to make a straightforward signal path impressively complicated. In this episode: • Switching several microphones and preamps into one interface • Passive line-level switchers versus audio interfaces • Why a patchbay may be the simplest solution • Normalled, half-normalled and open patchbay configurations • Quarter-inch patchbays versus TT and Bantam systems • Passive microphone splitting and phantom power • Transformer isolation and troublesome ground loops • Keeping the signal path clean without overengineering it The Pro Audio Suite is hosted by George Whittam, Robert Marshall, Andrew Peters and Darren "Robbo" Robertson. Thanks to our sponsors: Tri-Booth Austrian Audio, Making Passion Heard Leave a comment, suggest a topic or simply say g'day at theproaudiosuite.com.

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  Episode #14

  Do Voice Actors Really Need a Neumann U87?

  Jul 20, 202625 minS9

  The Neumann U87 may be one of the most recognisable microphones in the world, but does that make it the right microphone for voiceover and animation? This week, the team digs into the reputation, sound and real world value of the U87. Andrew is considering one for Somerset's animation work, which sparks a much bigger discussion about why certain microphones become industry standards and whether producers genuinely require them. We compare the U87 with alternatives including the Neumann TLM 103, TLM 193, U89, Sennheiser MKH 416, Microtech Gefell models and the Austrian Audio OC818. The conversation covers: • Why animation studios sometimes record with both a U87 and a 416 • Whether microphone requirements are about sound or repeatability • The differences between older U87s and newer U87 Ai models • Why a great microphone can still sound ordinary in a poor room • The U87 compared with the Austrian Audio OC818 • Transformer and transformerless microphone designs • Whether the mic, preamp or converter makes the biggest difference • Why performance and room acoustics still come first • Processing, reverb and the engineer's role in the final sound Is the U87 still the ultimate voiceover microphone, or has its reputation become bigger than the microphone itself? Thanks to our sponsors: Austrian Audio Making Passion Heard. Find out more about the team and the show at theproaudiosuite.com.

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