Looking for the best voice over equipment for beginners? If you’re an actor (or announcer) and you’re ready to try out this voice over thing, this article is for you. It’s time to learn about voice acting recording equipment, like sound interfaces and voice acting microphones.
Disclaimer: I do NOT earn any commissions off these recommendations. This is for educational purposes only.
The Truth About the Best Voice Over Equipment for Beginners
I’ve been at this for over twenty five years and tried a bunch of gear. I’m here to tell you something that may surprise you:
Don’t overspend on gear. No voice acting microphone, audio interface, or stand alone preamp will make up for a noisy space.
So before you spend on gear, it’s worth asking the more basic question first: do I need a voice over booth? Fixing your space matters more than any microphone.
When it comes to your space, improving the acoustics is one of the most important things you can do. Acoustics determine the way sound travels in your space. You have a lot of control here, and it’s cheap to fix. Just get some blankets, clothes, carpet, or acoustic panels and throw them on the walls. The carpet should go on the floor, though you can try it on the walls too if necessary.
The next thing to think about is soundproofing. If your space isn’t quiet enough, you may have to build a structure to isolate yourself from sources of sound. This is the most challenging aspect of recording, and even commercial studios struggle with this.
Since we’re on the topic of recordings booths, you may also have heard about a technology called Source-Connect. I’ve written an article about it to explain what it’s for and help you think about whether or not you should get it.
Now that we’ve gotten that out of the way, let’s go over some voice over equipment I’ve tested that I find both professional and affordable.
The Sound Of Silence: Sound Interfaces
In order to record your voice at a professional level, you’ll not only need a good voice acting microphone, but you’ll also need an audio interface. Some call this a sound interface or sound card. This is a piece of equipment that connects your voice acting microphone to your computer.
The main thing to understand is that every audio interface and voice over microphone (even stand alone preamps) will highlight certain features (the highs, mids or lows) in your voice.
The idea is to find one that will complement your voice. Since we’re all different, what sounds amazing on me won’t necessarily sound as stellar on you (and vice versa)!
To stay out of trouble, we want something that reproduces our voice as faithfully as possible. We also want a sound card that will have enough juice to power a good microphone. This is super helpful in the event we ever want to upgrade it. Besides that, we want something that’s easy to use. Lucky for you, gear has gotten so much easier to use and handle than when I started recording voice overs.
Disclaimer: The devices listed here mostly connect to via XLR cables (three-pronged cables) or TRS cables (1/4-inch cables) as I’m not a fan of USB microphones (more about this later).
What to Look for in a Sound Interface
Here are some inexpensive but great sounding sound cards I’ve tried. And to save money, buy second hand.
Focusrite Scarlett Solo USB Audio Interface (Gen 3) $99
I like this for its price point, but it won’t take you very far. Why? It doesn’t have the juice to power a high-quality microphone or stand alone preamp. The headphone volume is also limited. Overall, I’d recommend you spend an extra $76 to get a device that won’t hold you back if you ever want to upgrade other parts of your audio chain.
Lastly, this sound interface tends to highlight the highs in voices. This isn’t a problem if it complements your voice, but this may be slightly better for women than men.
PreSonus AudioBox iOne 2×2 USB/iPad Audio Interface $121
This is a tiny step up from the Scarlett, but I had similar problems with it (not enough volume in my headphones and I couldn’t make it work with my stand alone preamp).
Here again, I’d rather you spend an extra $66 and get something that will enable you to upgrade your gear if you ever want to. This sound card also tends to highlight the highs in voices so it may be slightly better for women.
Audient iD4 USB 2-in/2-out High Performance Audio Interface $299
This here is a little Porsche. It sounds practically identical to the higher end Apogee Duet. It’s easy enough to use (plug and play) and sounds excellent (very faithful to voices and doesn’t add too many highs or lows). Your voice can easily shine with a great voice acting microphone and you can upgrade your audio chain as much as you want along the way.
That said, I don’t think it’s as well designed as it could be, and (depending on the mic you go for) you may be able to save a few bucks without sacrificing sound.
BEHRINGER U-PHORIA UMC202HD, 2-Channel $130
I had high hopes for this–this is a great company–but I couldn’t make this work on both sides of my headphones. This makes sense: audio signals from microphones are mono (only on the left), but that means you’re either hearing yourself in one ear only or spending days online and with customer service trying to figure out how to hear yourself normally (and testing out different recording software to make the signal play in both ears). Life is too short. Spend a few more bucks to work with a device that gives you the option of hearing yourself normally from the get-go.
MOTU M2 2×2 USB-C Audio Interface $199
I have a huge soft spot for this interface. Right now I don’t even need a sound device, but I’m tempted to keep the one I ordered to run tests. It looks slick, it’s user friendly and intuitive, and most importantly it sounds fantastic (especially with certain mics: more about this below). You can easily take this sound card to the next level with a stand alone preamp and a good microphone. No one will ever know you paid less than $200 for this bad boy. Oh, and you just have to hit MON (short for mono) right on the front of the device to hear yourself and to record yourself in mono. Love it.
The one drawback is that caresses the highs in voices, so it may be slightly better for women. Personally, and this depended on the microphone I tried it with–it made me sound a bit nasally.
The Sound Interface I use:
Apogee Duet 2 $399
This is durable, sounds great, and is 100% professional. It doesn’t add too many highs or lows so it will reproduce your voice quite faithfully. If you want something more affordable (as an entry card), the Audient is a much better deal and sounds practically the same.
Check One Two…Voice Acting Microphones
When it comes to voice over microphones, you’re looking for the same qualities you are in a sound interface: you want it to complement your voice. And if budget permits, you want something the industry has approved of (a standard).
XLR (Analog) Microphone vs USB (Digital) Microphones
Even though USB mics are handy and plug directly into computers, you won’t find any USB mics in this list. I’ve tried a couple (including one by a company I’m a huge fan of: Rode), but I wasn’t sold on any for recording professional voice over jobs.
While I’m not arguing that they sound great (they absolutely do) I’ve personally found that they can sometimes add some measure of noise, like a distant static to my room tone. This may have to do with the fact that cables inside of them aren’t balanced. But since static makes me squeamish, I like sticking to good old XLR microphones which connect via a three-pronged end.
One thing to note: their built-in preamps may have the exact same components as in the built-in preamps in the audio interfaces listed above. So technically, they’re ok to record with.
If you want the full breakdown, I go deeper in my article on XLR vs USB microphones.
Old Habits Die Hard
Another reason I don’t recommend USB mics is that commercial studios don’t use them. This means they’re less familiar and comfortable with them. It’s unfortunate because some may truly rival traditional microphones in the lower price ranges! But as far as studios are concerned, they’ll be much more comfortable working with someone who has standard voice over equipment (XLR microphone + audio interface).
Part of that is an “old habits die hard” mentality. But since moving up the voice acting food chain will necessarily involve connecting your voice over booth to a commercial studio remotely via Source Connect to record jobs, you may need to switch that USB mic down the line anyway.
Why not get it right the first time? XLR microphones don’t seem to be going away anytime soon and some have similar price points to USB mics. Also, if you sing or play other musical instruments, you’ll have more flexibility with a traditional XLR mic.
Condenser Microphones vs Dynamic Microphones
Beyond this, and unless you’re a singer, you’ll probably want to stick to a condenser microphone, especially if you don’t use a stand alone preamp.
Condenser mics are more sensitive, pick more subtleties and nuances, and need less of an electricity boost than dynamic microphones do, so they usually work well even if you’re only using a sound interface.
Not to say that dynamic microphones are off limits, but you’ll generally have to plug them into a stand-alone preamp to get enough volume out of them, and that means spending more money. That’s because dynamic mics are designed for singing (to belt into) so they aren’t spectacular for speaking or acting (voice over work).
Choose the VO mic what’s right for you
That said, these things are very personal. For instance, one of my favorite microphones was a beat up hand-me-down from my mentor (Sennheiser 421 for $380) which was a dynamic microphone. To this day no other voice acting microphone has ever garnered me as many compliments as that one did.
It’s difficult to know what microphone will flatter your voice without trying them, but given their prices, trying many of them doesn’t really make sense, which is why most people end up sticking to standards. That said, you can always rent microphones which is a great way to test them.
I cover this more thoroughly in my article on condenser vs dynamic microphones.
Polar Patterns of Microphones
Microphone capture sound in different directions called polar patterns. In essence, microphones pick up sound in specific areas, so your movements behind the microphone will impact the type of mic you’ll get.
Typically, announcers who always speak straight on can work with shotgun mics. These pick up sounds in a very small area, right in front of them, so you can’t really move around.
Voice actors who record animation and video games, along with those who record many different types of voice overs (most people) or beginners move around more. In these cases, it’s best to have a larger surface to work from. Otherwise part of their performances could end up off mic. This would make their recordings unusable.
Voice Acting Microphone Recommendations
Here are some voice over microphones I’ve owned and tried. Many are industry standards:
Rode NTG 2 (Condenser, Shotgun) $269
This is a great entry point into the world of microphones, and shotgun microphones. It highlights the mids in voices, and it’s durable. Fun fact: it’s often used on film sets. When I’m looking for a great quality/price ratio, especially for women, this is my pick.
Note that the whole line of NTG microphones are extremely similar to the Sennheiser MKH 416, especially the NTG4, so no use spending lots of money for a great shotgun microphone!
Sennheiser MKH 416 (Condenser, Shotgun) $999
This is a high end shotgun microphone that’s widely used in the voice over industry by voice talents who record TV promos. I’m not sure who started that trend, but it could have something to do with the fact that announcers were often on the road. This is mic is so unidirectional, it picks up less ambient noise.
To this day, announcers use them to record in their cars (it’s also widely used on set). It’s durable and sounds stellar, -even though I’m not a huge fan.
Do you need it? Absolutely not. I would grab a Rode NTG instead. If you book a huge gig and this voice over thing works out for you, knock yourself out.
The Studio Standard Microphones
Neumann U87 (Condenser Omni, Cardioid, Figure 8) Between $3000 and $3500. You can find deals on eBay.
This is a perfect VO microphone. It’s an industry standard in advertising, and in broadcast television and radio, so many commercial studios use them. It will make you sound like a million bucks! If you’re booking commercial work on a consistent basis, this will pay for itself. Many studios feel comfortable with this microphone because it’s clean, it’s flattering on any voice, and it lasts forever.
Neumann TLM 103 (Condenser Cardioid) $1300
Here’s another industry standard for a lot less that’s its cousin, the U87. You won’t be shunned by any studio if you opt for this microphone, as most professional studios have one in a booth or two. If you’re booking work regularly and can afford it, you won’t regret this purchase. It’s a classic voiceover microphone, and you won’t ever have a reason to change it.
If you’d like an entry level Neumann, try the TLM 102 for $799. I haven’t tried it, but you’re in good hands with Neumann.
AKG 414 XLS (Condenser Omni, Cardioid, Figure 8) $1015
This is another perfect VO mic and industry standard. It’s beloved by booming voices for how it caresses the lows in men’s voices. While I personally found it too harsh and surgical in the way it reproduces my voice, it does have a velvety feel that can be enticing.
Sterling ST155 (Condenser Omni, Cardioid, Figure 8) $229
As far as a good budget voice over mic, this sounds great and it’s hard to beat price-wise. Here’s a more in depth review for you, along with some audio tests. This is a more classic mic, so microphone technique will be more straightforward than on a shotgun mic.
Shure SM7B (Dynamic Cardioid) $373
This microphone’s claim to fame is that Michael Jackson used its predecessor on his Thriller album. This is a great microphone, I enjoyed it when I had it, but it’s a dynamic mic, so you’ll definitely need a stand alone preamp. Your audio interface card just won’t be powerful enough to give you enough volume. So, think twice. If you’re a singer though, this could play double duty for you.
Audio-Technica AT2020 (Condenser Cardioid) $119
I’m personally not a fan of this company for my own voice and for my ears (I don’t like listening through their headphones), but it’s hard to argue with this price, especially when listening to the audio tests at the bottom of this page. Great entry level microphone, and many voice actors use it.
Listen to Yourself: Voice Over Headphones
Headphones are important, and if you’re wondering, earbuds won’t do. They’re not designed for professional use because they don’t reproduce sound well enough. Since you’re becoming a pro, leave them plugged to your phone. When you’re voice acting, you want to be able to hear exactly what you’re recording. Noise cancellation headphones won’t cut it either since they’re designed to eliminate sounds you should hear!
For all the sound cards and microphones I’ve tried, I’ve always been very loyal to my voice acting headphones. Here are my two favorite brands:
Sony MDR7506 Professional Large Diaphragm Headphone $98
These were my go-to for years. They’re extremely bright though because they highlight the highs. So while they will help you catch all the little mouth noises in your edit, sensitive ears might find these harsh. The earmuffs tend to fall apart after many years of use.
Beyer Dynamic DT 770 PRO 80 Ohm $199
Audio engineer George Whittam recommend these to me some years ago. These are more subdued (they’re more focused on lows) so it took me some getting used to, but they’re still clear. I like how comfortable they are (so plush) though I tend to turn up the volume on them because they aren’t as clear as the Sonys.
The downside is that I’ve had to send them for repair (under warranty through the company) twice (for two pairs). For some reason, I always lose hearing on one side so there’s definitely a manufacturing problem. Otherwise, they’re great.
Pump Up The Volume: Stand-Alone Preamps
The word preamp is short for preamplifier and that’s precisely what it does: it amplifies the electrical signal it receives. In this case, the sound you make when you’re speaking into the microphone that’s connected to it by giving it some extra power. Truth is, microphones need the extra power provided by preamplifiers, otherwise you’d have to amplify your voice digitally in your recording program. That could make it sound distorted.
You want a sound to be amplified enough naturally (analog, via a preamp) so that you can manipulate it in various ways without incurring losses in quality.
Do You Even Need a Preamp?
All audio interfaces now have built-in preamps, but with more expensive microphones, you’ll generally use a stand-alone preamp (in addition to an audio interface). That’s because they’ll sound the best with the extra power boost. Mics like Neumanns or AKGs are very sensitive and will pick up noises that come from audio interfaces that have built-in preamps.
But stand-alone preamps are like microphones and audio interfaces: they can highlight some of your vocal attributes. So again, you won’t really know how a device sounds until you try it with your audio chain (mic, audio interface, wires, etc.)
If you use a high-end VO mic with a stand-alone preamplifier, you might notice that lower frequencies, like background noises, are a bit dimmer. This is a side effect from using a device that’s adding very little noise to your mix. It’s not like you can cover up a noisy room by using a stand-alone preamp, but it can drown out a room tone that’s just slightly too present while still giving your voice a beautiful boost.
Back in the day…
In the old days, audio interfaces offered no amplification at all, so having a stand-alone preamp to use a microphone was a necessity. That just isn’t the case anymore as audio interfaces now all have pretty decent built-in preamps. In the same blog I’ve already pointed to, I discuss a series of tests I did to help you compare:
- A microphone connected to a sound card (with its built-in preamp);
- A microphone connected to a sound card (with its built-in preamp), plus, a stand-alone preamp.
In my test, I used the stand-alone preamp I own, which is the Grace Model 101. If you can’t really tell the difference or aren’t madly in love with the difference you do hear, then you’ll know that you don’t need one. If you love how a stand-alone preamp sounds on a certain mic and can afford one, give it a try.
The Preamp I Use:
Grace Design MODEL 101 Microphone Preamp $550-$765
Keep in mind that most preamps were designed for use with multiple channels (instruments or microphones) so many of them are exceedingly complex to use (and overkill) for a voice trying to make a buck from home. One the best alternatives on the market is this portable single channel device. I wouldn’t shy away from buying this used as these are quite expensive new, and rarely moved around. While they’re portable, they’re not the kind of thing you’d move around a lot. Another reason to buy it used: it’s quite durable. I’ve had mine well over 12 years and never had any issues.
Universal Audio Apollo Twin MKII Duo (APLTWDII) $799
This device got a lot of traction from gearheads on the market, but I think it’s overkill for home use. Also, it’s not a stand-alone preamp, so you’ll be dealing with a built-in preamp. I’d say save your hard-earned dollars and go for the Audient or the MOTU and if you ever hear a commercial studio complaining about your home studio (they won’t), you can think about upgrading or adding a Grace 101 to your chain.
You can also look for tube channel strips by Avalon, API and Manley, but again, these high end preamps are overkill for a beginner. Since built-in preamps in portable audio interfaces all sound great these days, these channel strips just aren’t necessary.
Listen to VO Equipment Tests
Here are some audio tests for you to listen to. Note that the Rode sounds muffled (bad mic placement and technique on my end, which is why mic technique is so important). To hear them in all their glory, download them on your computer, and listen with professional headphones. As I’ve said earbuds just don’t reproduce sound well enough.
Pairings: Voice Acting Kits
Entry level pairing
- Pair the Sterling ST155 with the MOTU M2, the Scarlett or the Audient. I wouldn’t add a preamp to this chain, it’s just not necessary. You could do plenty of narration, commercials, animation and video games.
- Pair the Audio-Technica AT2020 with the MOTU M2, the Scarlett or the Audient. I wouldn’t add a preamp to this chain, it’s just not necessary. You could do plenty of narration, commercials, animation and video games.
If you promise not to move your head too much and speak straight on, you could do narrations and commercials with this pairing:
- Pair the RodeNTG2 with the MOTU M2, the Scarlett or the Audient. I wouldn’t add a preamp to this chain, it’s just not necessary.
Mid to high-end pairing
The Sennheiser is a piece of high quality gear, but I love that you really don’t need a preamp with it, which is why I’m calling this pairing a midway level pairing. But again, you’ll have to promise not to move your head too much. That means you’ll pretty much be limited to recording narrations and commercials:
- Pair the Sennheiser 416 with the MOTU M2, Audient, or the Apogee Duet. You can also use those two sound cards with the Grace preamp, but it’s not necessary. They all sound great without it. You could do plenty of TV promo work and commercials with this.
High end pairing
Some top-of-the line VO pairings would be:
- Pair the AKG 414 with the Apogee Duet, the Audient, or the MOTU M2. You could also pair it with the Grace Preamp and the Apogee Duet or the Audient. You could do plenty of animation, video game work, commercials and narrations.
- Pair the Neumann U-87 or TLM 103 with the Apogee Duet or the Audient. If you use the Grace preamp, you could also the Apogee Duet, the Audient and even the MOTU M2. You could do plenty of animation, video game work, commercials and narrations.
If you ever need help setting up your studio, book a tech consult with George Whittam or the Booth Junkie. They can help you make the most of your space, even it’s just a closet.
My name is Lili Wexu. I’m an actress, a voice talent, a coach, and an author. To learn how to make $$$ in VO, read my e-books about Voice Acting & Announcing.
