BoothJunkie - Blog by Michael DelGaudioBoothJunkie - Blog by Michael DelGaudiohttps://www.boothjunkie.com/blogs/author/michael-delgaudioSun, 23 Nov 2025 08:56:17 -0800http://zoho.com/sites/<![CDATA[How to Reset Reaper to Factory Settings If Something Goes Wrong]]>https://www.boothjunkie.com/blogs/post/how-to-reset-reaper-to-factory-settings-if-something-goes-wrong

Steps to reset your Reaper configuration / settings


It’s not uncommon for people setting up Reaper for the first time to run into trouble — maybe a computer crash, or an accidental change, or an import of someone else’s configuration. If that happens, you might want to reset Reaper back to its factory default settings so you can start fresh.

Uninstalling and reinstalling Reaper does not reset its preferences, because Reaper stores its settings separately in a configuration file called reaper.ini.

Here’s how to reset Reaper’s preferences safely, step by step.

What does “factory reset” mean in Reaper?

In Reaper, the file called reaper.ini holds your preferences: options, toolbar layout, track settings, and so on. By renaming or deleting this file, you force Reaper to create a brand-new default version the next time it starts.

⚠️ Important:
This does not erase things like your projects, scripts, or audio files — those stay untouched. Only the user preferences go back to defaults.

Method 1: If Reaper still opens

If you can launch Reaper:

  1. Open Reaper normally.

  2. Go to the top menu:
    Options → Show REAPER resource path in Explorer/Finder

  3. This will open the folder where Reaper keeps its settings.

  4. Find the file named:

    reaper.ini

  5. Right-click on reaper.ini and choose Rename. Change the name to something like reaper.ini-old. You can really call it anything as long as it no longer says exactly reaper.ini.

  6. Close Reaper and then re-open it.

When Reaper sees that there is no reaper.ini, it will create a brand-new one with all default settings.

Method 2: If Reaper won’t open

If Reaper crashes on startup or refuses to launch, you’ll have to find its settings folder manually.

On Windows

  1. Press Windows key + R on your keyboard to open the Run dialog.

  2. Type this exactly:


    %appdata%\REAPER

    and click OK.

  3. This will open Reaper’s resource folder in File Explorer.

  4. Look for:

    reaper.ini

  5. Right-click reaper.ini, choose Rename, and give it a new name like reaper.ini-old.

  6. Close File Explorer and then try opening Reaper again.

On macOS

macOS hides its application support folders by default, so you’ll have to dig a little:

  1. In Finder, click Go in the top menu, then Go to Folder

  2. In the box that appears, paste this:


    /Users/<your username>/Library/Application Support/REAPER

    (replace <your username> with the name you see when you log in)

  3. Click Go

  4. In the folder that opens, find:

    reaper.ini

  5. Right-click, choose Rename, and change it to something like reaper.ini-old.

  6. Close Finder, then restart Reaper.

Portable Install Considerations

If you installed Reaper in portable mode, your settings (including reaper.ini) will live inside the folder where you put the portable Reaper app, usually in a subfolder called REAPER or ReaperPortable.

Look in there for reaper.ini and rename it the same way.

What happens after the reset?

When you relaunch Reaper after renaming reaper.ini, you’ll get a brand-new, default configuration just like a fresh install.

✅ Your projects stay where they were
✅ Your audio files are safe
✅ Your scripts, themes, and extensions will still be in the resource path — but Reaper may not list them until you reconfigure preferences

If you customized toolbars or extensions, you may have to reconfigure those by hand.

Still having trouble?

If Reaper still won’t open even after resetting reaper.ini, there could be:

  • a corrupted plugin crashing on startup

  • a hardware driver issue

  • a damaged installation

I hope this guide helps you get Reaper back to a clean state and working again.

Get started with Reaper today.
]]>Thu, 03 Jul 2025 10:20:09 -0400<![CDATA[Balancing a Full-Time Job with Your Voiceover Dreams:  ​Tips for Staying on Track]]>https://www.boothjunkie.com/blogs/post/balancing-a-full-time-job-with-your-voiceover-dreams-​tips-for-staying-on-trackPursuing your voiceover dreams while holding down a full-time job can feel like a never-ending balancing act. You’ve got the passion, the drive, but let’s be real—finding the time and energy is tough. How do you keep moving forward when your weekdays are packed, and weekends are gone in a flash?]]>







Pursuing your voiceover dreams while holding down a full-time job 









Pursuing your voiceover dreams while holding down a full-time job can feel like a never-ending balancing act. You’ve got the passion, the drive, but let’s be real—finding the time and energy is tough. How do you keep moving forward when your weekdays are packed, and weekends are gone in a flash? The good news is that many successful voice actors started exactly where you are now—and they found ways to make it work. I know because I was there too. For several years, I balanced a full-time job with my voiceover dreams, working late into the nights and dedicating weekends to my craft. It wasn't easy, but those sacrifices helped me transition to full-time voice acting. If I could do it, so can you! Here are some practical tips to help you stay on track.

Create a Realistic Schedule

The first step to making progress in voiceover is setting realistic goals that fit around your existing commitments. 

You don’t need to stay up until 3 AM every night, but it’s about carving out consistent, focused chunks of time—even if they’re small. 


Instead of aiming for hours of practice every day, start by setting aside 20 to 30 minutes of focused work, two or three times a week. 


Maybe that’s recording a script, practicing character voices, or getting better at editing.
Make the time, and hone a skill. Try to get just a tiny bit better. If you practice with intention, the skills will come. 

Tip: Treat these practice times as non-negotiable. 
​Block them out on your calendar, 
​just like you would for an important meeting. 
​Consistency over intensity is what builds momentum.


Optimize Your Practice Time

When your time is limited, it’s all about making every minute count. Focus on the activities that have the biggest impact on your progress. If you’re working on character voices, spend that time in front of the mic actually recording and listening back—don’t get caught up in tweaking settings or procrastinating.


Another way to make the most of your time is to batch your recordings. If you can set aside an hour, record multiple scripts or exercises back to back. You’ll get into a rhythm, and it’ll help you maximize your productivity.


Tip:
Keep a checklist of the key skills you want to develop. That way, whenever you find yourself with a bit of extra time, you know exactly what to focus on.



Maximize Your Weekends and Evenings

For a lot of aspiring voice actors, evenings and weekends are prime time. Plan ahead for what you want to get done over the weekend—whether it’s practicing scripts, working on your editing skills, or even networking with other voice actors online. Break your goals down into manageable tasks, so you don’t feel overwhelmed and can make measurable progress each week.


Tip: Use Sunday evenings to plan your voiceover work for the upcoming week. It helps you start Monday with a clear idea of when you’ll fit in those practice sessions.



Build a Support System

Balancing everything can be exhausting, so having a support system is key. Talk to your friends, family, or partner about your goals so they understand why you’re dedicating time to voiceover. You’d be surprised how much support you can get just by sharing what you’re working towards.


Another great source of support is the voiceover community. Find groups or forums online where you can connect with others on the same journey. It helps to have people to share your struggles and celebrate your wins with. 


If you don't know of any voice acting communities, 

a great place to start is the Booth Junkie Discord

Don’t Strive for Perfection

One of the biggest obstacles is wanting everything to be perfect. When your time is tight, perfectionism can be your worst enemy. Practice is about getting better, not being flawless. It’s okay if your recording isn’t perfect or you stumble through a script—every minute you spend practicing is progress, even if it doesn’t feel like it.


Tip: Remember, each mistake is just a step toward improvement. Voiceover is a journey, and you get better by doing—not by waiting until you’re perfect.



Take Advantage of Free Resources

If you’re looking to become more proficient with your DAW, I offer a free class that’s specifically designed to help voice actors master their software and workflows. Whether you're a complete beginner or just want to level up, this class is a great place to start. to get started!


Get Personalized Help with One-on-One Coaching

Sometimes you need more than general advice—you need someone to look at your specific setup and give you tailored guidance. That’s where my one-on-one coaching comes in. If you need help tackling specific challenges or just want a focused session to boost your skills, consider booking a coaching session. and let’s make progress together!


Final Thoughts

Balancing a full-time job with your voiceover dreams isn’t easy, but it’s totally doable. Consistency, effective use of your time, and the right mindset can keep you on track. Remember, even the most successful voice actors started somewhere—often with little time and lots of challenges. Stick to your schedule, make the most of your practice, and embrace the journey. You’ve got this.

Now, take that next small step—schedule your next practice session and record something amazing!

]]>Fri, 04 Oct 2024 15:00:43 -0400<![CDATA[CAD e100SX Review]]>https://www.boothjunkie.com/blogs/post/cad-e100sx-review

Thanks to CAD Audio for sharing this mic with us! 

Check the latest price here: https://geni.us/ja2sj 

Or visit the CAD Audio page: https://geni.us/CADe100SX 


All the comparison mics (available new): (Affiliate Links) - 

CAD e300 s - https://geni.us/2K0jT - 

CAD e50 - https://geni.us/vavDz33 - 

CAD m179 - https://geni.us/EJcRg - 

Neat King Bee II - https://geni.us/JmxCq - 

Audio Technica AT 2020 - https://geni.us/mX3acMW - 

Lewitt LCT 440 Plure - https://geni.us/bj-440 - 

Lewitt LCT 540 Subzero - https://geni.us/lct540 - 

Rode NT1 - https://geni.us/r-nt1a - 

Stellar X2 - https://geni.us/SOY9Bf - 

Stellar X2 Vintage - https://geni.us/OALQU - 

Stellar X3 - https://geni.us/u3BT3 -

 Austrian Audio OC18 - https://geni.us/bj-oc18-sw - 

Neumann TLM 103 - https://geni.us/UQuOfog -

 Neumann U87Ai - https://geni.us/h64t5qA - 

Lewitt LCT 1040 - https://geni.us/6NpLVv 


All recorded through this interface: https://geni.us/5w8L ======================================================================== Thanks to all my Youtube Friends who graciously allowed me to use their content. Please subscribe to them. 

 - DIY Perks: https://www.youtube.com/c/DIYPerks 

- EposVox: https://www.youtube.com/c/EposVox 

- Gerald Undone: https://www.youtube.com/c/geraldundone 

- Podcastage: https://www.youtube.com/c/Podcastage

- Sound Speeds: https://www.youtube.com/c/SoundSpeeds 

- Tom Buck: https://www.youtube.com/c/TomBuck 


----------------------------------------------------------------------------------------------------------------- 

Wanna talk about it? Come hang out with other Booth Junkies on our discord: https://discord.com/invite/JdNm5wRgaz


============ Table of contents =================

 INSTRUCTIONS 00:00

A History of the E 100 line 03:47 

Mikes e100 review 06:26 

Cad e1002 line 08:01 

Mikes e1002 review 14:10

"Mikes" e100s Review 12:23 

Specifications 16:54 

VS Original CAD e100 19:04 

VS CAD 100 (2) 20:31 

VS CAD e100s 23:11 

VS CAD e350 25:45 

VS CAD e300S 29:09 

VS CAD e50 31:20 

VS CAD m179 34:30 

VS Neat King Bee II 36:08 

VS Audio Technica AT 2020 37:13 

VS Lewitt LCT 440 Pure 39:09 

VS Lewitt LCT 540 Subzero 41:04 

VS RODE NT1 42:38 VS 

Tech Zone Audio Stellar X2 44:15 

VS Teach Zone Audio Sellar X2 Vintage 46:01 

VS Tech Zone Audio Stellar X3 47:24 

VS Austrian Audio OC18 49:49 

VS Neumann TLM 103 52:13 

VS Neumann U87 Ai 55:07 


]]>Tue, 08 Mar 2022 08:19:55 -0500<![CDATA[Lewitt LCT 1040 Review]]>https://www.boothjunkie.com/blogs/post/Lewitt-LCT1040-review

A Tube and Solid State / FET mic all in one!
Let's explore Lewitt's new Flagship Microphone​

Thank you to Lewitt for Sharing the LCT 1040 microphone with me. Learn more at Lewitt-Audio: https://geni.us/LCT1040 
Affiliate Links: 
 Buy yourself one: https://geni.us/6NpLVv
If the LCT1040 is out of your price range, the Lewitt LCT540 Subzero is an amazing mic for Voice Over: https://geni.us/lct540 
And the LCT640 has some incredible functionality (and a great sound): https://geni.us/LCT640TS

TRANSCRIPT OF THE VIDEO
My job is to be in my booth in front of a microphone pretty much all day. And I've been thinking if I could have just one mic, just one mic for the rest of my career to cover every situation, every gig, what would that mic look like? What does the ultimate mic look like? It's a condenser. Of course, that part it's obvious.

I need all the detail, but I want some trimmings. I want a sturdy case to protect it when I'm not using it. It's got to have a fantastic shock Mount. I want an excellent wind screen built in, but, should it be a FET mic? Maybe a tube mic to bring out some character. It's gotta be cardioid. I mean, voice acting and all, but maybe a wide cardioid would be sweet.

Just get a little bit of proximity effect. But I got a furnace when that kicks in, you get that rumble. So maybe I want a hyper cardioid to try and hide that noise. It'd be somewhere in between something like a more than super cardioid, but not quite hypercardioid or. get that proximity effect when I need it, dial it away when I don't. 

Can't I just to have all the patterns? Should it be clear and transparent for absolute fidelity? That really modern sound? Maybe I want something a little darker. Get that vintage sound that's worked so well, maybe a little character, something with warmth. So it doesn't sound clinical. Some saturation would be nice help cut through the mix when I need it.

I want to be able to dial in just what I want for the situation. Should it have a high pass filter, 40 Hertz, 80, but that furnace, maybe I need 120 Hertz high pass from time to time, a pad switch would help when things get really loud. 6 db maybe 12 DB. Although there have been times when I get all Glenn Fricker and I really gotta get loud and something like 20 to 25 DB would have saved to take. Shut the **** up   Marvin.

Oh, and no, plug-ins I want this mic to be the real deal forever. Not pretending to be something else. I want to be able to take this mic to any studio. Anywhere I work without having to drag a USB stick around with my iLOKand hope they have the right software. I want it to work when I change computers, operating systems, no plugins who knows what the future holds.

So that's my list. I just want to fit to Mike that has every pattern. Is bright and  dark and warm and saturated that works no matter how loud I get and has all the right high pass filters for the situation. I hear you saying Mike, that's at least five different. Mike's probably 10. You're going to need a whole locker to get all that my friend dream on.

I just want one mic to rule them all. Too bad it doesn't exist.

 Until now. Channel my inner Jeremy Clarkson here. This is it what may possibly be the ultimate microphone.

 This is the Lewitt lCT 1040  and Lewitt has been working on this microphone for something like seven years to bring it to fruition. And I'm glad they did.

I remember seeing the little info, you know, little videos about earlier prototypes, and I've been very excited about this microphone and everything I described in my earlier. Is right here in this microphone. I wasn't kidding. If you like its overall tone, this could be the Mike for, I don't know, very merely any situation.

Now Lewitt loaned me this microphone to make this review. I'm not compensated to make the review, but they have no editorial input. They won't see this video before you do. They have no idea what I'm going to say. They don't know if I'm going to like it or not. I'm really going to walk you through as far as I can.

All of the features and functionality show you everything that I know how to make the mic do. But in the end, it's got to go with. Which kind of breaks my heart. If you're interested in this mic, it's going to cost you around $3,500. And I think that same price as us or Euro, if you do want to purchase the mic, I'll have some affiliate links in the description.

It doesn't change the price for you, but would really help the channel out. If you, if you're interested in buying it, it it's, it's up there in the, in the rarefied. It's um, it's right up there with the other flagship microphones, certainly price-wise but let's see what the mic can do. Let's see if it, if it deserves to be in that spot and you'll hear it and you'll make that judgment.

So let's get into it. It's a condenser microphone and a hugely configurable one at that. And it's both a tube mic and a solid state FET mic all at once. Let's start with the mic in fat mode. Now there are tons of configurations for this microphone, but weirdly when you look at it, there are no buttons or switches or anything on the mic.

There's just. Tube window in the front where you can see the tube glowing and a logo on the back. So how do you configure it? Well, like many tube mics. There's an external power source. What they've done is they've added all the configuration knobs to the power supply module, which they call the remote.

Now on the remote, you'll see a nicely laid out user interface right here with clear access to all the functional. There's so many functions trying to squeeze them all onto the body of the microphone, I think would be virtually impossible on the remote. There are five knobs on the left. There are two that control the tone of the microphone in particular, the characteristic imparted by the tube stage of the mic.

And on the bottom left is a dial where you can dial in between the solid state, the FET sound of the microphone. And the tube stage or any combination of both, you can find tune various gradations of the tube stage by moving the dial from all the way on fat, where it is now, all the way over to tube and really anywhere in between.

Now what's cool. Here is on the remote. It's actually outputting two signals. There are two jacks on the back. One is the solid state output labeled fat, and the other is whatever the mix is from this dial on the front, with the knob all the way over unfed, the signals are virtually identical. So now. I'm going to move the tube stage to the clear setting.

And I'll AB this with the FET mode and see how it changes. So I'm going to switch it over to fully in the clear mode. Now I don't expect that you'd add. Even want to have the two outfits to be perfectly matched gain wise. What I can see is probably a more beneficial case is to have the mix channel be your preferred tone and the FET channel be gained down on the console as a backup tape or an effects taker.

Anything else you want to do creatively with it? Similar to how a guitarist might take the pure. Of the track and a wet track with the effects. This, this essentially gives you two outputs. You get the, the tube sound and the, uh, the FET sound. Now there are different settings for the tube. There's clear, warm, dark, and saturated.

And the difference between these is it's subtle. You can hear them quite clearly. When you phase invert. The mixed channel from the FET channel. But I want to say upfront, this is not a modeling mic. You're not going to push the mic into crazy over the top overdrive states. Like you can with plugins, if you really want to manipulate the signal like that, you would still use a plugin.

This system puts at your fingertips, a wide variety. Of common Mick tones with one piece of equipment to find the very best tone for whatever talent or instrument is behind the mic. It's not an effects mic. This is for great reproduction of the original sound. So I could definitely see this being the first mic to try when you're shooting out a bunch of different mix in a, in a new session in the studio, and only after trying all the different combos.

Would you then need to go to the locker? It would not surprise me at all to hear that some studios are saying that this is their new go-to Mike because of its configurability. Okay. So let's move the knob, the tone of the tube characteristic from. To warm and we'll see how the tone changes. I'm going to keep this all the way over on tube for the output and I'll switch back and forth between the fed output and the tube output, just so you can get a sense of the difference in how it sounds.

So while we're doing that, let's talk about the remote for it for a second. I personally think that this is really well thought out for everything that it does initially. It's both the configuration. And the power supply, and I'm not going to pick it up here, but it's surprisingly heavy. It's actually, it's actually the power supply portion.

That's heavy. You might want to put that down on the floor. It's way, way too heavy for a music stand, but that's actually no problem with a push of the button on the front. The remote can be separated from the power supply. So now the PSU can be on the ground and the remote can be up at desk level. You just jumper the two together with a typical XLR cable.

And Lewis says that that cable can be up to 150 meters long. That's pretty cool. Let's make a switch here. I'm going to move it down to dark mode now and I'll keep toggling it back and forth. So you can hear the difference between the FET mode and the dark mode. So you can separate them and that's neat and all, but, but what does it mean for you?

Well, it means that the PSU can be near the mic where it needs to be like any tube mic. This mic means a PSU, but the remote can be back in the control room using your regular XLR cables. So for a total of three XLR cable runs. Two different mix signals, the fat signal and the mixed signal. And the engineer at the desk can dial in that Mike setting, right from the sweet spot in the control room, wherever that is up to 150 meters away.

So you don't have to worry if the control room is far from the studio, or if you're in a huge recording space you're covered and the engineer can make decisions from the control room instead of going back and forth and back and forth, changing microphones. Okay, one more switch. We'll switch over to the saturated mode now and I'll keep toggling them.

Okay. So you get this great big PSU unit, all the configurations on the remote, the roads. But what if you need a stereo pair? Well, that's been considered here too, and I think they've made a really good decision here. First, similar to the LeWitt. LCT five 40 Sub-Zero. If you're familiar with that microphone, the manufacturing tolerances are such that any two LCT 10 forties are a stereo matched pair.

You don't have to specifically think ahead and purchase a matched pair that have been mashed up at the. Any to we'll match. So if you need to spend the money over the course of a year, any two of these microphones will be stereo matched pairs even better. Once you do have the two mikes, you can use one remote.

To control both mikes, just use an XLR splitter to split the XLR that goes from the remote over to the two PSU's of the two mikes. Now both mikes will respond to one. And you'll get matched signals back. I frankly, I think that that could be a game changer. Think of all of the options you have. If you have two of these for stereo pair, now there are two more knobs, one for a configurable high pass filter to get the best sound right at the source.

You can high pass the base set 40, 80, and 120 Hertz depending on your needs. And I'll let you hear what each one of these sounds like. The 40 Hertz high pass. This shouldn't have too much impact on my voice as a, as a voice actor tonally, but it can pull away a ton of base energy. Okay. Then there's the 80 Hertz option.

And this is also probably the most common option in voice work to cut below 80 Hertz. There's not a ton of useful information down there. So when something like an audio book production, this can stop the car subwoofer. Pounding into your back or, or making it really fatiguing to listen to and headphones at 80 Hertz high pass filter.

And then finally there is a 120 Hertz high pass. So this could remove a considerable amount of base and it could be useful in certain situations, depending on how you need to use it. Put that back now. Likewise, there are multiple pads, so you can go from really quiet to super loud. There's a modest DB of, uh, there's a modest pat of 60 B to a massive amount of padding at 24 DB.

You just dial it in with the. So the first one I'll switch to is the 60 B. Now, when you switch, you should pay attention to the operational indicator here. It will take a few seconds for that pad to become engaged as the Mike reconfigures itself. So it's not an, it's not fully padded or any adjustments aren't fully in place until the operational light becomes solid again.

So now I've, now you can hear that the 60 B pad, if I move it to the 12 DB. We can see that operational light come in again, it takes a few seconds. And now we are at the full 12 DB pad. I get a lot quieter.

Finally, I'll switch to the 24 DB pad. So now it's gotten quite quiet so I can put a really loud source.

I'll switch it back and let that padding come, come out here.

Remember to watch that operation light, some changes do require a moment for the mic to reconfigure itself. So as you make changes, watch that operational light to know if it's all the way ready to go again. I'm going to go back to clear mode now. And I'm going to dial in the 50% fat. So now we've got the mix of the tube and the fat effect, just so that we can hear it.

And we'll talk about some more features. Now, like many of the LeWitt mix, the 10 40 comes with an integrated and removable pop filter and this one mounts a little differently than the other Lewitt. And you can see that there's a lot of care given here. There are magnets to secure it in place. So it's not going to go anywhere, but you don't need to slide it over the basket.

Like some of their other mics, it just clicks into place. So if you watched some of my other videos, you know, that sliding the pop filter for their other mix. Kind of create quite an ASM our moment, but not really here. And you won't be scratching the grill. It just clicks into place with some magnet. So you pull it off and you can plug it back in.

This is not my mic, so I'm not going to do a plosive test here. I'm not going to send plosives into it. I don't want to risk damaging the capsule if I'm too aggressive with it, but there's no processing on this, on this audio. So you'll hear if along the way, if I've sent any plosives past this, uh, past the pop filter, you'll hear.

So I'll just have you referenced the remainder of the recording to see if there are any plosives. We can also pull it off to see if there is any transparency change between the pop filter being on and the pop filter being off. We'll see if there's any, any tonality change by pulling this off. Really it's quite see-through and there are two layers of, of metal in this grill.

So it's possible that there could be a tonality change with the pop filter in or the pop filter out. And tonight.

There we go. Okay. So let's switch to another mode. We're going to switch to dark mode at 50% mixed in and we'll go back and forth so that you can hear it. The shock Mount is also worth mentioning, and it is, it's a serious shock mountain, super robust well-made supports the mic extremely. And I'll be honest.

I haven't quite seen a shock Mount like this before. And what I mean, what I'm getting at is in the way that it adjusts, it actually uses quick release levers, similar to how you might raise or lower a bike seat. So I'll do it right now. Hopefully not move the mic too much, but you just release it, adjust the microphone and then lock it back in place.

You see it? No thumb screws here. It's actually. A quick release lever, similar to how you might raise or lower a bike seat. Like I said, it's easy to move. It's got an extremely tight grip and you don't have to crank hard on, on these thumb screws to get it, to be seated. That's really well thought out. It's a really well thought out shock Mount.

 It's a wide body, so you've got to have a little space for it, but it's really well thought out. I mean, I can, when I've been doing my tests, I can put some pretty good handling on this mic without it being really transmissive. I think it's really well engineered for. Okay, let's move now to the saturated effect at 50% tube.

The last two parts to talk about on the, on the remote are the default reverse switch. And the th there's a hold switch on the back. This switch on the lower right-hand corner, labeled default and reverse allows you to choose. Which side is the front side of the mic. So right now I've got the tube facing me, but with a switch waiting for it to come back into, into operation.

Now I'm standing at the back of the microphone and this is the front of the microphone. I can just switch it right. Going to put it back to default. There's a hold button on the back and it has two purposes. First is maybe you can see it here, but the LeWitt logo on the back in default mode is slightly.

If you tap that button on the back, that illumination goes out. It's just like, if you want to, I guess a little bit of a stealth mode, but that little button there, you just tap it once and the mic lights up or the, the, the logo lights up. The other purpose is w is with a press and hold will power the microphone down for a vocalist.

Some vocalists like to have the microphone Upside down and up in the year so that they can fit their, their copy, their music stand or instruments underneath. You can put this up at eye-level and Lewis says that it doesn't matter if the microphone is hung upside down. I guess when some T two Microsoft phones, there's a, there's a concern that the heat from the tube can affect the capsule or could affect the performance of it.

If the tube is upside down, Lewitt says it doesn't matter here. You can put it, you can arrange the migrant. However it's preferable for you. So now we're going to investigate the polar patterns. So I'm going to move the microphone a little bit. We'll see how the shock filter or the pop filter or the shock Mount does.

And once it becomes operational again, I'll now arrange this in an omnidirectional pattern, and now we can sort of investigate the polar patterns a little bit. The polar pattern is adjusted with the other large knob on the microphone. So right now I have the microphone turned 90 degrees. And we're in omnidirectional mode.

So you should be picking me up nice and clear. But what I'll do is I'll try and dial in some of the other patterns and we'll get a sense of how that changes the performance of the microphone. Now, as we turn it, there are sort of detects in the knob that will stop the pattern at sort of the major polar patterns.

But you're not limited to those. You can dial in any of the polar patterns in between. So first thing I'll do is I'll just move it up to a. Cardioid and after a few seconds, we should see the microphone come into operation.

I have to wait for that led to stop flashing, but now we can, now we should be able to maybe detect if there's any sort of change or transformation in the tone, by having it in the wide. Cardioid what we're listening for here. I should still be reasonably loud, but we'll listen to see if there's any tonality change, any loss of high frequency or anything like.

So that's the wide cardioid pattern. I'm not going to move it directly to the next detent. And that is the cardioid pattern.

The cardioid pattern. The most common one for the voice actor is one where sometimes the off-axis response can become important. So even if we have the off-axis response at 45 degrees or at 90 degrees, we should be able to hear a difference in volume, certainly, but we may also hear a diff. In tone. Next, I'm going to sort of move through some of the other patterns just so we can see what the off-axis rejection and responses from the other patterns.

So I'm going to move this next to the super cardioid pattern.

So now we're over at the super cardioid pattern. And we should note that my voice has fallen off quite a bit, and I will move into the dead zone, sort of the, the real dead zone. And I can dial that in even before. But I can move into an out of the, sort of the know of the super cardioid. I'm not now like a hyper cardioid pattern.

And then finally we'll move all the way to the figure eight pattern.

And once it comes into operation, I should strongly be in the null of the microphone. If you're hearing. You're hearing me reflected off the surfaces here in my vocal booth. I'm raising my voice nice and loud so that you can hear me. All right. Let's move it back to cardioid. Okay. So now we're back to the cardioid pattern.

So you can at least hear me, but. Infinite polar pattern adjustment gives you a lot of freedom in setting it up. You could use this as a room microphone and dial in the pattern to get just the right amount of room compared to the signal. You could ensure that a couple of different competing acoustic instruments in the room in the recording studio are sitting in the right Knowles.

That's not really my area of expertise. I primarily use a mic as a voice actor, just me in a room, but there are lots of creative possibilities there and I'm really excited to see what some people come up with. As I rotate up to the top, a cardioid from 90 degrees off axis. Let's just take a moment and listen to the quality.

What sort of high-frequency response I get in the mic I received. There were no polar pattern graphs, so I don't know how the character, I don't know how the character should change as I move from off-axis to on some microphones are very directional in the highs and some have a very wide response for the.

So as I rotate the mic in the front, as I speak, you should be able to hear, or you can note if there are any significant changes as we move from off axis to on axis. If there are significant changes, I'd expect them to be in the highs. But since you can just adjust the pattern, if I move that to a wider pattern, maybe as we move that microphone off to the side.

We still have some of that high frequency response. So depending on how you up this setup, you could potentially have a couple of voices singing into one side of the microphone with the car, with the pattern adjustment, and still get really good clarity, get good tonality out of everybody. So let's talk about cons.

Are there any $3,500 should not be too many, but there are some cons I can think of two right off the top of my head. First you've heard as I switched between all of these different effects. I do wish the effects went perhaps just a little harder pushing the tube a little bit more. I want perhaps something that's a bit more saturated, a bit more warmth, a bit more darkness.

It's the changes you've been able to see. They're fairly subtle detective. But subtle. I think LeWitt, what they've done here is they're trying to balance pushing the tube hard and maximizing its longevity. This is expensive mic. You want it to last 10, 20 years. Anyway, since the tube is not really replaceable it, at least voids the warranty.

If you try and mess with that too. So I don't think the tube is very easy to replace. It's done. It's not pushing the tube super hard from what I can tell. And as a result, the effects are they're subtle. They're not really extreme. That's what. Second, the cable that goes between the power supply and the mic is proprietary.

You have to get a cable from Lewitt. You can't just go to Sweetwater or BNH or whatever, and buy a new cable. So if some knucklehead in the studio messes up the cable kinks, it breaks, it, pulls it out. Anything like that, you can't just run over to the cable closet and grab it. So I suggest that if you are going to be in a high use area, a busy studio, something like that, reach out to LeWitt and see about getting some space.

Before you need them because you don't want to lose a session because of losing a cable third. And this really isn't a con, but just a point to know, even though there are two outputs on the back of the PSU, these are variations on the same signal. They're not outputs from different counties. So I thought at first that the 10 40 might also be compatible with the polarizer plugins from the twin series Mike's from LeWitt, but these outputs are not like the twin system of the LeWitt six 40 Ts.

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]]>Mon, 07 Feb 2022 16:58:48 -0500<![CDATA[Pricing your work for recording Bulk News Articles, etc]]>https://www.boothjunkie.com/blogs/post/pricing-your-work-for-recording-bulk-news-articles-etc

You may be approached to narrate content over a long period, here are ways to ensure you get paid a worthwhile rate, and the client is happy. 

NB: There are many ways to do this. This is how it has worked for me.  Your mileage may vary.

My experience is that news organizations pay less for article narration than similar length e-learning videos. This is because articles have a short shelf-life, and are not monetized very easily. And, the margins are already pretty thin. Charging e-learning prices would be at a loss for them and you won't get hired. The news org will need to get their money back on an article in 1 to 7 days. After that the listen rates taper off, and so does revenue.

Knowing that, changes the calculus to decide if it's worth it for you. Bulk work can be profitable, or a loss, depending on how you price it . YOu need to think about what it takes for you to actually produce the work (and bear in mind a couple "gotchas" at the end of this article.)

This is important:
When working in bulk, it's prepay only, and not billed after delivery. They must prepay, or you'll get screwed when they don't actually deliver the bulk work.

Often their eyes are bigger than their stomach. And the bulk work never actually materializes.

So, determine a bulk discount rate that works for your time but makes it attractive enough for them. In this scenario, bulk is key -- how much work will you get? The more work they have, the better you can negotiate.

The key for you is to know how long it takes you to generate a minute of finished audio from a cold script. It may be something like 5 to 8 minutes of  actual work per-finished-minute. It all depends on your cold-reading skills and editing workflow. At 150 to 200 spoken words per minute you can work out how much time you need to create that audio. A 1,700 word article will take between 45 minutes and 60 minutes for 10 minutes of audio. 

This time is spent:
  • researching  (pronunciations etc)
  • recording
  • editing
  • QA-ing 
  • mastering to desired technical standards 
  • delivering / uploading
  • administration (billing, tracking etc...)
Finally consider turnaround time. How fast do they need it back. Today or next week. .

You could factor that into the negotiation. One rate for fast turnaround, another for 48hrs+, or whatever. You can always turn it around faster, but if they demand it, they should pay for it. Add something in your discussion for what deadlines are, so everyone is on the same page.

So, how much do you need make for that hour's work, and have it be profitable? How close is that their budget?
I would offer a discounted rate if it meant I got a consistent 5 to 10 hours a week in recurring predictable revenue.


Once you calculate a number that works for you, you can work with them in a few ways to make it attractive to them. You can do this a few ways, depending on how reliable the recurring work will be. I have have clients in all three buckets:

My favorite way:
1) Pre-purchase words in bulk. Bill them in advance for the words. They keep sending scripts until the word count runs out, then issue a new invoice. ." Then, keep a spreadsheet of how many words each script is. Share the spreadsheet in view-only mode so they know where they stand. This is good for high volume work, and is clear for everyone. 

My Second favorite way:
2) Pre-purchase Flat fee per script. Again, whatever numbers work for you. Then, as above, keep delivering scripts until the pre-purchase runs out.

My Least favorite way:
3) Bill per finished minute at an agreed-to rate, say $3 or $5 /min and either round to the nearest minute or bill to the second. They pre-purchase minutes in advance. 
number of minutes + ( number of seconds / 60 ) 
gives you the percentage of the minute to bill 
Example: a 7 minute 16 second script is 7.26 minutes. 7 + (16/60)

I like this third way somewhat less because they'll get you to speak faster, which makes for a harder read for you but with less pay. 

​​Two gotchas to be aware of:
Often, news articles have names of people or places that you may not know how to pronounce. Factor in time to search for pronunciations of those words. Or, a pronunciation / phonetic guide for "out of the ordinary" names. terms, locations, etc...*. It sucks to lose 15 minutes researching to pronounce certain names or places.

Pickups:
Pickups are only free for your mistakes. If they change a script, there is an fee, not the corrected words. This fee pays for the time to reopen the project, do the pickups, re-render and deliver. Make it reasonable. Something like: $10 per set, per article, whatever.

I hope that helps. I've done it each of these ways. They all can work, so long as you know how long it takes you to create the work.

So, If it takes you 20 minutes to create a finished minute, then it may not work.




Need help setting up your home voiceover studio? I can help. Learn More
]]>Tue, 25 Jan 2022 12:43:50 -0500<![CDATA[512 Audio - New Gear]]>https://www.boothjunkie.com/blogs/post/New-Gear-from-512-AudioA rundown of the new gear from 512 Audio. The Limelight and Skylight microphones, and the Academy headphones, I also review their Pop Filter and Boom Arm.]]>

Here is a rundown of the 512 Audio Gear

These Affiliate links help support me in making more videos. 


The following links are affiliate links which help support the channel, without adding any additional cost to you: 

 - Skylight: https://geni.us/512-sky 

- Limelight: https://geni.us/512-lime 

- 512 Pop Filter: https://geni.us/512-Pop 

- Academy Headphones: https://geni.us/512-Acad 

- 512 Boom Arm: https://geni.us/512-Boom 


Other gear mentioned in this video: 

 - H&A Boom Arm: https://geni.us/haba

- H&A Mic: https://geni.us/haac50

- Stellar X2: https://geni.us/s-x2 

- Rode NT1-a: https://geni.us/r-nt1a 

- Stedman PopFilter: https://geni.us/bj-ps101 

- Stedman adapter: https://geni.us/ad-1 

- Audio Technica headphones: https://geni.us/atm40x 

 - Sony MDR7506 - https://geni.us/bj7506


EDITED VIDEO TRANSCRIPT:
The Skylight and is a cardioid condenser microphone. It designed for studio use lie in the booth here.  It'll run you about $199.

In the box the skylight comes with a dedicated shock mount. The shock mount is heavy duty, made of metal and fits right around the mic. It mounts to the microphone via threads on the bottom. My impression is that it is durable, and pleasant to use. 

The first thing you note about this microphone when you get it is the weight. Its a beefy dude.  It weighs in at a meaty 1000 grams -- a full kilo for this mic. 2.2 pounds. That's heavy.  My $3000 u87 weighs like half of that. THis mic is solid. 

Given how heavy the microphone is, Let's see how it does for dampening any resonance from the body. If I tap on the mic or the shock mount do we hear any sound coming it. I'll also tap on my desk here to see if it transmits noise. 

There are no buttons or switches on this microphone, it's just a microphone. Now, there is nothing wrong with that. Its just a decision that the manufacturer makes. I have microphones that cost over one thousand dollars that also lack any buttons or switches, so don't let it put you off. Some mic's include buttons and switches for certain features, others do not. I will say that in 99 percent of my recordings here in the booth,  I do not activate any switches, as I want the original intended sound from the mic, and will make adjustments in the D A W.   

The Skylight's kit does come with a pop filter, so you do not need to purchase the 512 Pop filter, or any other a pop filter separately. In theory, I am particular to this design that's included with the Skylight. From what I can tell,  it's a copy of the wind tech pop guard -- or at least the  Windtech pop guard was  first of this type that I was aware of.  I really like this style of pop filter and the wind tech works well.  It doesn't get in the way of your copy, and if you're going to use this in front of a camera, then a big pop filter does not get in your way.   That's nice. And as I said, It also removes the necessity to purchase the extra pop filter from 512. YOu only need that pop filter if your mic doesn't have one. However. 

So, in comparing,  you can hear the difference between the two to see if you think that one is more pleasant than the other.  The techzone audio Stellar X2  is also a cardioid consider microphone, so the patterns are the same. The idea here is that there are two different "flavors" of sound, and you can decide which you find more pleasing. 

The specs of the 512 mics do not include a self noise figure, which is not a great sign. When I compare it to the Stellar X2, it has a higher noise. The NT1a is an extremely low noise microphone so I expect the Skylight to have a higher noise floor.  And, since the sensitivity of the Skylight is lower than that of the other mics, I need to have the gain up higher on my interface which can give the impression of a higher noise floor overall.  That said, it's not an incredibly noisy mic. 

Otherwise, what specs they do give are  are as expected. The frequency range is from 20 hertz to 20 kilohertz although since there is no response graph they don't disclose how much attenuation there might be at either end.   The maximum SPL is 144 db, which is quite loud considering that there is no pad switch on the mic. This indicates that you could place this mic in front of the loudest sources.  Way louder than we would ever get in voice over.

The basket and grill on the Skylight is interesting, it is super robust, but there is a lot of stuff between the you and the capsule. I don't know if that's designed to adjust the sound in any way, or simply to protect the capsule.  But as we listen, it may explain why the mic sounds like it does. There is certainly a possibility that all that stuff in the basket  would affect the sound.  The capsule on this microphone is very well protected here, but there is nothing I found indicating that the grill is designed to intentionally influence the sound towards a certain timbre or characteristic.

There is both this thick metal grille, and  behind that there is a metal ... "wool". I believe the wool is there to help moderate any plosives.  However, I've seen in my wave forms that even with all that wool and the supplied pop filter in place, I do get signs of plosive- ness.  So I'd need to be very careful of mic technique when using the Skylight. Something to be aware of. 

There is no way to take the basket off without dismantling the mic. Maybe all this stuff is   there to try and "warm up" the microphone by cutting the highs a little bit as when I compare it with other mics there is definitely less high end which makes it seem midrangey.  SO, if you do find you have a very sibilant voice, or a very sharp ess sound, this design may work in your favor. 

The reason I mention this is that I have other microphones where modders will specifically reduce the amount of stuff between the protective basket and the capsule to avoid any unwanted resonances or comb filtering, or attenuation of highs. Even a modest amount of foam can attenuate the highs, and the Skylight seems to have less high end, so that may be due in part to the basket design. 


----

Limelight
The limelight is a Dynamic mic, and will, will sound different from the Skylight.
THis is a different beast altogether. It's always risky to switch to a dynamic microphone after listening to a condenser, because there are usually very obvious differences between them.  So give it a second. 

The limelight is a dynamic hyper cardioid microphone. It's also 199 dollars. A dynamic microphone is often considered when you're not in a super treated vocal booth. They're good when  you might have multiple people speaking at once, like in a podcasting or streaming type scenario.  Dynamics, also, by design have a more limited frequency range, which can affect the overall sound of the mic. They tend to be less sensitive, so at the same gain on your interface, the dynamic will be quieter compared to a condenser.

If the Skylight was a heavy, robust feeling microphone, its curious to note that the Limelight is quite light by comparison.  That's not to say it doesn't feel durable,  but to other microphones in this form factor, it's light by comparison.  Weighing in at only 350 grams.  It feels lighter than it looks. I'm surprised by that, and it does not convey the same sense of quality when you hold it. 

The limelight does have a switch on the bottom near the XLR jack. It's a low cut switch and it's on the bottom. This will change the response of the microphone to cut away the very lowest bass frequencies. According to the documentation it cuts off at 100 hertz at 12 decibels per octave. So, a fairly steep cut. 

If I'm being kind, the  switch placement is ...inconvenient to say the least.

It's on the bottom of the microphone, and when it is mounted in it's mount, the switches are blocked. So in order to check the difference between the sound you have to physically remove it from the mount. This is a pain in the butt.  In most cases, you'll probably set it and forget it, so make sure you test it both ways before you get set up because once your recording you can't easily switch it.  This switch is here to reduce a small amount of ambient rumble.  If you have an air conditioner or furnace that rumbles, if there are trucks going by outside, engaging that switch can help., and it can help with proximity effect if you tend to eat the mic and get right up close to it. 


Let's compare with some other mics to get a sense of the frequency response since it's not disclosed.  Let's start with the H&A AC 50.  You might not be familiar with this mic, but Upon opening the Limelight, and seeing that switch, this is the first mic I thought of.  The switch placement  is very interesting to me.  If you look at these microphones from the bottom, you cannot distinguish one from the other. Except for a slightly different paint color they are essentially identical. The mounts are absolutely identical, but the various slots on the body are different.  Perhaps both H&A and 512 are buying their mic bodies from the same supplier.   I'm not saying they're the same mic internally, not at all.   - the AC50 is listed as a cardioid pattern, so there is a difference in pattern between the two.  It's just so similar in appearance.  You could easily think these two mics were from the same company.   The H&A AC50 will run about $99. I'll have links to everything in the description. 

I cannot pull the grill off of the Skylight, so I cannot how much  foam is under the grill to stop any plosives. I,  conducted a very unscientific test. I stuck a paperclip in one of the holes, and you can feel foam under there.  

Tthe 512 audio suspension arm and it is comparable to other suspension arms at this price point. It holds the mic perfectly well, the springs are internal and it don't creak. It does the job. I would expect this to provide years of sturdy reliable service.  If I had one complaint, it's that there is a channel allowing you to feed a cable internally to hide it from view. But you'd need to solder on the XLR adapter after the fact. I doubt many people would. I have a suspension Arm from H&A that uses a plastic cover to hide the channel, so you can put any cable in there as you need. I find that to be a much more sensible option at this price point.  And again,  Visually the 512 ARM and H&A are are very, very similar. Again, I wonder if they're sharing the same supplier in China. 

There is the 512 Pop filter, and it's not very good. The design appears to imitate a similar style to my favorite pop filter which is the Stedman PS101.  The popfilter  "adopts" the same grille design as the stedman, which is a specially shaped mesh which -- on the stedman at least deflects air down at an angle, and away from the diaphragm of the mic. Watch as I demonstrate with a flame here to show how the air is defected.  Imagine the flame is the capsule of the mic. 

At 40 bucks it costs a lot less than the stedman, but in my experience it does not do nearly as effective a job as the stedman in deflecting air away. So, take that into consideration.

Also 512 created  pop filter that only kinda works with their own suspension Arm.  It does clamp on, but it doens't fit quite right, it's designed to fit onto a round tube like floor microphone stand, not a square tube like most suspension arms. So if you buy both thinking they're compatible, they're only kinda compatible. 

Without the adapter you can make it work but, if you can, save up for the stedman, or another, more effective filter design. 

Finally there are the Academy Studio headphones. These again,  are just OK. They come with a case and two different cables.  And, in what seems to be a bit of a theme, these are visually extremely similar to the Audio Technica AT m40x headphones. Side by side if you took the logos off, you'd see that they are almost identical in appearance. And, they share the same price point at $99,  They both offer a removable, locking cable, a padded headband and a similar looking closed back design.   The earcups of the Academy headphones are softer, but the cups are all the same size.  Audio Technica's do fold up into a more compact space, the Academy's do not fold. 

But, once you start to put sound through them, the sound difference is night and day. The Audio Technica at m40x's  have rightfully  earned a good reputation for the price point. Good rich sound, especially given they;re only $99 bucks.  On the other hand the Academy's sound thin, with significantly less bass and a generally thin sound. I've found them fatiguing to listen to for any long period. 

I wanted to see if other headphone reviewers were hearing the same things, but I couldn't find one a video  reference. Hopefully at some point there will be  videos who can offer a more scientific rundown of the Academy headphones response and either corroborate or refute my impressions. . 

I'm not generally one to make recommendations, so,  I'll leave it at saying that these are not for me and I would make a different choice with my $99, including the AT M40x or the venerable Sony 7506 headphones. 

So that's all I have for you today. If you need my overall impressions, it's this. As a lower priced division of Warm audio, which has a generally very good reputation,  I think most of the 512 Audio products are only fair to middling offerings. In some cases they are poor imitations of a better product like the pop filter and the Academy headphones. The Limelight is just OK at the $199 price point and given the similarities to the $99 competitor, I wonder just how much better the Limelight is at twice the price.  Finally, I think the Skylight is probably the best offering of the 512 product line, but you do need to be careful with the might technique even given the robust wind protection that comes in the kit. 

Get Started Now
]]>Fri, 07 Jan 2022 16:40:59 -0500<![CDATA[5 VO Mics under $200 for 2022]]>https://www.boothjunkie.com/blogs/post/5-vo-mics-under-200-for-2022Here are 5 affordable mics you can use to jump start your voiceover career  Neat Worker Bee: https://geni.us/Y0dcZcJ   Movo VMX-7: https://geni ]]>

Here are 5 mics you can use to get started in Voiceover. 
These are all under $200 USD.

Here are 5 affordable mics you can use to jump start your voiceover career 
Neat Worker Bee: https://geni.us/Y0dcZcJ 
Movo VMX-7: https://geni.us/5OOW 
TZ Audio Stellar x2: https://geni.us/SOY9Bf 


If you're interested, those headphones: imp.i114863.net/VygKJE T


he above are affiliate links where I earn a commission, but you pay the same amount

]]>Fri, 07 Jan 2022 16:26:50 -0500<![CDATA[GVM 880 RS Multifunction LED Light Kit lights: Video and Film Lighting Kit]]>https://www.boothjunkie.com/blogs/post/gvm-880-rs-multifunction-led-light-kit-lights-video-and-film-lighting-kitA detailed review of the GVM RS880 Light kit]]>

Handy Cool-running LED Lights for your Video Studio

Links in the article below may be affiliate links.  I may earn a small commission, but are totally free to you, and do not change the price you pay. 

Check the latest price on Amazon 

Overview

The GVM 880 RS Multifunction LED Light Kit is a set of 2 led lights that are designed for video and film content creators. With this kit, you get the perfect lighting setup without needing to spend hours setting it up. 



Product Name: The GVM 880 RS Multifunction LED Lights: Video and Film Lighting Kit

 Recently, I've been on a quest trying to learn lighting techniques to make my videos and my B-Roll LOOK better -- especially to improve my B-Roll shots.   Lighting is not my strong suit and I was looking for something that would be easy to set up and would help me be more productive. 

The good folks over a GVM sent me these lights and asked if I would review the product. They sent me the two light kit. These are multi-function L. E. D.  lights designed for video content creators and  filmmakers.

I want to disclose right up front that GVM sent me the lights in consideration for making this video. But I am otherwise not compensated by GVM, they have no input on what I say, and they won't see this video before you do. My only goal is to help you decide if these lights might be right for you. 



\Now, normally I don't say yes to review lighting products for video as it isn't my strong suit -- I'm no expert,  but since these seemed beginner friendly and pretty affordable I thought I would see if these could solve my needs as I make  my videos. 
The kit comes in a semi rigid case that has everything you need for basic two point  lighting. There are the two lights, of course, that each come in a protective bag. The lights come pre-mounted in these U mounts , and each light has these barn door flaps all  preinstalled. That's cool!  They're pretty much plug and play! No installation or configuration is required. Very beginner friendly.

The kit includes power adapters for wall power! So, these can be your front lights for your Youtube setup -- you don't have to worry about changing batteries, or recharging all the time. 

Image showing two battery slots
But they are not limited to wall power.  There are  battery slots on the back.  You can get compatible batteries separately from the GVM website. There are two slots on the back and you  need to flip the power switch to choose between wall power or battery power. You do need both batteries connected at the same time, if you pull one out, the light will go out, so you can't hot swap the batteries. 


Light Stands

There are two light stands included. 

These are basic lightweight stands.  They are fine, but nothing to write home about. They can elevate the  lights around 7 feet in the air.  They fit in the case, and have their own  bags, so they won't scratch the lights when you store them. 


They're pretty typical stands.  However, the stands go higher than the length of the  cord on the power brick.  




So, if you're extending the light stands all the way up, it's a good idea to get bongo ties or velcro straps to hold the brick in place for strain relief. Otherwise, you might put too much stress on the cable, or the plug,  and damage the parts. That would not be good. It would be nice if the cord was long enough that the brick sat on the ground when the supplied stand was fully extended. But that's how it is. 

Here is an example of using one light set to white as the foreground, and one light set to a deep red as the background. 

Light Modes

The lights themselves have several modes  -- they can either be white, or can display RGB color. 


There are dedicated LEDs to adjust between  warm white or bright white, and separate LEDs for color.  Having separate White LEDS is great, and the adjustment lets you match the  color to other lights you already have. 

Just turn the knob to adjust between sunlight white, at fifty-six hundred kelvin. Or, add more yellow down to thirty-two hundred kelvin.  Which is similar to incandescent or warm white. 



As an alternative, you can switch to RGB mode.  And, choose any color you want. The LEDs for color are separate from the White LEDs so the accuracy of the whites is better than if they were trying to match a temperature with the RGB LEDs. 

They also have a good brightness range, from off, to really bright. They're rated at 60 watts, so they can go quite bright. 

That includes the color LEDs are bright and vibrant.  And, you can adjust both the saturation and brightness over a nice wide range. You get a broad range of colors. 



You can use the dials and buttons on the back of the light to get to the color you want, but the colors are easier to set in the app. 

Remember that the knob on the right side here is also a button, so you can switch between hue  and saturation to find the exact color you want.  YOu see I have a sticker here that gets me to the blue that I like to use.

I've covered my wall with a neutral gray photography backdrop.  This allows me to use the RGB lights to splash any color I want onto the wall, and quickly transform the background for product shots.  This is a great way to quickly transform  the wall color with these lights.

Adjusting the Lights

 
There are several modes for adjusting the lights. You can switch modes with the buttons on the back, or you can adjust them with an app that you can grab from  the app store or the play store and there's a QR code that will take you to the GVM website where you can also find the app. 

With one light in Primary mode and one light in Secondary mode the lights will instantly pair with each other. You designate one light as the Primary light and the other light as the Secondary light. When you set them this way, the secondary light will automatically follow the same settings as the Primary light.  If you find that the secondary light does not adjust automatically ,you may click the up and down arrows on the secondary light until both lights are on the same channel.  Then the lights should sync up. 

The mode button cycles through the different modes of the light. Each light can be the Primary light,  or the secondary light.   

For any light you switch to the App setting, those lights will then only be controllable controlled over bluetooth from your phone or tablet using the GVM LED app.  THe knobs on the back stop working when its in app mode.

Finally, the lights can be adjusted by the rotating dials on the back -- thus the name rotate.

There are also some pre-made scenes that may be helpful, police lights, simulated lightning, TV flickering, candle flickering and so forth. Those modes don't really apply to me, but other people may find them helpful. 

Running Cool

One of the really nice factors I discovered after I opened the package, is that these lights get warm, but not uncomfortably hot.  I've left them on for more than 10 hours at a time to test, and they were only warm. 

The GVM lights stay cool enough that an internal fan is not needed.  This  is good, because fan noise is a deal breaker when recording audio, especially in my line of work. I would like to use these lights in my video studio and voice recording booth at times, and when sound is critical, fan noise is a non starter for me. These will not interfere with your microphone because they're fully silent.  Many of the larger lights need fans to stay cool. These are totally silent which is perfect for me. 

Flicker Free

If you've tried to use other LED lights that were not made specifically for video, you may see them flicker or otherwise make stripes in your video. These GVM light suffer no such flicker. they're for all intents and purposes continuous at any brightness or color.  That's part of what separates these from the inexpensive lights, and why you'll pay a bit more. They d on't flicker.

Light Quality

They're also way more color accurate than the cheap lights, or lights that try and combine RGB into a white light. Having dedicated white lights that you can control the temperature of is essential in my book, especially when filming people. and the color accuracy I find here is pretty good.

Cons

If I had any complaints about the lights themselves, they're pretty minor. First the design of the u stand here limits the range of motion when the barn doors are installed. It would be nice if you could actually rotate the unit with the barn doors installed, in this configuration I can only really tilt the light, up, when in most cases I want to turn the light in a downward direction to light me, or the product I'm filming. So, being able to rotate the lights a little more freely in both directions would be nice. In the long run I'm going to suspend these from the ceiling so it wont be an issue for me. But think about how you might want to position the lights. 


The lower barn door is removable if it is a problem for positioning the light correctly, BUT I NEEDED A HEX DRIVER TO LOOSEN THEM THE FIRST TIME. 

GVM LED App

On the other hand, the app was a little confusing to get installed and set up.  So many things want to use your phone as a remote and connect over either Bluetooth or  wifi, it makes it really hard and slow to constantly change connections between my camera's wifi connection, my gimbal's wifi or bluetooth connection, the light's Bluetooth connection and so forth. I've actually ended up using tablets and old phones to make remotes for all these products.  Having to stop and reconnect  makes using one phone as a remote inconvenient.  I don't see that changing though, so getting an inexpensive tabletor saving your old phones might be a good idea. I'm using this little Lenovo tablet which was less than 100 dollars and has been reliable. 

Once you're in the app and connected to a light it's easy to switch between modes, select between color or RGB, set the brightness and so on. It's easy enough to use. 

I have a couple wish list items for the app though. 

The app uses Bluetooth, which is fine,  except it appears that you can only control one light at a time. So when you want to adjust each light you have to go back to the start, sometimes click research,  and reconnect to each light individually. Which i understand, but, this leads to the main item on my wish list for the app. 

When you're connecting to each light, the only thing you have to identify the light is this long cryptic address here. As far as I can tell there is no way to rename it in the app. It would help to either put that weird address on  the back of the unit, because its not there,  or allow you to rename it in some way like a location.  Or even better,  a "find me" feature that flashes the light in some way without affecting the settings to identify which light is connected. So if you have 3 or 4 or 5 lights  on the app you could quickly identify which light you're adjusting without messing with the current setting by flashing it or something.  I only have two here and it's hard to keep them straight when you're looking at the app because the name is weird, if I had 4 or 5 lights as part of my overall studio it would be really confusing. So, a way to identify each light from the app  would be a welcome feature. 

But without those features some tape or little label from my p-Touch labeler and I can keep them straight. I put a sticker on the back here  so I can tell which light is which.  I also put a sticker for the color I prefer so I can dial that back in without opening the app.  That'll make sense in a sec. 

the app is not absolutely required, but if you want to access the custom scenes like police mode or lightning, or if you're the only one in the studio then the app is kinda necessary because you'll need the remote. 

It appears that you can save the current color or color temperature as a custom scene that you can quickly recall, however, on my android devices the app crashed whenever I tried to use that feature. So I can't attest to how it works, it crashed on every android device I tried, and I'm not an IOS user. That explains the sticker so I can dial the color back in when I want to go back to it.    At any rate, from what I can tell, it only recalls the scene for whatever light you're connected to, so if you wanted to try and create a specific scene using multiple lights, like to transition between  segments in a live stream it would be very time consuming, but doable.

Where the saved scene would be awesome would be if you wanted to have a custom color that matched your branding. you wouldn't have to find it on the color wheel every time. Since I can't get the save feature to work, that's a problem. And that's why I've got the sticker on the back

Hopefully an app update will sort that out. 

App Permissions

The app wants to access to your photos and files.  I think the files permission is so you can save scenes, but that feature seems to be broken in the Android version that I tested.

What is more concerning for me, is that  APP  requires GPS to operate.  I have  No idea why  GPS would be mandatory. I do not like that at all, and it could keep me from ever using the app. I could not find any explanation why the app needs to track your location. 

So there is that consideration, if you are concerned about such a thing. 

Also, Since the app is over bluetooth there does not appear to be a way to configure these lights over the internet, so trying to integrate with Alexa or  if - this- then- that seems to be impossible. Not a dealbreaker, but it would be cool to adjust the color of the light when something happens like on a livestream --  something like a superchat, the light changes,  As far as I can tell these lights can't help you there.

Price

From a price point this kit will run you about $290 US at the time I made the video. It seems reasonable for what you get, but I would love to see the app get a little more stable, and less intrusive with the GPS deal, for the price, and I would also prefer if they could supply just like a basic remote that covered more common uses , so that I don;t have to use a phone even if it was a really budget flat remote like you get with the cheap LED strips. 

ALso, If I had the money, I would probably opt for the three light kit over the two light kit. The three light version would allow you to do nice three point lighting setup for interviews, or give you two front lights and a nice color splash light for a youtube kind of set.   I say this because it appears that you cannot buy a single lamp on it's own so if you want to expand  with the same lights, you'd need to buy another pair. So starting with three could end up saving you money in the long run if you don't need four.  There are some single versions of other GVM models, so that might work, but I don't see the 880RS in a single version at this time. 

Conclusion


So As it is now, if I want to use the GVM for color accent lighting  and front lighting I also need a small fill light for the front. So, Consider what you might need in the near future when you're making your choice. 

At any rate, as video lights, these have been good and for what I'm doing in trying to step up my b-roll, this kit has suited my need just right, and has been quick and  easy to take down and store away. That part is great. But there are some weird things in the app that I wish were different. I'll leave it to you to decide if any of those issues are deal breakers. 

Thanks again to the folks from GVM for sharing their lights with me, I really appreciate it.

Disclosure

Links to geni.us, amazon and kit.com may include affiliate codes in which I earn a small commission on products you purchase. Please consider purchasing so that I can continue to bring you these videos. Thanks!
]]>Tue, 16 Nov 2021 14:47:08 -0500<![CDATA[The two sets of headphones you need for voiceover]]>https://www.boothjunkie.com/blogs/post/the-two-sets-of-headphones-you-need-for-voiceover

There are lots of headphones on the market. 
Which are right voice actors? 

we explore the different aspects of headphones you should consider for recording and editing voice work. Headphones mentioned in this video include: 


  • Sennheiser HD300 Protect: https://geni.us/bjhd300protect
  • Shure  215: https://geni.us/bj-215
  • Sennheiser 6xx: https://geni.us/bj-hd6xx
  • Sony MDR 7506: https://geni.us/bj-mdr7506
  • Grado sr60 (current edition): https://geni.us/bj-sr60e
  • Beyerdynamic DT770 Pro 32 ohm: https://geni.us/bj-dt770pro32
  • Beyerdynamic DT880 Pro: https://geni.us/bj-dt880pro
  • Audio Technica AT M50x:  https://geni.us/bj-athm50x


These are affiliate links. Using them does not change the price you pay, but I may earn a small commission if you purchase them by following the link. 

]]>Wed, 11 Nov 2020 17:12:23 -0500