Your pictures are in HD. Shouldn't your voiceover be too?
We think so. Good job we're completely nuts about sound quality.
It all starts...
…with a good room, or in our case two rooms. We designed the decor ourselves, but the acoustic treatments were overseen by Nick Whittaker whose client list includes Abbey Road, Angell Sound, BBC,Coldplay and many more. We’re delighted with the work Nick did for us.
Mics
Capturing the subtle detail and nuance of the human voice is a challenging task, so, when it comes to equipment, our motto is: the best or nothing. We believe in Neumann microphones, especially the U87, though we’ve hot-rodded our pair thanks to Klaus Heyne, the world’s premier mic technician.
Pre-Amps
Why is it that German made mics sound so good when paired with with British pre-amps? Rupert Neve has been the best known name in console design for more than five decades. Our first choice is the AMS Neve 1073 DPA. We love the high headroom, low noise and silky smooth responsiveness.
Colin's Rack Of Doom
For “Voice Of God” announcements and station imaging, we use a rather more esoteric mic chain. It’s a Sennheisser MKH 416 mic, paired with a D.W. Fearn VT1 all tube pre-amp, a combo that’s bigger than life!
Digital Conversion
And we don’t compromise on convertors either. Going in, it’s a Burl B2 Bomber AD which is known for it’s Class-A electronics and warm, almost analogue tone. From there it’s into a UAD Apollo Quad 8 for routing and FX.
Got Questions?
Our voiceover work is heard every day on major networks worldwide, so, on every level, it has to compete with the best. Even our cabling and back-up equipment is best in class. If you have any technical questions, please be in touch. Just know you’re in very geeky hands.
P.S. We sometimes get asked if our studio is available for hire? With two busy voiceovers using it full-time, we rarely have spare any capacity – sorry!
Now take a studio tour