Studio • February 22, 2024 • 5 min read
Studio Tour: Inside My Broadcast-Ready Setup
A look at the tools, acoustics, and workflows that keep turnarounds fast while maintaining top-tier audio quality.
While I keep my booth stocked with classic studio gear such as a Neumann TLM103, a Sennheiser MKH416 and a UA Apollo Solo (running a wide range of UAD plugins, namely CVOX), I also rely on some gear of my own choosing!
The AudioTechnica 4047MP and 4050 hold a special place in my heart. I adore the super clean top-end of both microphones and I really love the vintage body of the 4047! This is my go-to microphone for longform narration, but it is easily capable of handling everything thrown at it. Did you know it was used on the English dub of FF7 Remake as well as Dragon Ball Super! Before Super, the 4050 was used for the English dub as well!
I have a number of custom microphones that I think really push audio to the next level! My HulaCow Kahuna (with an Arienne Audio K87 v3 and a UTM5087, using a 180pF de-emphasis capacitor) sounds absolutely stunning. I have a modified Aston Spirit running a Flat K47 from Arienne Audio, which is an extremely versatile combination! Speaking of versatility, my sE Electronics with the v3 Arienne Audio K87 is monstrously capable, and is potentially my favorite of the 3!
Every collaboration begins with intent. Before stepping into the booth, I sit with the script, look for subtext, and imagine the visual language the director is building. I then mark up the script by hand, noting the intended direction. That informs everything—the breath choices, the cadence, and the emotional anchor.
During remote sessions, I keep communication fluid. I monitor the chat, reference the storyboard, and ensure clients feel heard. My studio’s Source-Connect setup means you can capture broadcast-quality audio in real time, or I can deliver pristine files within hours. My studio is, naturally, well equipped to handle live sessions over the likes of Zoom, Teams, and Discord.
After the session, I send both polished takes and raw files, named and organized according to your specifications. This gives editors flexibility without sacrificing cohesion. Clients have loved having options that allow them to move forward as fast as possible with either processed files or raw files that can be processed by the project’s engineer.
If you’d like to hear how this approach can shape your next project, reach out. I’m always ready to explore new creative territory.