Lelouch, post: 446464, member: 50238 wrote: I've been working to make it please my ears with one system, and then it sounds different when I go somewhere else

It will always sound different unless the listening environement and the format is the same. Different headphones, speakers, rooms and different medias (CD, MP3 etc) will sound different.
This is the main reason we invest so much in studio monitors and room treatment; we want a listening environement that is very revealing and somewhat flat. The sound we look for isn't pleasing to most people but the goal is to make the product sound good on any systems. Many studios have more that one set of monitors to also compare different sound.
You need to know, like a microphone, any speakers or headphones have its own sound signature. Therefor, if my system doesn't have much of high frequencies I will probably mix more than I'm suppose to. It might be ok for a bunch of other systems but if my friend have speakers that have a lot of high frequencies, it will be too much when he listens to my mixes.
Get it ?

pcrecord, post: 446472, member: 46460 wrote: It will always sound different unless the listening environement and the format is the same. Different headphones, speakers, rooms and different medias (CD, MP3 etc) will sound different.
This is the main reason we invest so much in studio monitors and room treatment; we want a listening environement that is very revealing and somewhat flat. The sound we look for isn't pleasing to most people but the goal is to make the product sound good on any systems. Many studios have more that one set of monitors to also compare different sound.
You need to know, like a microphone, any speakers or headphones have its own sound signature. Therefor, if my system doesn't have much of high frequencies I will probably mix more than I'm suppose to. It might be ok for a bunch of other systems but if my friend have speakers that have a lot of high frequencies, it will be too much when he listens to my mixes.
Get it ?

Yea, I understand. But I don't mix ! I've compressed, and other than that, I've just made the audio louder ( Which is somehow quiet when I hear it on my phone/laptop ). Anyway, I'll keep your advice in mind and I'll figure out what it is I'm doing that ends up splitting the rails between sounding good on all systems, and sounding good just on mine. Thanks again !

Lelouch, post: 446475, member: 50238 wrote: But I don't mix ! I've compressed, and other than that, I've just made the audio louder

Mixing is the action of balancing the volumes, dynamics and frequencies of one or many audio elements. (well this is a short version)
So you used compression and EQ in an early exemple, those are considered mixing actions.
The final step of a production is mastering, but we won't get to that here...

Your first limitation is the quality of your gear including headphones.

My tip, try to identify what you don't like when you listen to your product on different systems. . . if something come back a few times. Try to fix it either when recording (different mic placements) or ajustement in the recording software and listen again.

In the end, you could record everything the best you can and ask a pro to mix it for you...
Or better of, go to a pro to record your voice and mix it with other things at home

pcrecord, post: 446477, member: 46460 wrote: Mixing is the action of balancing the volumes, dynamics and frequencies of one or many audio elements. (well this is a short version)
So you used compression and EQ in an early exemple, those are considered mixing actions.
The final step of a production is mastering, but we won't get to that here...

Your first limitation is the quality of your gear including headphones.

My tip, try to identify what you don't like when you listen to your product on different systems. . . if something come back a few times. Try to fix it either when recording (different mic placements) or ajustement in the recording software and listen again.

In the end, you could record everything the best you can and ask a pro to mix it for you...
Or better of, go to a pro to record your voice and mix it with other things at home

Well, I've stopped using EQ since my compression is very minimal and doesn't the audio hit under -18DB. But again, the original recordings sound just fine on all systems, but its after compression and editing. So I'll go step by step to see where the fault is. Thanks for the feedback !

I feel dumb ! The reason the quality seemed to drop so much was for a noob reason. It's so stupid, I'm not even going to bother posting what the problem was. But now, I should check my audio from my audio interface and straight from the laptop with my apple earphones before deciding whether the quality is good or not to be the final product since getting the audio from two sources will probably help me decide what's best. Thanks for the advice.

I feel dumb ! The reason the quality seemed to drop so much was for a noob reason. It's so stupid, I'm not even going to bother posting what the problem was. However, I haven't exactly fixed it, but with a little tweaking and time, it'll be better.. I hope. But now, I should check my audio from various places before deciding whether the quality is good or not to be the final product. Thanks for the advice.

Also, noobie question. Is it normal that the sound I hear when monitoring my audio straight from the mic to the audio interface is better than what's being saved when recorded ? It's always been like that.. So I didn't think to ask till now. Thanks for not giving up on a beginner like me !

Lelouch, post: 446499, member: 50238 wrote: Well, I've stopped using EQ since my compression is very minimal and doesn't the audio hit under -18DB.

Man, EQ and Compression have nothing to do with each other. (well except if the signal have more bass it will make the compressor react more)
EQ helps change the frequencies (more bass, less treble etc..) and a compressor helps to modify the dynamics. (when the level get too loud the compressor can control it)
Those descriptions I just gave aren't complete but the most basics I could say.

Lelouch, post: 446506, member: 50238 wrote: Also, noobie question. Is it normal that the sound I hear when monitoring my audio straight from the mic to the audio interface is better than what's being saved when recorded ?

Yes it is normal, your audio signal (analog) is transformed to digital data by the interface's converter when you record
At playback the signal goes back to the converter to form a new analog signal. Those 2 convertions alter the sound more or less depending on the quality of the converters.

pcrecord, post: 446516, member: 46460 wrote: Man, EQ and Compression have nothing to do with each other.

Sorry, I mixed things up. I meant normalization, not EQ. If I use compression, then normalization is good for picking up the volume. I don't use EQ because I just don't exactly know how. It needs precision use, and I barely know the frequencies and how much to get rid of. Sorry about that, I seem to confuse EQ and normalization a lot for some reason !

Here are the two demos ( not at all done ). Just wanted feedback so far. On the Character Demo, I did the last recording a little differently. Please tell me if there are improvements in that one. Now, I'm obviously not a pro at this, so I'm not really sure how to feel about my audio. I'm sure it's worthless compared to most audio, but I don't know how bad it is ! So any feedback is appreciated . Thanks.

Guys ?

I think you go as far as you can go with the equipment you have.. It's time to concentrate on performance and emotions..
Just a small tip, you don't have to force your voice to the throth all the time. It's good to show you can do that kind of sound but give the buyer some diversity, they may hire you for a teenager voice some day. Or even animal voices ;)

pcrecord, post: 446607, member: 46460 wrote: I think you go as far as you can go with the equipment you have.. It's time to concentrate on performance and emotions..
Just a small tip, you don't have to force your voice to the throth all the time. It's good to show you can do that kind of sound but give the buyer some diversity, they may hire you for a teenager voice some day. Or even animal voices ;)

Yea, I really just made these really quickly to try out the audio, but I'll make sure to invest in improving my skills at voice acting. Thanks for the advice. I'll upload the done demo reels when I finish them. Probably wont be for a while, but I may still come back for advice. Thanks for everything pcrecord, huge help to me. If everything works out, I'll make sure to invest it better equipment, which I may ask around about here, but I don't want get ahead of myself. Thanks again.

I feel so much right now ! Anyway, the reason my audio sounded so different when I heard it when it goes to my interface to my headset, vs straight from the laptop to my headset/apple earphones, is that my laptop has beats audio settings. Here's a picture of what it looks like exactly for me. I hope you can help, I want to know what the best settings are to hear things "neutrally". Thanks. Edit : BTW, unchecking the beats audio doesn't make it not filter all the audio through these audio settings. That's only for the speakers of the laptop itself which has beats audio.

Attached files

And another question, too. Sorry for the double posting. But I'm sure my audio quality is lower compared to even what other people would have with the mxl 770 and behringer U-Phoria UM2. Am I doing something wrong ? Listening to any mxl 770 with the behringer ( like a rap one that uses a Behringer about 10 dollars more than mine ) on youtube seems to show a big jump in sound quality. I'v seen setups, and there's really no difference. I've explained it before but will again. I have an HP envy dv4 connected to the Behringer through usb. the behringer is a little over halfway in gain and phantom power is on. The xlr cable is connected from the interface to the mic, which is on a stand upside down in front of me. The mix is placed correctly and facing the right way. If you have any advice, It's greatly appreciated. Thanks again.

@Letouch I'm not sure what I could add after all we covered already. You may want to go back and revisit the whole thread and make sure you follow the advices given.
You are in the worst position possible. Wanting pro quality out of poorly chosen cheap gear with untrained ears is futil.
If you had come to RO asking what to buy, I can bet we'd never suggest what you bought.
That said, I thought we agreed that you wanted to demo your work in hope of be invited to a pro studio by interested producers.
Anything changed since you started this thread ?

I've looked on youtube and didn't find any video with both you the 770 and the um2. I think you have been seduced by their low price and now need to re-evaluate yoour priorities. Also realise that at this low cost, the quality controle is bound to let go units that are far from the prototype which might have sounded good. If you were out of luck and got some friday units, it's not helping at all...

Now if you have specific questions about 1 aspect. EQ or compression or mic proximity, ask and I will answer. But be very specific. I feel you are running with closed eyes and need to stop and learn the craft step by step, but this takes time and a lot of practice ... ;)

pcrecord, post: 446870, member: 46460 wrote: @Letouch I'm not sure what I could add after all we covered already. You may want to go back and revisit the whole thread and make sure you follow the advices given.
You are in the worst position possible. Wanting pro quality out of poorly chosen cheap gear with untrained ears is futil.
If you had come to RO asking what to buy, I can bet we'd never suggest what you bought.
That said, I thought we agreed that you wanted to demo your work in hope of be invited to a pro studio by interested producers.
Anything changed since you started this thread ?

I've looked on youtube and didn't find any video with both you the 770 and the um2. I think you have been seduced by their low price and now need to re-evaluate yoour priorities. Also realise that at this low cost, the quality controle is bound to let go units that are far from the prototype which might have sounded good. If you were out of luck and got some friday units, it's not helping at all...

Now if you have specific questions about 1 aspect. EQ or compression or mic proximity, ask and I will answer. But be very specific. I feel you are running with closed eyes and need to stop and learn the craft step by step, but this takes time and a lot of practice ... ;)

Well, there's no video of me and my equipment. There are videos of the mxl 770 with OTHER Behringer audio interfaces costing around the same. I did find one guy with the mxl 770 and um2, but I doubt I'll ever find it again. Also, sending my demo's out and hoping for a studio to pick me up and hire me is what I hope for, but not the most likely thing to ever happen. Pro quality .. Something I'll never reach with my equipment I know. Just hoping to draw the most I can from what I've got. Like this guy :

. Anyway, seduced I'd say is the opposite. Seeing the low price tags made me feel like I was getting the worst of the worst. But again, IF I find voice overs are something that could possibly be a career for me, I will spare no expense on the right equipment. The cost of a professional home studio isn't an issue, I just would hate to waste my money. This equipment is just to see if I can actually get started on this career path at all. Thanks for the help Precord, I'm sure I've been annoying you ! So thanks again for sticking by me . Be back with any questions I may have.

Btw, any places you recommend me to send my demo reels to ?

Yeah right !! He used an apogee one (500$), the preamp on it is way better.. But even then his sound isn't that good.. it's hyped on the high frequencies and autotune sounding... Now things good for him, he knows what sounds good and how to work with a mic. (play with the proximity and gain staging)

One thing you can do is to find someone in your town who can come to your place and make the maximum of what you have.
Check at music store, most guys have good ears. (even if you're not signing)

Send your demo :EVERYWHERE !!! Local radio stations, facebook, youtube, get noticed !! ;)

pcrecord, post: 446899, member: 46460 wrote: Yeah right !! He used an apogee one (500$), the preamp on it is way better.. But even then his sound isn't that good.. it's hyped on the high frequencies and autotune sounding... Now things good for him, he knows what sounds good and how to work with a mic. (play with the proximity and gain staging)

One thing you can do is to find someone in your town who can come to your place and make the maximum of what you have.
Check at music store, most guys have good ears. (even if you're not signing)

Send your demo :EVERYWHERE !!! Local radio stations, facebook, youtube, get noticed !! ;)

The apogee one was really the most expensive thing he had xD , and about $250 on most sites. And thanks for the advice. I may have someone come in to play around with my setup and see what the best settings are. I'll make sure to upload it wherever I can ! Thanks again !

Quick what if question here. IF I could get the " best " audio interface ever and connect it with the MXL 770... Or got the " best " Condenser microphone ever and connected to the Behringer UM2, which would sound better .. ? I ask because there seems to be a delicate balance between the right mic and interface. Trying to get some insight. Thanks

Here are my newest Character and Advertising Demos. The Advertisement one hasn't really changed.. But the Character Demo is different for the most part. I know the Character demo is a bit long, but there are a few I'll take out I suppose. Any feedback is appreciated. New recordings sound good ? I also used compression on the new recordings, it seems to be pretty nice. Thanks again for feedback.

Since you all seem to hate and be completely done with me using the current equipment , I'v decided that it's time to upgrade . My budget is about $400 , can go above if it's not too much . Would like any recommendations on a good condenser mic and audio interface . You've heard my voice .. im usually speaking deeply , but i still speak in the upper range and get a weird high frequiency sound with my current MXL770 . Thanks for the help.

Interface :
https://www.sweetwa… 174$
or
https://www.sweetwa… 150$

and for better the preamps and digital input (for future expension) :
https://www.sweetwa… 299$

---
Mic :
https://www.sweetwa… 99$
or
https://www.sweetwa… 249$
or
https://www.sweetwa… 249$
or
https://www.sweetwa… 399$
or
https://www.sweetwa… 495$
or
https://www.sweetwa… 499$

Note that condenser mics work better in a room that hasn't too much of reflection (reverb and delay), that's why I put the SM57 in which would be good with the Audient interface.
The best thing to do is go in a store and try those mics and interfaces. No voice are the same and a match need to be done. I did put the budget go to mics.. but many other choices could do a good job with your voice.

BTW, I'm no sweetwater seller, it's just a good reference on prices.

Thanks a lot . Sweetwater is pretty cool , its where i got my behringer . And i suppose my price range is flexable . If theres an expensive mic u think would work best , I'll see what i can do

Other choice of mic could be
https://www.amazon… 299$
http://microphone-p… 579$ ( I love this one, there is a build it yourself version at 369$)

PRO Studio standards :
https://www.sweetwa… 1099$
https://www.sweetwa… 1099$

I can continu the name droping but honestly, you need to try some mics and discover the ones that works for you.
The best thing you can do is to book a 1-2 hours session in a pro studio and try as many mics as you can, bring the files home to compare (and post them here if you want our advice)
I tell you, trying many mics is the best way to know what to buy

Thanks for the other links . I want to try out different mics , but im not sure if that would work out because of personal stuff . But ill try . Thanks again for the help

It seems I'll be getting the focusrite scarlett 2i2 and the lauten audio LA220. Think this is good ?

Any audio interfaces you'd recommend for those pro studio mics ? I'm highly considering the neumann tlm103. Theres a deal on it for 760$ somewhere else . Are there any pro studio grade mics like the neumann at a cheaper price ? I was also looking the the neumann tlm102 , but it was very tiny !

Lelouch, post: 447364, member: 50238 wrote: Are there any pro studio grade mics like the neumann at a cheaper price ?

That's tough to say, because "pro" to one person is the opposite to another. For guys who are using Neumann U89's, 87's, and the other mics in the $3 - $6k range, the TLM series is considered to be Neumann's "budget" line.
But to someone who has been using a cheap Behringer or Samson mic, the TLM series would be a huge step up.

There are many mid-ranged mics that do sound very good... Audio Technica and Shure both make mics in the $500 ( or so) dollar range that sound very good... but, that being said, no mic, regardless of price, will sound good through a cheap preamp/interface. They really do go hand in hand.

I can tell you what my own thoughts are on the subject, FWIW... if forced to make the choice, I'd rather use a $100 SM58 dynamic mic through a really good mid-level preamp ( something like a Focusrite ISA, for example) than I would to use an expensive mic through a cheap, poor sounding preamp/interface ( like a Behringer or Tascam).

You can spend thousands on each, I'm sure you know. I intentionally left out certain other choices - preamps from companies like Neve and SSL - because they would just be way above your price range ( I based this on what you've been looking at thus far).

Besides the Focusrite ISA, some other mid-range priced contenders that perform exceptionally well would be the Grace 101, and the Millennia HV-35. Both are in the $700-800 dollar range ( U.S.), and both are single channel mic pres - without any computer connectivity, so you'd still need an audio i/o to get the signal into your DAW. As opposed to the Focusrite ISA - which has it's own sonic character based on the transformer ( Lundhal 1538) - the Grace and the Millennia are transformer-less and tube-less, so you'll get a more "transparent" sonic signature. Some here on RO really prefer going the transparent route, while others like to have the "character" of a tube or transformer driven preamp.

There are nice preamps that also have USB/FW/TB connections, but, of course, these will be more expensive.

Depending on how much you are willing to spend, you might want to take a look at the Presonus SL console. These come in different channel counts ( 16/24/32).
Many engineers - even veterans - have been pleasantly surprised by this Presonus desk. The preamps are the XMax pre, which sound good - (they're not Neve's of course, then again they aren't $4k per channel, either ;)) but they are solid, quiet and pleasing pre's, with what I would describe as mostly transparent with a wee bit of subtle "warm" character.

For the money, this is a pretty tough deal to beat. If you paired this desk up with Presonus S1 recording software, the integration between the two would be seamless ( no small thing). It would also allow you to record more than just one or two tracks at a time.

Anyway, these are some things to think about...

d.

https://www.amazon.com/dp/B0053ZK4Z8/?tag=r06fa-20

Lelouch, post: 447364, member: 50238 wrote: Any audio interfaces you'd recommend for those pro studio mics ? I'm highly considering the neumann tlm103. Theres a deal on it for 760$ somewhere else . Are there any pro studio grade mics like the neumann at a cheaper price ? I was also looking the the neumann tlm102 , but it was very tiny !

Interface ?
The audient I proposed in my early post is a good start because it has a digital input. It would be a great match to the Focusrite ISA preamp that I consider the lowest priced highend preamps available. (kind of my starting point, I have 8 ISA preamps and they are very nice)
The ISA One has an optionnal digital converter that will let you bypass the preamp and internal converter of budget interfaces if they have a compatible digital input.
https://us.focusrite.com/mic-pres/isa-one#key-features

Cheaper pro mics ?? again check the list I gave you.
Don't let the size of the TLM102 fool you, it as a great bottom and defined sound.

You could easily start with the Audient and SM57 and expend with time. Or buy highend with the ISA and TLM or AKG 414 etc...

I must tell you again, YOU NEED TO TRY THEM before you buy. I can comprehend that when buying a 99$ mic, it's the Wheel of chance at play. You get it and hope for the best and may get the worst. But if you are gonna invest 500$ and more on a mic, you don't want to pick the wrong one. Above that price point, they are all pro mics but it doesn't meen some won't do a better job depending on the source and preamp. (By saying pro mics, I'm just saying that any pro studio could do a good job with them)

A lot of information ! Thanks guys . I'd love to be able to go to some studio and try out the different mics , but I dont have the time at the moment and need to order these quickly . Personal reasons , but i may not be able to buy at all later . I was thinking of the neumann tlm103 with the focusrite 2i2 . Would the 2i2 be an alright choice for the neumann ? Or would it be too cheap an interface ? Also i found the tlm103 at $760 . Overall , i cant go over $950

Lelouch, post: 447373, member: 50238 wrote: but I dont have the time at the moment and need to order these quickly .

This is the worst way to buy...

Lelouch, post: 447373, member: 50238 wrote: I was thinking of the neumann tlm103 with the focusrite 2i2 . Would the 2i2 be an alright choice for the neumann ?

The 2i2 is an honest interface and will be alot better than what you have. What I don't like about it is the missing digital input who could pay off on the long run for you.
The TLM rocks but a lower price mic could sound better for you .. you need to try them

There is no doubt, the mic is of great importance for a good sound but so is the room, instrument (voice), the preamp and the converter.
a room could have easy fix like talking or singing at the closet open door (full of clothes), but if you fail with the mic and preamp, you can't fix it later. Or can you??
It just reminded me, if you can spare a tinny bit more there is : http://slatedigital.com/virtual-microphone-system/ 999$
it includes the mic and the interface and will emulate a different very expensive mics and preamps....

pcrecord, post: 447375, member: 46460 wrote: This is the worst way to buy...

The 2i2 is an honest interface and will be alot better than what you have. What I don't like about it is the missing digital input who could pay off on the long run for you.
The TLM rocks but a lower price mic could sound better for you .. you need to try them

There is no doubt, the mic is of great importance for a good sound but so is the room, instrument (voice), the preamp and the converter.
a room could have easy fix like talking or singing at the closet open door (full of clothes), but if you fail with the mic and preamp, you can't fix it later. Or can you??
It just reminded me, if you can spare a tinny bit more there is : http://slatedigital.com/virtual-microphone-system/ 999$
it includes the mic and the interface and will emulate a different very expensive mics and preamps....

I can always return these things if they fail. Ill check out the $999 deal, but would that be better then a neumann ? Instead of the scarlet, i was also thinking about presonus audiobox 22vsl . Either way , i should probably order these things tomorrow . Ill trust your judgement , whether right or wrong , it wont be bad at that price range . If you have a recommendation for the full package likearound under 1000$ Like the 999$ one

Lelouch, post: 447378, member: 50238 wrote: Ill check out the $999 deal, but would that be better then a neumann ?

Better or worst we can't know until you tried some mics.. what's very cool about the Slate system is, the emulations let you have the sounds of many mics including classic very expensive ones. Since you won't take time to try many mics, having many virtual mics to work with may be a more healthy and versatile choice

Lelouch, post: 447378, member: 50238 wrote: Instead of the scarlet, i was also thinking about presonus audiobox 22vsl .

Presonus is a very good choice too (I wouldn't have proposed it otherwise) but like the 2i2 it has no room for expension and adding external preamps.
Of course you could plug an external preamp but it would meen to have your preamp sound going into another preamp and never actually record the pure sound of the external one.

Lelouch, post: 447378, member: 50238 wrote: If you have a recommendation for the full package likearound under 1000$ Like the 999$ one

Again without making tests I wouldn't know which mics are right for you. . . Of course you can return the mic but you'll never get to compare them side by side which is the best way to go...
This is why I brought up the Slate system.
Having the emulations of great classics like the U47, U67 and Ela m 251 is amazing. Some of those mics are worth more than 15k.
Of course I wouldn't expect 100% exact same sound but Slates did a very convincing job. Even at 75% closed to, it's gonna be 1000% better than what you have. ;)

So the slate system gives me a mic and interface , then a software that emulates different kinds of mics and preamps ? This sounds pretty good really . I might just get it . And i know that you cant say anything is better since it may be good just not for me , but would the slate system give better sound quality then a neumann with one of those recommended interfaces ?

Edit : After checking out the slate digital VMS more, i see that it emulates 8 mics and requires you to buy some software called ilok along with it. Not sure if this is for the best

Lelouch, post: 447393, member: 50238 wrote: but would the slate system give better sound quality then a neumann with one of those recommended interfaces ?

Again at this level of quality we won't say better, just different.
Slate VMS will give you more opportunity to find a good match for you voice because you'll get more than one sound. In all the mic and preamp emulation combination you can make, You'd have very bad luck to not find a good sound.
Buying just one random mic will give more chances to fail, specially for someone who doesn't know what sounds good or not yet. (no offence intended)
Of course you will need to spend time to compare them and get the hang of the whole concept.
This also implies you should eventually plan for a better listening and recording environement.

pcrecord, post: 447396, member: 46460 wrote: Again at this level of quality we won't say better, just different.
Slate VMS will give you more opportunity to find a good match for you voice because you'll get more than one sound. In all the mic and preamp emulation combination you can make, You'd have very bad luck to not find a good sound.
Buying just one random mic will give more chances to fail, specially for someone who doesn't know what sounds good or not yet. (no offence intended)
Of course you will need to spend time to compare them and get the hang of the whole concept.
This also implies you should eventually plan for a better listening and recording environement.

I understand, and I'm going over my options. Also, after a few events, I now actually have the time to comb over different options, so I don't have to get it tomorrow. With what is now around a thousand dollar budget, the Neumann TLM 103 ( Which is the anniversary edition i think ) at $760 along with a $200 dollar interface of my choice is appealing. The Neumann tlm 103 is a mic that can be used for many voice types and have the potential to always sound good is what I understand. The Slate is also appealing with the fact the it's the safe bet for finding what works " better " based on my voice type. A downside is that I also have to go and buy ilok, which I don't even really know what it's for, plugins for the audio i think. If I get the neumann... then I have a neumann ! If I buy the slate, then I simply have a neutral sounding mic and interface, then software. Trying to keep it short, so simply, I'v listened to both mics, the neumann on a 2i2 and the slate set to a few different settings. I obviously am in no position to what sounds best, but my amateur opinion is the the Neumann would work well for me. I'm probably going to buy that along with the 2i2 unless there's an interface you think will work better with it. I don't know what digital input is missing from the 2i2 that you mentioned before, so hope you can tell me about that. Thanks for helping me.

Edit : Sorry, I know I must be annoying you greatly ! But the 2i4 is also an option. Thanks again.

Lelouch pcrecord

Lelouch, post: 447399, member: 50238 wrote: If I get the neumann... then I have a neumann !

Hmmm... it sounds as though you might have a touch of "Neumann-itis"... a common syndrome, especially with those who are newer to the craft, of assuming that just because you have a Neumann, that it will automatically sound great on any voice and will suit all your needs, and, well, this simply isn't true.

The TLM Series is their "budget" series, ( I'm seeing prices for TLM103's that are in the $600-$700 dollar range for very recently new models, so the deal you've been offered is pretty good for a new model) and while it's a good-sounding condenser by and large, it will likely not hold value the way that a used U87, U89 or M149 will, all of which reside up in the Neumann line of truly professional studio standard mics... but, FWIW, I have engineer friends who aren't all that knocked out by the U87, and that's one pricey mic.

Don't get me wrong, Neumann makes fine mics, and they been a pro studio staple for over 60 years - there probably isn't a classic rock record in existence that didn't use a Neumann mic somewhere in the tracks, but they aren't the only good sounding mic, and in fact, there may be other options in your price range that would sound just as good (maybe better) than the TLM103 ... and have more features.
For example, the AKG 414 - another studio staple and classic mic heard on thousands of records over the years - and while you might not get one new for $760, you could probably get very close to that amount by looking at floor models or very recent new ones for sale on eBay.
414's have different polar patterns ( cardioid, omni, hypercardioid, figure 8), along with various Hi Pass Filter settings, so they can be used in a variety of miking applications, whereas withe the TLM103, it's cardioid only.
Also, Audio Technica makes some very nice mics in that price range. The AT4050 is a very nice mic in that range, and it also offers multiple patterns and HPF's for different applications, and is known as a fine-sounding vocal mic as well.
You can find both AKG's and AT's in most any pro studio.

Marco has made the suggestion several times, that you try before you buy. If you can do that, then that's exactly what you should do. If it does turn out that the TLM103 is the right choice for your voice, then that's great.
But... on that note, make sure you are fully aware of your retailer's return policy on mics. Many retailers don't like taking back mics that there's nothing wrong with other than you not liking the sound of them.
They have to clean them, repackage them ( and they might even charge you a "restocking fee"). I'm not saying it's impossible to find a retailer who will cooperate with you, (obviously you have) I'm saying that generally, it's very rare that they will, and I'd clarify this policy one more time with the store you are planning on doing this with.

Finally, IMHO, if I had $1000 to spend and I needed a mic, I'd absolutely look at the Slate VMS system that Marco mentioned.

Lelouch, post: 447399, member: 50238 wrote: If I buy the slate, then I simply have a neutral sounding mic and interface, then software.

There's nothing wrong with having a neutral sounding mic and preamp. With today's incredible modeling technology and simulations, even if you weren't to use the software sim mics or preamps in the Slate package, you could still color it after the fact in any way you want, using a variety of available modeling software.
I have a friend who pulled the trigger on the Slate system last month, and he also happens to have a real Telefunken U47 that's been his "baby" for a very long time now... and after using the Slate system, he is now saying that in an A/B test, he's having difficulty in choosing which is which between his real U47 and the Slate U47 sim. I can't personally attest to this, as I haven't used the system, but I believe my buddy, as I know he's an engineering veteran; and I'm here to tell you that if I had $1000 to spend on a mic and a pre?
I'd absolutely go with the Slate system.

FWIW
-d.

Lelouch, post: 447399, member: 50238 wrote: my amateur opinion is the the Neumann would work well for me

How could you know ?? really ?

Slate offer a recipe cook to work and give 1000 very good sounds. (btw their interface is better than the 2i4 and 2i2)
Neumann 103 is just one (better than slate ?? nobody compared them yet so why speculate...)

You see I would buy the TLM without fear any day for my studio. But I already have 17 different mics and 4 different preamps to choose from.
Many of the mics I bought were a leap of faith but I knew with all that I already have, I would find a use for them and I did.
The AKG C2000b I've good a long time ago was ok sounding on vocals but when I bought the AKG KSM32, I realised the C2000 wasn't that good. Then I bought the KSM 44 and thought the 32 wasn't that good. I now use the T47 and think the 44 isn't that good. But in fact it just ment I narrowed down what works best for my voice. The 44, 32 and 2000 are the right choice for some of my customers voices. Each time a new person comes to the studio, we try many mics and choose one buy ear not look or name...

Lelouch, post: 447399, member: 50238 wrote: I'm probably going to buy that along with the 2i2 unless there's an interface you think will work better with it. I don't know what digital input is missing from the 2i2 that you mentioned before, so hope you can tell me about that.

Yes the Audient interface would be a better choice and it has the digital input we're talking about. Compare their pictures and specs.
The Slate VSM doen't have any but it doesn't really need one because quality preamps are available within the software, so no need to buy external ones..

ILok is a usb key who manages licenses for many plugin companies. Slate, UA etc... it's 50$
When you buy a product the license is saved on the key and the key needs to be inserted on the computer for the software to work.

@Letouch , you can do what ever you want as long as you start doing it !!
At some point we all need to stop thinking and just work on our passion.
You've been giving ho