you shouldn't need a pre amp. the RME already has them.

there is no input for the microphone.

see where it says analog inputs? that's where the mic plugs in.

okey, thank you

your welcome.

https://www.forum.rme-audio.de/viewtopic.php?id=26786 Kurt Foster plase look

my bad. nice interface though. how much do you want to spend on a pre amp?

check these out

https://warmaudio.com/microphone-preamps/

Presonus Eureka Channel is also a good option. Focusrite Isa, Neve 1073 are excellent as well. That's a very nice interface btw!

You could also check the Focusrite ISA one..

Thanks my friends,
what do u think about ua 610 and avalon v5 ??

i like the 610.

I'm very confused with your equipment. You've chosen a very expensive, boutique microphone and a wonderful mastering grade interface.

I'm totally mystified why you'd buy such lovely equipment and appear to not really quite understand what you have? I suppose I'm perhaps wondering if you just have money to burn? A pre-amp that is in the same league as these is going to also be a niche product, with a big price ticket.

May I ask what your situation is? Do you have a sound treated studio, quality studio monitors, and a vast collection of samples and synths? Buying the capture devices at this quality level is pointless without a pair of loudspeakers capable of resolving what they capture? Please tell me you have spent money on decent monitors - because if you have not, this equipment is very lop sided and you will never hear the difference between your equipment and more conventional studio items.

This seems a very unusual choice of equipment. It is not a bad choice - but frankly a pair of loudspeakers in the same league is probably the price of a good car! You then need acoustics to support the mics - most of us do not remotely have studios where we'd hear this level of fidelity.

Kurt Foster, post: 463577, member: 7836 wrote: i like the 610.

I have the 2 x LA-610, with the small EQ and Comp, They do a great job on vocals..
When you get to that quality of preamps, even a SM57 becomes a viable option for recording vocals ! ;)

Doesn't that rather suggest the preamp is doing far more than being transparent gain - and adding something special? Interesting point though.

paulears, post: 463585, member: 47782 wrote: Doesn't that rather suggest the preamp is doing far more than being transparent gain - and adding something special? Interesting point though.

I think it's the other way around.

Since the sm57 needs a lot of gain and is sentitive to impedance, a good preamp will just reveal it's full potential compared to cloudy results with cheaper preamps..
I did a few video with sm57 on vocals or guitar that gave nice results. (I was using Focusrite ISA preamps)
Of course in my evaluation, I'm taking in account noises. With a cheap preamp that you need to crank up, you'll get more noise which to me eliminate the combo as viable.. ;)

the 57 is ubiquitous. the notion we need a $5000 mic to cut vocals is silly. there are THOUSANDS of hit record vocals cut with inexpensive dynamic mics. not saying a good mic isn't nice but Woodstock was recorded with nothing but Shure Unidyne 545's, The Band used EV dynamics and Rocket Man was a 58.

the 610 is old school. a modern example of Bill Putnam's preamp from his earliest consoles.
the mic pres from Warm are clones / knock offs of Neve (British) or API (American).
the ISA is a pre from another Neve design, the Focusrite console. all of these designs employ transformers on the inzanouts. these are all classic designs that will deliver what we all have come to think of as "that sound". hard to go wrong with any of them.

A few years back I did a very short-notice gig for a well-known female singer. From her (studio) recordings that I listened to in the car on way, I guessed her voice could become a bit strident, so at the sound check I started her off with a Shure Beta58A (with foam pop filter) going through my API 3124+ pre-amps. I thought she sounded good, and it was obvious she was someone who could really work a microphone.

After the first number, she ripped the foam filter off and demanded to know the make and model of microphone, as she wasn't expecting to sound like that at a live gig. I indicated the nameplate on the mic, and she didn't seem particularly impressed. I then said "but you should be looking over here", pointing at the API on the sound desk. However, that name didn't mean anything to her. A few days after the gig, I got a message from her agent asking me if I could email him the make and model of all the equipment used that evening. Pre-amps do matter.

[QUOTE = paulears, post: 463581, üye: 47782] Ekipmanınızla çok kafam karıştı. Çok pahalı, butik bir mikrofon ve harika bir mastering grade arayüzü seçtiniz.

Neden bu kadar güzel ekipman satın alacağınıza ve neye sahip olduğunuzu tam olarak anlayamayacağınıza tamamen gizem duyuyorum? Sanırım belki de yakmak için paranız olup olmadığını merak ediyorum? Bunlar ile aynı ligde olan bir pre-amp da büyük bir fiyat bilet ile niş bir ürün olacak.

Durumunuzun ne olduğunu sorabilir miyim? İyi işlenmiş bir stüdyo, kaliteli stüdyo monitörleri ve geniş bir örnek ve synth koleksiyonunuz var mı? Yakalama cihazlarını bu kalite seviyesinde satın almak, yakaladıkları şeyi çözebilecek bir çift hoparlör olmadan anlamsız mıdır? Lütfen bana iyi monitörlere para harcadığınızı söyleyin - eğer yapmadıysanız, bu ekipman çok taraflı ve ekipmanınız ile daha geleneksel stüdyo öğeleri arasındaki farkı asla duymayacaksınız.

Bu çok sıra dışı bir ekipman seçimi gibi görünüyor. Kötü bir seçim değil - ama aynı ligdeki bir çift hoparlör muhtemelen iyi bir arabanın fiyatı! Daha sonra mikrofonları desteklemek için akustiğe ihtiyacınız vardır - çoğumuz bu sadakat seviyesini duyacağımız stüdyolara uzaktan sahip değiliz. [/ QUOTE]

I have Dynaudio LYD-48.
ve neden böyle konuştuğunu anlamıyorum. Çalışıyorum dostum. Bu işe olabildiğince çok para harcıyorum. Ve ondan para kazanmayacağım. Çünkü bunu kendim için yapıyorum. Hayatta her şey para değildir. Ve bunu kendim için mutluyum. 100.000 dolarım olsaydı, bu işe harcırdım.

paulears, post: 463581, member: 47782 wrote: I'm very confused with your equipment. You've chosen a very expensive, boutique microphone and a wonderful mastering grade interface.

I'm totally mystified why you'd buy such lovely equipment and appear to not really quite understand what you have? I suppose I'm perhaps wondering if you just have money to burn? A pre-amp that is in the same league as these is going to also be a niche product, with a big price ticket.

May I ask what your situation is? Do you have a sound treated studio, quality studio monitors, and a vast collection of samples and synths? Buying the capture devices at this quality level is pointless without a pair of loudspeakers capable of resolving what they capture? Please tell me you have spent money on decent monitors - because if you have not, this equipment is very lop sided and you will never hear the difference between your equipment and more conventional studio items.

This seems a very unusual choice of equipment. It is not a bad choice - but frankly a pair of loudspeakers in the same league is probably the price of a good car! You then need acoustics to support the mics - most of us do not remotely have studios where we'd hear this level of fidelity.

I have
Dynaudio LYD-48.
and I don't understand why you speak like that. I'm working, buddy. I spend money on this job as much as I can. And I will not make money from it. Because I do it for myself. Not everything is money in life. And I am happy to do this for myself. If I had $ 100,000, I would spend it on this job.

nice monitors.

here's what you need.

No offence intended - it just seemed a strange collection of equipment. Forgive me, but I tend to find people who buy this kind of equipment always know what they want - so having such good equipment and not having the ability to connect a microphone seems a strange way to develop your recording. Your speakers again are really nice - so I guess your interest up till now has been replay? Recording not that important? Just guessing. I'm sure it does a good job for you - my query is just that your kit is anything but mainstream, more real audiophile than recordist. Cool if it is - just unusual.

paulears, post: 463599, member: 47782 wrote: No offence intended - it just seemed a strange collection of equipment. Forgive me, but I tend to find people who buy this kind of equipment always know what they want - so having such good equipment and not having the ability to connect a microphone seems a strange way to develop your recording. Your speakers again are really nice - so I guess your interest up till now has been replay? Recording not that important? Just guessing. I'm sure it does a good job for you - my query is just that your kit is anything but mainstream, more real audiophile than recordist. Cool if it is - just unusual.

i am listening to you my friend Help me. What should I do ?

An ISA 430 or ISA 220 with the digital converter would be nice too.. It would be connected via SPDIF to the interface so no chance of loosing quality in the signal path..

Neve 1073 gets my vote.