You're problem seems to come from the fact that you placed the mics too far from the man.
I could understand you don't want to impose on him but in a sens he still needs to agree of the recording, right ?
If getting closer is out of the question, you will always get gain and ambiant noise problem.
The only thing I see could help, is using a lavalier or a shotgun mic (if he ain't moving much). Both could be used with the Tascam DR100mkII.
What do you want to do with the recordings ? sell them ?

pcrecord, post: 434125, member: 46460 wrote: You're problem seems to come from the fact that you placed the mics too far from the man.
I could understand you don't want to impose on him but in a sens he still needs to agree of the recording, right ?
If getting closer is out of the question, you will always get gain and ambiant noise problem.
The only thing I see could help, is using a lavalier or a shotgun mic (if he ain't moving much). Both could be used with the Tascam DR100mkII.
What do you want to do with the recordings ? sell them ?

In the recording above mics were literally like 10-15cm from my grandfathers mouth.
Relatively small shotgun to use inside the house? Haven't considered them. Suggestions?
Not sure I've got your questions about my intentions regarding the records. He is my grandpa..

Thanks.

pcrecord, post: 434125, member: 46460 wrote: Both could be used with the Tascam DR100mkII.

Forgot to mention, I don't have this recorder anymore.

j_doe, post: 434127, member: 49569 wrote: Not sure I've got your questions about my intentions regarding the records. He is my grandpa..

Well, expectations are all that mathers when gearing up. If you want to put a story CD and sell it, you'd want to get the best quality sound. If it's just for fun, I won't propose highend preamps and mics.. I record in a controled environement and I still have challenge with some customers, chosing the right mic, make them speak or sing at the optimal distance etc.. It's easier to suggest things when you know where the OP is and where he want's to go..

pcrecord, post: 434133, member: 46460 wrote: Well, expectations are all that mathers when gearing up. If you want to put a story CD and sell it, you'd want to get the best quality sound. If it's just for fun, I won't propose highend preamps and mics.. I record in a controled environement and I still have challenge with some customers, chosing the right mic, make them speak or sing at the optimal distance etc.. It's easier to suggest things when you know where the OP is and where he want's to go..

I expect to record the best possible sound in the given conditions considering mentioned limitations. Something like that.

Well, this doesn't help understanding how professionnal the recording should be but we're getting there ;)

Have you thought of using a DSLR with a shoemount mic ? You could have a visual and audio memory of him..

If not, it could be a field recorder with a shotgun.. Yes, that wouldn't be my first choice but if you are working in an untreated space, it would be better than a large condenser.
Many film maker use shotgun mic because they are Hypercardioid and the have great rejection to room reverbs and noises. Of course it would work only if the speaker doesn't move much. This was the easy setup. you could use a computer to edit the recordings (EQ, Gate, comp etc)

Now a better setup would be using a brodcast mic like the EV RE20, a good preamp like the Focusrite ISA with the digital out option and an audio interface with digital input + a computer of course. One could shortcut the preamp if the interface's preamp are good enough.

What's cool about the EV is that it is a moving coil so there is almost no proximity effect. I could be used with a portable recorder but, most affordable wouldn't have the clean gain to do the job.. the output of the RE20 is pretty low so you need a good preamp.

There you go, hope it's not too many suggestions already ;)

pcrecord, post: 434142, member: 46460 wrote: Well, this doesn't help understanding how professionnal the recording should be but we're getting there ;)

Have you thought of using a DSLR with a shoemount mic ? You could have a visual and audio memory of him..

If not, it could be a field recorder with a shotgun.. Yes, that wouldn't be my first choice but if you are working in an untreated space, it would be better than a large condenser.
Many film maker use shotgun mic because they are Hypercardioid and the have great rejection to room reverbs and noises. Of course it would work only if the speaker doesn't move much. This was the easy setup. you could use a computer to edit the recordings (EQ, Gate, comp etc)

Now a better setup would be using a brodcast mic like the EV RE20, a good preamp like the Focusrite ISA with the digital out option and an audio interface with digital input + a computer of course. One could shortcut the preamp if the interface's preamp are good enough.

What's cool about the EV is that it is a moving coil so there is almost no proximity effect. I could be used with a portable recorder but, most affordable wouldn't have the clean gain to do the job.. the output of the RE20 is pretty low so you need a good preamp.

There you go, hope it's not too many suggestions already ;)

Thanks for a patience :)

To my very average ears Rode Prodcaster sounds quite similar and price is less than 50% of RE20. Would you think it could be an adequate replacement?
I'm really looking into RodePc + Zoom UAC-2 combo (+laptop of course). UAC2 provides up to 60db of input gain which should be enough for Rode.
Then, I'm leaving laptop and Zoom box at some distance, attaching mic with 2m XLR cable. Voila. Done. Applause.

Am I too optimistic?

Honestly I never heard the preamps of the UAC. The specs says 60db of gain which is nice.
For less money you could go with this one : http://www.sweetwater.com/store/detail/AudioBox22 which has 65db of gain and sound very good for the price.

As for the Prodcaster, it could be an alternative, but the difference is that it will have a proximity effect. The sound will tend to become thin the furter away you are from it.
The RE20 will stay constant up to about 1 feet or 2
Go to 3:55 of this video

pcrecord, post: 434145, member: 46460 wrote: Honestly I never heard the preamps of the UAC. The specs says 60db of gain which is nice.
For less money you could go with this one : http://www.sweetwater.com/store/detail/AudioBox22 which has 65db of gain and sound very good for the price.

As for the Prodcaster, it could be an alternative, but the difference is that it will have a proximity effect. The sound will tend to become thin the furter away you are from it.
The RE20 will stay constant up to about 1 feet or 2
Go to 3:55 of this video

320 sounds better on this video :) After much of reading I've found that plugging my 250Ohm headphones directly into the DAC/Amp would likely to be a trouble as most of them are 32-40Ohm out (35*8 = 280 > 250). It's getting a bit frustrating... I'm even foully thinking about using decent USB mic (are they exist?..)

Usb mics do exists and you can actually buy a USB Prodcaster. But believe me, we get usb mic questions/problems very often here.. I wouldn't recommand it.
The UAC is unknown to me, I'm surprised that the headphone output would be a problem to any headphones.. but hey
BTW What model of headphone is it ?
If I were you, I'd go for the presonus and for the mic, test a few in a store. Try to replicate the volume and distance you're grandpa will be and listen to the results. Obviously each voice is different, some have more bass or are more nazal, but if you buy something well balance and natural, you can do the rest at mix time..

Don't get discourraged, it's a lot easier now. 10 years ago it could take me 2 weeks of tweeking before getting acceptable latency with my DAW.
The performances and drivers are a lot better these days.. ;)

j_doe, post: 434175, member: 49569 wrote: After much of reading I've found that plugging my 250Ohm headphones directly into the DAC/Amp would likely to be a trouble as most of them are 32-40Ohm out (35*8 = 280 > 250).

Where did you read that this would cause trouble? The only problem you could have is that you would not get enough acoustic volume in your phones.

Boswell, post: 434180, member: 29034 wrote: Where did you read that this would cause trouble? The only problem you could have is that you would not get enough acoustic volume in your phones.

http://nwavguy.blogspot.sg/2011/02/headphone-impedance-explained.html

Quote: "...the idea is to follow the '1/8th Rule'...If you multiply the output impedance of your source by eight, that’s the lowest impedance headphones you should use with that source."

pcrecord, post: 434178, member: 46460 wrote: Usb mics do exists and you can actually buy a USB Prodcaster. But believe me, we get usb mic questions/problems very often here.. I wouldn't recommand it.
The UAC is unknown to me, I'm surprised that the headphone output would be a problem to any headphones.. but hey
BTW What model of headphone is it ?
If I were you, I'd go for the presonus and for the mic, test a few in a store. Try to replicate the volume and distance you're grandpa will be and listen to the results. Obviously each voice is different, some have more bass or are more nazal, but if you buy something well balance and natural, you can do the rest at mix time..

Don't get discourraged, it's a lot easier now. 10 years ago it could take me 2 weeks of tweeking before getting acceptable latency with my DAW.
The performances and drivers are a lot better these days.. ;)

DT770pro 250Ohm. See the link in my reply to Boswell.

Same in our industry, don't want to go 10 years back.

pcrecord, post: 434178, member: 46460 wrote: If I were you, I'd go for the presonus and for the mic

22vsl?..

pcrecord, post: 434178, member: 46460 wrote: If I were you, I'd go for the presonus and for the mic

i suppose you're thinking about 22vsl?

A shure sm58 into a zoom recorder, or into your smartphone via a basic phone interface would get the job done. If you want to go into your computer then something like a presonus audio box would be fine. Make a tent with blankets to take the nasties from the room out of it.
Imo your asking for trouble sonically with a low cost condenser mic, usb, or otherwise.

If you insist on a condenser and have a little bit of cash to indulge, an AKG 214 is a nice 'budget' condenser. If your short on cash the audio technica 3035 is killer. Discontinued but cannot be beat for $100 used, in the entry level large diaphragm condenser category.

But really a 58 is the way to go. As Marco alluded to, condensers can be picky, and fairly voice specific.

j_doe, post: 434193, member: 49569 wrote: Quote: "...the idea is to follow the '1/8th Rule'...If you multiply the output impedance of your source by eight, that’s the lowest impedance headphones you should use with that source."

These old wives' tales are put about by those who don't understand the engineering principles behind what they are saying. Your 250 Ohm headphones will work fine with almost anything you plug them into that has the right sort of jack. They may be a bit quiet with some battery-powered gear.

kmetal, post: 434196, member: 37533 wrote: As Marco alluded to, condensers can be picky, and fairly voice specific.

And more susceptible to extraneous noises.

kmetal, post: 434196, member: 37533 wrote: A shure sm58 into a zoom recorder, or into your smartphone via a basic phone interface would get the job done. If you want to go into your computer then something like a presonus audio box would be fine. Make a tent with blankets to take the nasties from the room out of it.
Imo your asking for trouble sonically with a low cost condenser mic, usb, or otherwise.

If you insist on a condenser and have a little bit of cash to indulge, an AKG 214 is a nice 'budget' condenser. If your short on cash the audio technica 3035 is killer. Discontinued but cannot be beat for $100 used, in the entry level large diaphragm condenser category.

But really a 58 is the way to go...

As a side note, and to support what Kyle is saying, I think it's worth mentioning to the OP that the roster of RO is made up of audio professionals who spend their lives trying to get the best sound possible, so of course, our preference is always going to be for great gear, and when you ask a group of professionals what they would use, they are looking at their own inventory of equipment, and making recommendations based on what we've become accustomed to using, as professionals.

It's a kneejerk response, we are all used to talking about gear that can be quite expensive, because our own criteria for what sounds good is different from that of the "common" listener.
In short, what we would use for a project like this, isn't necessarily what the OP needs for this project.

Thousands of dollars don't have to be invested in order to archive his grandfather's stories with decent quality. The content is what will matter the most; and while it's never a bad thing to have the best possible fidelity - for any recorded source - this is a narrative project, with the interest being on the stories, and not whether or not it meets certain professional sonic expectations.

As Kyle mentioned; an SM58, ( $100) a decent entry level USB pre ( Focusrite, Presonus, $100), a laptop with a basic free DAW platform ( S1, Reaper, etc.) and perhaps a packing blanket or two to dampen some upper frequency reflections, ( which you might not even need, @ $20) is all going to be just fine for a project like this - and sonically, it's going to sound more than just acceptable.
It's also very physically "subdued" and unassuming. The mic would really be the only device your grandfather would even need to be aware of.

(You might consider not even telling him that you are recording at first. Just converse with him, a relaxed talk between grandfather and grandson, just like you would if you had stopped over for coffee and a friendly chat.
Start with generic topics... the weather, sports, whatever. Get him comfortable, and let him lead the conversation, or, ask him about something you heard him mention in a previous conversation.
I wouldn't say "okay grand-dad, I'm going to start recording now." Just start talking with him like you normally would).

It's also an easy signal chain to deal with. Find the "sweet-spot" mic location for your grandfather's voice, get a decent gain setting on the preamp, and hit the record button. There's no need to have to deal with complex staging, different levels of gain or gain reduction, or EQ, etc.
Editing, EQ and even subtle GR ( if needed) can all be handled in any DAW software during post-pro.

Total investment: $220, max, (assuming the OP already has the laptop computer).

IMHO of course. ;)
-d.

DonnyThompson, post: 434243, member: 46114 wrote: And more susceptible to extraneous noises

Excellent point, I never knew how loud I breathed when playing acoustic guitar, until I put a condenser up on it. LOL

Picking and whezzin' :)

Hi all and thanks for your answers!

I've been reading quite a lot about it and have found plenty of topics where people who bought SM7B or similar dynamic microphone are complaining about low input signal (aka not loud enough). Most common answer is that majority of USB interfaces are providing ~50Db of clean gain in a best case case scenario, while dynamic mics need at least 60.

After thorough research of the market I've found very few devices that provide >60db and are compact enough. One of them is "ART Tube MP project USB" which is in fact a preamp where USB is more like a bonus. Unfortunately it's only capable of 16b/48Khz output, while I'm looking for 24b to have more freedom in post.

Question: which DAC would be a good pair for it? All I need is the line input (XLR or 1/4) which will pick-up the signal from TubeMP and deliver it as 24/96. USB or Thunderbolt.

Thanks :)

j_doe, post: 434400, member: 49569 wrote: After thorough research of the market I've found very few devices that provide >60db and are compact enough. One of them is "ART Tube MP project USB" which is in fact a preamp where USB is more like a bonus. Unfortunately it's only capable of 16b/48Khz output, while I'm looking for 24b to have more freedom in post.

Question: which DAC would be a good pair for it? All I need is the line input (XLR or 1/4) which will pick-up the signal from TubeMP and deliver it as 24/96. USB or Thunderbolt.

It's actually 70db of gain but how clean is it ?? That's the question !!! Being a tube design, I fear it'll be noisy if you push it enough to get a good level with a SM58/57/7 unless you speak very close of it. I'd still recommend a RME, Presonus or focusrite interface, either with or without this ART preamp

Honestly, I've been where you are a long time ago. I asked a question here expecting to confirm that the budget I had in mind was enough. I went and bought cheap against what the RO members said and was desapointed.

BUT, I'm not against starting small/cheap to learn. It's a nice thing to spend a little to determine if you like recording enough to buy more serious gear. Even then you could buy affordable equipement to get you going until your skills and ear training ask for better.

Ultimatly, you'd ask yourself, will I record for a very long time and is renting pro equiment for a week or a month is not a better choice ?

pcrecord, post: 434411, member: 46460 wrote: It's actually 70db of gain but how clean is it ?? That's the question !!! Being a tube design, I fear it'll be noisy if you push it enough to get a good level with a SM58/57/7 unless you speak very close of it. I'd still recommend a RME, Presonus or focusrite interface, either with or without this ART preamp

Honestly, I've been where you are a long time ago. I asked a question here expecting to confirm that the budget I had in mind was enough. I went and bought cheap against what the RO members said and was desapointed.

BUT, I'm not against starting small/cheap to learn. It's a nice thing to spend a little to determine if you like recording enough to buy more serious gear. Even then you could buy affordable equipement to get you going until your skills and ear training ask for better.

Ultimatly, you'd ask yourself, will I record for a very long time and is renting pro equiment for a week or a month is not a better choice ?

Oh my... Tube/solid... Sound is complicated.

Unfortunately, our family is living literally on different continents and grandfather is old... So I have no chance to f#K up with all this story.

I have called one rental house and they've offered shotgun mic (Sennheiser) + pistol grip + external recorder for $50 per day. It translates into $700 for two weeks. Seven Benjamins for two weeks. Gosh.

I've found good offer for Audient ID14. Will it work good enough with procaster/sm/your_favourite_dynamic_mic? Shop manager also recommends Scarlett 2 pre, but price difference is quite hefty.

Audient preamps are well regarded. They put the same preamps in all their products and are present in their highend mixers. But they are not quite as precise as boutique preamps, like Focusrite ISA, Millenia or Grace preamps. That said, I'm not sure you need to go with such highend gear. Since I have ISA preamps, that would be my choice, if I had to record a voice without being intrusive too much. As for mics, I'd definitly try the SM 57 or SM 81 that I have, specially if the room is not treated... OR I'd try my wireless Sennheiser headset (lesser quality but no room noise)

Will the Audient be a good match with procaster or shure SM...? Again it depends on the distance the mic will be from the source. If you can put the mic 6 to 12 inches of your Grandpa, you'll get away with lesser quality gear and the audient would be a good choice if the price is right. . .

Of course all my recommandations take quality in consideration.
If we put that a side and don't mind some room noises and reverb, a small kit like these could be well enough:
http://www.sweetwater.com/store/detail/AudioBxi2Stu
http://www.sweetwater.com/store/detail/BlueBirdScarBun
http://www.sweetwater.com/store/detail/C214-2i2

I again suggest you go in a store and make a few tests for yourself. Get a grip of the difference between a Dynamic and a Condenser mic and how they behave when you get close and far from them.

I would expect the ART usb to lack the gain need for an sm7. I had the rack version the vla, and it's pretty much silent even at full blast. This I belive is due to the tubes being only in the pre amp circuitry, and not the power section of the pre amp, like you'd have in a UA 610. The little arts might cut it but I've only ever used them as a DI. The vla is a decent buy for the buck, but it's best at not being bad, as opposed to being good. It's a step up from the most budget of interfaces. Any mid prices interface is going to have quiet gain at almost all settings. The tone will change, generally for worse as gain levels top out on these types of pres.

The sm7 is a mic you really want to get up close to. It's just where its mojo lies.

There's options like a simple passive in-line gain booster. I belive there's a product called the cloud lifter that is a more refined version of this idea.

Also another thing to remember is in digital you don't need a ton of gain to get a good signal as its self noise is small. It's really the analog circuitry in the device which determines the noise floor. So just about any preamp that's not solely entry level should be just fine. Anything better than a presonus audiobox or m audio fast track type would be just fine. Even those are nice, but w an sm7 they will start to bring noise in.

Audient has a great rep. The mico in particular has been recommended by a few knowledgable people over the years. Ditto for the groove tubes brick pre amp. Two devices with great reps which I have never personally used.

You could look into the presonus eureka with the digital out option. This is a super solid channel strip for the price. It has no direct competitors. I've used these on a lot of stuff with a lot of mics and it's always solid. It easily competes w boxes 3-5x the price. Like the focusrite isa it is also transformer coupled. Although not 'vibey', which for voiceover is a good thing. The eureka also gives you added gain stages in the compresser and eq sections. I'm pretty sure even if they are bypassed, but don't quote me on that.

If you can get a eureka or isa one or audienr mico with the digital out option you should be all set for what your trying to do. I belive the art vla has a digital option too.

There's a reason why 99% of the mics you'll see in front of voiceovers/talk radio are dynamics and particularly shure sm7 or the ev re20. They work well on a wide variety of voices, and as you move closer into them they exaggerate the low end boom of the voice, in a generally pleasing manner. This is known as 'proximity effect'. Any mic, dynamic or condenser will have this (barring omni and figure 8 patterns) but we don't have to worry about that here.

A shotgun mic is not what your looking for in this application. And for that price you were quoted you can own most of the pieces that have been mentioned by us. You'll want a basic boom stand, either desk mount or regular, and a good cable, for reliable performance.

The RE20 has a very low proximity effect - one of the reasons that it is so often found in radio studios.

kmetal, post: 434462, member: 37533 wrote: I would expect the ART usb to lack the gain need for an sm7

Ordered Cloudlifter CL-1 yesterday! 1st step done. Planning to order interface (likely Steinberg ur12, as with CL-1 I should have enough of gain) and waiting for Rode Procaster to reach local distributor.

Boswell, post: 434481, member: 29034 wrote: The RE20 has a very low proximity effect - one of the reasons that it is so often found in radio studios.

Proximity effect is low, price tag is high... Everything balanced :)

j_doe, post: 434482, member: 49569 wrote: Ordered Cloudlifter CL-1 yesterday! 1st step done. Planning to order interface (likely Steinberg ur12, as with CL-1 I should have enough of gain) and waiting for Rode Procaster to reach local distributor.

I can't remember that anyone have mention the Steingerg as an interface recommandation.. If I remember, they weren't the best driver maker..

My choice would have been more with the Presonus or Focusrite... For the same price you can get the PreSonus AudioBox USB or the Focusrite Scarlett 2i2
I think they both have better preamps then the UR12.. Don't forget that even if you use a highend external preamp, if you go with a cheap interface, your signal will still go through a part of the preamp circuit. So the quality could be damage... I'm not saying the presonus and focusrite are Highend.. but they have both good reputation...

j_doe, post: 434482, member: 49569 wrote:
Proximity effect is low, price tag is high... Everything balanced :)

At 449 USD I wouldn't consider it to be expensive. It's a pro mic that as a very specific design which has proven to give great for a numerous application (voiceover, guitar cab and Bassdrums etc..) Of course when we talk PRO equipement, some are less expensive, namely sm57 / 58 and others.. but with your needs the RE20 is a very good choice..
Talking of expensive, we are far from this : Telefunken ELA M 251E at 9k ;)

pcrecord, post: 434486, member: 46460 wrote: I can't remember that anyone have mention the Steingerg as an interface recommandation..

No, it was my inner voice saying "Hey, they bundle it with some limited version of Cubase, so you don't need to pay for a DAW later".

pcrecord, post: 434486, member: 46460 wrote: Talking of expensive, we are far from this : Telefunken ELA M 251E at 9k ;)

P.S After lurking around local audio shops, found used Sennheiser MKH-70 - (P48) for $250. Any thoughts? (yes, it works)

j_doe, post: 434487, member: 49569 wrote: P.S After lurking around local audio shops, found used Sennheiser MKH-70 - (P48) for $250. Any thoughts? (yes, it works)

I would not use a shotgun mic for this application.

250 is an amazing price for a mic that was Worth 2K
This mic was designed to grab audio from a distance.. Probably way to far from would you want to do, but I'd be interested to see how it performs...
http://en-us.sennheiser.com/long-gun-microphone-mkh-70-1

j_doe, post: 434487, member: 49569 wrote: No, it was my inner voice saying "Hey, they bundle it with some limited version of Cubase, so you don't need to pay for a DAW later".

Presonus interfaces come with Studio One...

Boswell, post: 434481, member: 29034 wrote: The RE20 has a very low proximity effect - one of the reasons that it is so often found in radio studios.

Ooooops thanks boz. Didn't know that. My new fact for the day.!!

j_doe, post: 434482, member: 49569 wrote: Ordered Cloudlifter CL-1 yesterday! 1st step done. Planning to order interface (likely Steinberg ur12, as with CL-1 I should have enough of gain) and waiting for Rode Procaster to reach local distributor.

Proximity effect is low, price tag is high... Everything balanced :)

Dude I think you may have missed a few things. The cloud lifter is only necessary with a gain hungry mic like the sm-7 and a weak preamp like a art usb or a budget interfaces pre.

There's free versions of just about every DAW out there so that is not a true selling point.

Condenser mics like the rode podcaster are probably the worst you could do in this case.

And why the multi channel interface for a single channel?

An sm58 and an isa one with digital outs will smoke what you are thinking, for the same money. The presonus eureka and art offerings with digital outs will also.

Did you forget to mention you wanted to record other things with this setup? And therefore need a multi channel interface?

From my angle you simply needed a nice robust pre with conversion built in. Not a bunch of conversion with some pres built in...

Seriously man I think you've made a mistake. It could be that your seeking approval as opposed to advice? Lol and the shotgun mic? Why? are you filming this also? Maybe I missed something.

Imho you had the budget for a very nice very pro mic/pre combo - sm-58 + (insert pre here), and basically squandered it on a pile of Sunday sale flyer junk (besides the cloud lifter wich may or may not be nessary). This is exactly the type of thread that picks up in a few months about what pluggin to use to make the tracks sound 'pro'. Seriously if you value your project on your grandfathers voice you need a mic and a pre of quality with a digital out option, which will convert just fine.

At the risk of sound obnoxious, these threads always leave me dissapointed. You asked knowledgeable people got knowledgable answers, and didn't do anything that was suggested. Lol why not just say upfront- I'm thinking of this and this, how do I use it best?

Hopefully there is a good return policy...(sigh)

Boswell, post: 434490, member: 29034 wrote: I would not use a shotgun mic for this application.

Sorry for confusion, I probably shouldn't mention it in the 1st place.

pcrecord, post: 434493, member: 46460 wrote: 250 is an amazing price for a mic that was Worth 2K
This mic was designed to grab audio from a distance.. Probably way to far from would you want to do, but I'd be interested to see how it performs...
http://en-us.sennheiser.com/long-gun-microphone-mkh-70-1

Yeah, just noticed it because of the size (kind of a long one).

pcrecord, post: 434494, member: 46460 wrote: Presonus interfaces come with Studio One...

Noted, thanks.

kmetal, post: 434501, member: 37533 wrote: Condenser mics like the rode podcaster are probably the worst you could do in this case.

Excuse me, but I think there is some confusion. First, podcaster is a dynamic USB mic and I have never mentioned it. I suspect you were thinking about Broadcaster, but again, I have never it as well, my plan was to go with Procaster (dynamic) as it sounds more or less close to SM7B and cost ~40% of it. Still need >55Db of gain according to a number of people reporting at "gearslutz" forum (offtopic: why the hell one would name a forum "gearslutz"?)

kmetal, post: 434501, member: 37533 wrote: And why the multi channel interface for a single channel?

Are you referring to ur12 I've mentioned in my last post? It's single channel. In case you were thinking about Audient ID14 that was discussed earlier, then because all reviews mentioned transparent and clean preamps + price here isn't too bad.

kmetal, post: 434501, member: 37533 wrote: An sm58 and an isa one with digital outs

Had no chance to try ISA One, but:
1. It's 4 (four) kg. I simply have no space for this in my cabin baggage.
2. Need external power.
3. More expensive than cloudlifter + reasonable external interface.
4. Still need an interface with digital in.

kmetal, post: 434501, member: 37533 wrote: you wanted to record other things with this setup

I do, but only spoken word. E.g no singing or music instruments.

kmetal, post: 434501, member: 37533 wrote: Seriously man I think you've made a mistake

With cloudlifter? Well, I need to provide enough of gain for dynamic microphone and keep size/weight/power requirements under control...

kmetal, post: 434501, member: 37533 wrote: It could be that your seeking approval as opposed to advice?

I'd say "no", but my opinion could be biased.

kmetal, post: 434501, member: 37533 wrote: Lol and the shotgun mic? Why?

Please see my reply to Boswell.

kmetal, post: 434501, member: 37533 wrote: mic/pre combo - sm-58

I have personally tried sm58 with presonus iOne in one of the local shops. Not impressed at all, sounds like talking into a paper box.

kmetal, post: 434501, member: 37533 wrote: if you value your project on your grandfathers voice you need a mic and a pre of quality with a digital out option, which will convert just fine.

Please read above about ISA One.

kmetal, post: 434501, member: 37533 wrote: At the risk of sound obnoxious, these threads always leave me dissapointed. You asked knowledgeable people got knowledgable answers, and didn't do anything that was suggested

I'm sorry you feel disappointed. I'm carefully noting all the opinions (even when they are suggestion opposite).

I think it's not a bad Idea to go with the cloud lifter and a good interface with decent preamps. (on a budget and travelling)
But Kmetal is right about the Focusrite ISA, it is considered to be the starting point of Highend preamps. It has 80db of clean power and it sounds very good compared to most audio interface integrated preamps and it would not need any cloudlifter.. The ISA is my first choice when recording low level instrument for that very reason ;)

pcrecord, post: 434511, member: 46460 wrote: I think it's not a bad Idea to go with the cloud lifter and a good interface with decent preamps. (on a budget and travelling)

Not for nothin', but...

http://recording.org/threads/cathedral-pipes-micro-amp-for-passive-mics.59118/

Just thought this was pertinent to mention, if budgets are constrained... especially considering that this does exactly what the cloud lifter does... for about $70 less.

Just sayin'.

FWIW

Ok, time to panic.

Called the distributor who's promised me earlier that Procaster should arrive by approximately today. Got a reply: "Sorry, we haven't received tracking from Rode yet, so we can't confirm any date. Maybe next week". F#K! I'm flying back home next week. So, I need to sort this out rather promptly. Options:

* Break the bank and buy SM7B despite its outrageous price here.
* Audio-Technica BP40 (available as a special order, delivery in 3-5 days)
* Cross the fingers and pray all gods that Procaster will be delivered in time.

DonnyThompson, post: 434512, member: 46114 wrote: especially considering that this does exactly what the cloud lifter does... for about $70 less.

Nice. Maybe worth to spread the word about it.

j_doe, post: 434514, member: 49569 wrote: Nice. Maybe worth to spread the word about it.

Well, I tried to... which is why I started a thread about it a few days ago. ;)

Just to be clear, here... I do need to mention that I've never used it, so I can't personally speak to its quality.

But I do know that Cathedral Pipes has a solid reputation, and is highly respected in the industry for making very nice microphones.
One would assume that they could be trusted to uphold that quality with the micro-amp.

FWIW

+ 1 on cathedral pipes, it's a real mic. Sorry didn't realize the senny interface was one channel. If you don't like the 58 you orabanly won't like the sm7, it's the same capsule I belive, but with a different transformer. I think you'll only need a cloud lifter if your using a low gain dynamic like the sm7, or a ribbon mic.
Also sorry about blasting you for the rode, I was mistaken that it was a condenser. Either way usb type mics are not really designed in a way an sm, or chathedral pipes is.

A note on gearsults, everyone over there hates everything except what they personally own. It's an extremely biased and large group. It is useful to see consensus things but still with a grain or ten of salt. I am a member there as well, but it's just that kind of place.

An sm is probably the easiest mic to attain last minute. Can you rent a pre?

http://www.shure.com/americas/products/accessories/microphones/microphone-replacement-cartridges

sm7's, sm57's and sm58's all use different capsules.

SM57........................................................................... SM58

SM7 - SM7A - SM7B

much of the confusion is because the basic design of the capsules are the same with differences being method of suspension / mounting. despite this all three exhibit different frequency response and dynamic differences.

an interesting note; the sm stands for "studio microphone" ....

here's a great read on the topic.

http://recordinghacks.com/microphones/Shure/SM57