This is all good pertinent advice you've received from many of my colleagues. My approach is somewhat different since I'm used to working with coloratura's & Wagnerian sopranos mostly. Mom is a former Metropolitan Opera star, Marilyn Cotlow and is best known for her role as Lucy in Minotti's, The Telephone. I've recorded lots of demos in this manner in the center townhouse living room at mom's place. While I recorded plenty of Sopranos on mics similar to yours. All large diaphragms which has nothing to do with birth control but rather screech control. Not all soprano sound good on condenser microphones and that's why you heard these other instances of utilizing ribbons & dynamics, Such as the Electro-Voice RE 20. But when you want that brighter texture you need a condenser microphone. You absolutely do not want to record what you are doing with ANY XY nor MS stereo micing, in your freaking living room. Not unless you're in a lovely sounding hall to begin with which you are not.
I take issue about everybody's microphone preamp suggestions. This is where Transformers can make a huge difference and no inexpensive microphone preamp's use any decent ones. Sopranos already sound too thin already and you need something to fatten you up a bit. Transformers are the old-fashioned analogy to petticoats. Yes, I prefer ribbons mostly on coloratura's but your microphone is perfectly fine. My Grammy nomination was for recording Alessandra Marc on a AKG 414BULS which doesn't have the hyped presence nor top end of its fraternal twins And others similar textured condenser microphones like you are using. A lot of your problem may be right there with that tailored response of a microphone. And I like to work the Sopranos approximately 1 m or 3 feet directly in front Of the microphone. I generally wouldn't raise the height in your situation as you want as much of your chest voice/tone the microphone can pick up. And it's quite alright if you're on the carpet as you probably don't have any carpeting on your walls or ceiling. A live small room will sound like a small room so we don't want to hear the room at all. So dead is not to dread. It will work well for you that way.
Cool. I've lowered the mic to mouth height in this latest take, which is Wally's aria. Pamina didn't suit my voice very well (plus it's hella difficult), and I probably should have started out with Catalani in the first place. Still shrieky on top, which usually means I'm forcing because my support is not properly lined up.
In a simple test of ridiculousness, with your Apogee, you might only want to purchase a 10:1 winding, shielded microphone transformer (Such as a Jensen, St. Ives, Rickenbacker, Beyer, etc., to run into your Apogee. This will also give you 10 DB more input level to your Apogee which will require you to run its gain lower or to utilize an input pad. This is where the Cascades cheap ribbon might be the solution.
How will the transformer help out the Cascade ribbon?
You have a beautiful instrument, one that you should be very proud of but technique could be your limiting factor?
I just got back into singing this year after taking a few years off, and I have a ton of back & neck tension issues to work out. I'm in Los Angeles, btw.
With unidirectional microphones even at 3 feet (1 m) there is still a touch of proximity effect which will warm your voice. The closer, the warmer, more intimate sound you'll achieve and that limiter will put you more in the ballpark so to speak.
Ooo, that's a good idea! I will play around with limiter settings when I get a chance. Also ordered two more OC 703 gobos on stands to place on either side and deaden my "vocal booth" area even more.