If it wasn't recording properly the first time, it may be defective. Can you bring it to the store or a friend's studio and tests it on another interface/mixer ?

I had the exact same problem with a Rode NT-1 and asked this exact question on this very forum. After a great deal of discussion about mic preamps, voltage and phantom power, the basic conclusion was that the mic was defective so I returned it. Now I was using a cheap Alesis iO4 at the time but even still, it produced enough phantom power to run my AT and Sterling condensers just fine.

From my experience, I would say the mic is most likely defective. I would return/exchange it and try the same model mic to know for sure if the problem is with your mic or something else.

$0.02

what about storage?
all of my condenser mics came with baggies with packs of dessicant in them, so thats how i put them away.
none of my dynamic mics did.
i wonder if thats chance or by design?
is a humid environment (ohio) going to have an impact?

Hey Gents, thanks for the responses. I'd love to bring it back for a test or return it but I've recently moved to Australia and home is 4000 miles away. When it was working, sometimes it would cut out if I was too close to one side, I'd let it rest, then it would work. I'm wondering about the defect as I tried another condenser mic, and although it was damaged, it worked. I would definitely seem to thing either this mic is defective, has problems with with the phantom power. The area of australia i live in does get humid sometimes, but it's been here through-out the winter of aus so it's been cool.

Call or email MXL directly, they will direct you to a store near you or ship you a replacement ! (well, unless their service sucks..)
http://www.mxlmics.com/support/contact.php

MXL is Marshall, and their HQ is in L.A. I wouldn't think you'd have too much difficulty in getting this issue fixed if you explain to them what's happening. Guitar Center is an MXL dealer, I think... and they are everywhere.

I'd start here:

http://www.mxlmics.com/support/contact.php

Cheers DonnyThompson, I'll check into it, thanks!

"When it was working, sometimes it would cut out if I was too close to one side, I'd let it rest, then it would work."

When it was working, were you on a different computer? One computer I had didn't have enough USB current capability to run my interface properly when a phantom powered mic was plugged in. The result was low output and noise. When I used that computer and interface I had to use an extra phantom power box and all was OK. Where the mic cut out with a loud source I wonder if it momentarily increased the current draw, dragged down the interface/phantom power and a short rest let it recover. Perhaps if you have other USB ports you can give a try, one might have a bit more juice available. Also try removing any other USB devices that could be an extra load on the computer.

Not all condenser microphone types are created equally. Classic condenser microphones not only required a full 48 Volts. They required 48 Volts with more current, than others. And then there are the permanently polarized condenser type microphones that while they say they need 48 volts, many of those can work on voltages between 5-25 volts because they are of the permanently polarized ELECTRET types.

Many non-polarized condenser microphone types, are extremely sensitive, repeat, extremely sensitive to humidity. And as a result of the humidity, such as from close vocals, without foam pop filters, the microphone will fade out with every hot breath spewed onto the capsule diaphragm. And if the diaphragm does not have a switchable pad, to knock its capsule output down -10 DB? The capsule can overload the active circuitry in the microphone causing a situation called blocking. Especially with lower frequency sources. And blocking does exactly what the name implies. It momentarily blocks signal from getting to where ya need it to go. Causing something of a popping like intermittency.

Storage of the microphone with one of those little packets of desiccant is always a good thing to do. But then again, condenser microphones, that are left plugged in, with phantom power always being applied to them, turns those little capsules into electrostatic air cleaners. Attracting all sorts of gunk and coating the capsule diaphragm, virtually shorting it out, in time. And some fools have done that in their studios when they did not have those microphones continuously covered with foam pop filters. They are using those idiotic nylon stocking lollipop pop filters, which do nothing to protect the diaphragm of their condenser microphone from acting as a electrostatic air cleaner. So for all the morons that think that foam Pop folders are bad? The jokes on you. The foam pop filters, protect your investment. So they alter the sound of the microphone. BFD! The minutia of difference that they alter, isn't worth the damage that can be done to your condenser microphones without keeping a condom of foam always on them. And the added benefit is, should Bowser accidentally run into your microphone stand, toppling the microphone over? It's more likely to survive when it is covered in resilient foam.

I'm an extremely practical engineer. And a lot of people like being extremely impractical, in their studio.

So you said you liked that MXL V67GS microphone? How can ya like it if it's not working for ya? You like the way it looks? What does looks have to do with sound? The 57 works fine? What's that tell ya? That tells you that the 57 actually is a superior sounding recording microphone to someone's low-cost, Chinese made MXL V67GS, POS, imitation studio condenser microphone. And that's why it works better with the 57. 57 and 58's are the most important recording microphones, ever made. And when used correctly, with foam pop filters, they can sound every bit as good as $3300 US, Neumann U-87 condenser microphones. Which are little better than a Chinese MXL V67GS imitation 67 gobbledygook microphone. I don't care what you think. That's a fact Jack. It's not about what the microphone looks like. It's about how it sounds. And almost no microphone in the world can beat a $100 US, SHURE SM-58, with a large extra foam pop filter, microphone sound. For any microphone costing under $1500 US plus. And they don't need phantom power. Imagine that?

What will people think of you if you don't have that studio looking condenser microphone? Well... you're already funny looking yourself, right? So what's there to worry about? You'll amaze everybody with your engineering prowess, when your vocal recordings will sound better with a 58 and an extra foam pop filter, then does most inexpensive condenser microphones have to offer. Not enough high-end for ya? Then kick up 2 DB at 15 kHz, on your 58 and have a beer. Or get a SHURE Beta 58, with the extra foam pop filter.

The reason I stress for the extra large foam pop filter on 58's of either the SM or Beta variety is that, people have a tendency to get extremely close to the microphone, doing vocals. And you can get too close on a 58. Which gives you this kind of fat blasting kind of sound, with too much proximity effect. Which sounds lousy. The large foam pop filter will then put your lips at the proper distance from the diaphragm on the 58. Another reason why so many folks use those lollipop nylon stocking pop filters. They make sure you stay a fair distance away from the diaphragm. Not just to stop the Pops. But to get a proper sounding recording at the proper distance from the diaphragm. And if your 58 gets dropped onto a cement floor from 6 feet up? It'll still work for the next 30 years or more. And the MXL, you can throw out, should that happen.

Why am I so hot on using 57 & 58's? Because I specialize in live recording for broadcast radio, TV and albums. And condenser microphones generally make for lousy PA microphones. The sibilance of PA condenser microphones I generally find rather obnoxious sounding, when no DE-ESSER is being used to control that condenser sibilance. And to date, I've known no one using a dynamic sibilance controller, DE-ESSER. But they all think they need that dumb ass condenser sound, to be professional? Nope. It's just the opposite. They're great of course if you like crispy crunchy thin empty, metallic sound. But if you like some balls? 57 & 58's all the way. And yes... 57 or 58's also make for great overhead drum microphones. Contrary to popular belief. But most of the time we use a couple of condenser microphones to get a little extra zing out of the cymbal crashes. Or just kicking up an extra couple DB at 15 kHz with 57's/58's. And you're golden!

Of course, being the POS that the MXL's are, yeah you might be the lucky owner of a pre-broken POS microphone? Lucky you. Which generally doesn't happen with honest to god made in the USA, non-Chinese counterfeited, SM-58 & 57's. So there is a lesson to be learned here. All that glitters and as gold spluttered microphones, aren't gold. Only the spluttering is.

Sputter is as sputter does. And then you got mylar. That hasn't been sputtered. And sometimes when you eat french fries before cutting vocals, you get spuds on your sputter. Otherwise, SHURE 58's love french fries.

Bet ya can't eat just one?
Mx. Remy Ann David