Kurt Foster, post: 445453, member: 7836 wrote: i can't say but the specs on the 6i6 are stated as line in Maximum input level +16 dBu @ 52k Ω.
again not sure about it but the ISA specs @Maximum Output Level +24 dBu with 150 Ω source impedance.
is this ok?

what i think is happening is an impedance mis match. 150 Ω into 10kΩ line input. I'm not sure that is kosher.

https://us.focusrite.com/usb-audio-interfaces/scarlett-6i6

specifications">https://us.focusrite.com/mic-pres/isa-twospecifications

Is there a way to resolve this without spending tons of money on different gear? I know that the ISA has a switch for 4 different impedances.

before we go any further wait until someone who has more knowledge about this makes a post. i could be barking up the wrong tree.

the impedance switching on the ISA is for the input (mic) not the out. i think you may have a mis match between the ISA and the Scarlet. there may be a work around by using a different input but if what i think is happening is happening then it will still be less than ideal way to go. at that point you may just need to find an interface that has true +4 balanced line inputs.

My take on what is happening here is that the ISA output is being fed into the jack input of the Scarlett, which is actually a line input, but our OP is calling it a DI because it can be switched to behave like one. In line input mode, it's perfectly kosher to connect things this way, and I would be surprised if it is this routing that is the cause of mid-range harshness. The impedances are fine, but the ISA output should be kept below +18dBu.

Last time I had a mid-range harshness problem with a vocalist when using condenser mics, I rolled out my selection of ribbons. Simply using one of those showed the problem was the interaction of that vocalist with a condenser mic. I now accept that there are certain voices that cause trouble with condensers, and it has very little to do with the quality of the gear. As it happens, for that singer I ended up using an RE20 dynamic mic, since the ribbons were a shade too dark, although they had been valuable in pointing the way. I don't own an SM7, but that could have been similarly effective.

DKAUDIO, post: 445445, member: 49673 wrote: I don't think so. I'm going out of the main xlr out on my pre and going into the quarter inch input #4 on the back

You first said it was the Di.. but if you are using the back input, they are line input.. so the impedance should be closer being both line level. (Di are for instruments...)
Thing is, if the scarlett is anywhere like the saffire series, the line input goes to a part of the preamp circuit so again, it's not a clean path.
It this is true, you are not hearing the ISA but a combinaison of the ISA and scarlett.
I happen to have walked in the same path DK the exact same path.. I had the Saffire 56 and bought the ISA TWO. I gained a bit of quality but not quite impressive.
I think it was Boswell who sold me on the idea preamp to preamp isn't a good idea a few years ago. (unless you experiment on different saturation levels)

I do happen to have an anoying narow voice with a nazal side. To this date, my best match is a DIY T47 and the LA-610. The T47 has the now famous RK47 capsule which exhibit a very sweet high frequency response. It's a bit darker than many mic but takes EQ with grace if you ever need to add some. . . Coupled with the ISA preamp it also does an excellent job. My main interest in the la-610 that makes it my choice over the isa is the onboard compressor and EQ.

In the end, the 251 clone might not be a good match to the transformer based ISA preamps or either one of them put your voice to its best.
That's why going to a well equiped studio seems like a good idea for you . You could rule out a lot of bad combinaison in just a few hours and save a ton of money and time...

I can arrange to send you a few samples if you want ;)

Boswell, post: 445459, member: 29034 wrote: My take on what is happening here is that the ISA output is being fed into the jack input of the Scarlett, which is actually a line input, but our OP is calling it a DI because it can be switched to behave like one. In line input mode, it's perfectly kosher to connect things this way, and I would be surprised if it is this routing that is the cause of mid-range harshness. The impedances are fine, but the ISA output should be kept below +18dBu.

Last time I had a mid-range harshness problem with a vocalist when using condenser mics, I rolled out my selection of ribbons. Simply using one of those showed the problem was the interaction of that vocalist with a condenser mic. I now accept that there are certain voices that cause trouble with condensers, and it has very little to do with the quality of the gear. As it happens, for that singer I ended up using an RE20 dynamic mic, since the ribbons were a shade too dark, although they had been valuable in pointing the way. I don't own an SM7, but that could have been similarly effective.

This has been the most helpful piece of advice/comments I've heard yet, and actually makes me feel a lot better. THANK YOU!!!

Try moving the mic up so it's pointing at your nose and your mouth from above.. It will give you some air.. and reduce the nasalness.. I'm not sure if I'd be as far away as the guy in the photo .
But for smoother vocals that mic placement has helped before with singer that are nasal sounding or have that one honky spot in their range..

I second Boswell's ribbon mic suggestion..

https://music.tutsplus.com/tutorials/vocal-recording-techniques--audio-4060

Chris Perra, post: 445487, member: 48232 wrote: Try moving the mic up so it's pointing at your nose and your mouth from above.. It will give you some air.. and reduce the nasalness.. I'm not sure if I'd be as far away as the guy in the photo .
But for smoother vocals that mic placement has helped before with singer that are nasal sounding or have that one honky spot in their range..

I second Boswell's ribbon mic suggestion..

https://music.tutsplus.com/tutorials/vocal-recording-techniques--audio-4060

This is a really useful and informative article, thanks Chris!!

Kurt Foster, post: 445458, member: 7836 wrote: before we go any further wait until someone who has more knowledge about this makes a post. i could be barking up the wrong tree.

the impedance switching on the ISA is for the input (mic) not the out. i think you may have a mis match between the ISA and the Scarlet. there may be a work around by using a different input but if what i think is happening is happening then it will still be less than ideal way to go. at that point you may just need to find an interface that has true +4 balanced line inputs.

The 6i6 has two dedicated line inputs that can handle +16dBu signal. I couldn't find anything indicating they are balanced. I assume not because the front panel combo connectors do take balanced +22dBu signal (or unbalanced DI, switchable in the software). That 6dB difference sort of strengthens the case for unbalanced in my mind, but that's really just a guess. There's no reason unbalanced connection would be a problem unless it's not done correctly.

Generally speaking, going from a low Z output to a high Z input is not a problem, it's what you want.