sm7b needed

I'm kinda torn here. I've got an sm7b that's basically NIB, I think I got it out once just to make sure it works. I ought to sell it because I really need the money big time, but I feel like if I do, I'll never be able to get another one, and I'm pretty sure this is THE mic for me. As far as a pre goes, I've got the old standby MA DMP-3 and a Groove Tubes Brick. I should sell them all, but I feel like I'd be closing the door on a dream. But then again, I can't hear worth a damn anymore anyway. What to do, what to do...
 
What to do, what to do...

ha, no worries. I might reconsider since I don't want to get a new interface just to handle the mic. I bought the 2i2 only 3 months ago. I'm loving it so far, and a new one right now seems poorly thought out. I can find another mic with similar properties, I'm sure.
 
It would be worth getting an external mic preamp (pretty much anything will do) to make that mic work.

The sm7 is something that will last a lifetime and still be worth something 15 years from now. You will eventually outgrow that interface.

Btw, why do you have to add gain to your condenser mics in the daw? You should have more than enough at the interface.
 
Hmm, I dont think so.
The reason the 7b and other dynamics have such low output is because they're moving-coil with relatively heavy diaphragms.
That's also the reason they're so forgiving.

Assuming that you stay pretty close to your present mic because moving back would just sound too roomy,
I think I'd either pick up a nice dynamic and a cloud lifter/preamp/interface (maybe as an after thought when you prove you need it), or just treat the room better.

Farview's post came in as I was typing. It's true - Something like a 7b is just a life-long tool, particularly if you're going to be recording live cabs and kits in future.
 
.Btw, why do you have to add gain to your condenser mics in the daw? You should have more than enough at the interface.

Because I wasn't properly setting my gain levels in the first place. :) The opportunity to sing and record vocals would happen so quickly that I'd just plug it in and make sure there wasn't any clipping. Today, coincidentally, I had a chance to sing but I spent about 30 mins checking input gain at the interface level, settings up my chain, and getting things closer to the mix stage. Apparently, line/instrmnt on the 2i2 doesn't do much, if anything, for a phantom powered mic. does that sound right?

and alright...i'll consider picking it up still - you guys are killin me. :)
 
Because I wasn't properly setting my gain levels in the first place. :) The opportunity to sing and record vocals would happen so quickly that I'd just plug it in and make sure there wasn't any clipping. Today, coincidentally, I had a chance to sing but I spent about 30 mins checking input gain at the interface level

Sure, it's important to get the gain right but it's a 10 second job usually.
Set gain, perform at your loudest and closest, turn it down a touch if you clipped or up if it's ridiculously low, repeat.
There's no rule and specific advice varies but just make sure there's whatever you'd deem a comfortable amount of room between the extreme peaks and red lights.

In rarer circumstances it's possible to overload the microphone without clipping your converters or overloading the preamp.
Usually you'll know this is happening because your recording will be distorted but your gain will be at zero.
It's only ever happened to be with capacitor mics on snares and that kind of thing.

If you're in someone else's studio the rules are different. Soundcheck really really quietly then every time he's doing an actual take just suddenly get a shit load louder. ;)

If your recorded levels are healthy and not clipping with the gain somewhere > 0 then that's about all you need to know, really.
Once you're in the box, boosting or attenuating a track is a different decision made by different criteria. That's mixing.

Apparently, line/instrmnt on the 2i2 doesn't do much, if anything, for a phantom powered mic. does that sound right?

Yeah.
Instrument/line controls govern anything plugged in to that channel via 1/4" connector rather than XLR.
 
Sing a loud sustained note and adjust that level to about -18 or so. Perform the loudest part of the song and check for peaks. Done.
 
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