how important is a pre ?

T

tomleblanc

New member
I've tried doing searches to find an answer to this question, but it's hard to type in something specific enough that you don't get a billion hits, but not so specific that you get none. Obviously I failed. So here goes...

Basically, I was hoping someone could explain to me why it's important to use a microphone pre-amp when recording, and whether or not it'll make a difference in my current situation.

Right now I'm using an SM-58 plugged right into my Fostex MR-8 recorder, through a blueberry cable. The problem is, if I sing loudly enough/set the recording level high enough for the mic/recorder to pick up the quieter aspects of a vocal track, it clips, and if I sing softer, it just lacks that certain undescribable quality of "umph" that makes it sound real, and decent! Boosting the levels, adding compression, etc. after the fact (through software) don't seem to really help. Although, I must admit that I'm still a beginner at mixing, etc.

So I was wondering if adding a good pre-amp to my signal chain (and eventually a compressor, probably an RNC, but not right now) might help me get a better result before I buy a condensor mic. And by better, I mean a noticeably better result. I was thinking along the lines of a DMP3, a VTB-1, a BlueTube, etc., or something in that price range, preferably with 2 channels as I hope to do some stereo acoustic guitar recording in the future.

Thanks for reading! :)
 
c7sus said:
The reasons you lined out are why a decent pre is recommended.
Click to expand...

Just to be clear...So you're saying that adding a decent pre will help me circumvent the problem of getting either too little of the quiet sounds or too much of the loud sounds? (even with just my dynamic mic?). Or will I need both the pre AND a compressor to really eliminate this problem?

Thanks for taking the time to type all that stuff out c7sus!!! Very helpful!!! :)
 
The compressor is made to smooth out the dynamics (how much range from loud to soft) of what you are recording. The preamp will increase the clarity, fullness and better tonal character (assuming it is a better pre than what is in your board).
I found I needed both,you may as well.
 
In my opinion a compressor would help the problem that you are describing but the better solution would be vocal coaching to learn how to give your tone support and resonance at low volume and conversely to be able to give a tone the feeling of strength and power through more than decibels.
 
I just picked up an M-Audio DMP3 from Guitar Center for $119!!! They were making some amazing deals at their big sale today! I really lucked out with this pre...it was the last one they had.

I just hooked it up, and boy does it make a difference! Finally, after much frustration, the playback actually sounds like it does in my head! :)

Thanks for your help everyone!
 
tomleblanc said:
Finally, after much frustration, the playback actually sounds like it does in my head! :)
Click to expand...

And I'm not even using a condenser yet! Just a good ol' SM-58.

I wonder now how much of a difference I'd notice with a decent condenser, now that I have phantom power capability. :) I was thinking something along the lines of a Studio Projects C1, but maybe even something cheaper, like a B1 or a V67G or something comparable. Any thoughts?
 
In regards to soft and quiet passages.

There are 2 (ok, 3 really) ways to go about making sure both your loud and soft vocal parts all have "umph"- or, specifically, are recorded as loud as possible without distorting.

1) Record the loud and quiet parts on different tracks so you can set your input volume appropriately. If you are a quick hand with punching in and out, you can save track real estate by recording them on the same track at different times. Set your gain for the soft parts and record them all, then reset your gain for the loud parts and punch them.

2) Learn to "work the mic." That means either get closer to the mic for the quieter parts or back up from the mic on the louder parts. The trick with this is that when you back too far away from the mic you'll start gettting a lot more room sound in with the vocals. The closer you get you'll add bass with the proximity effect. Both can work well, but they can also sound really crappy depending on what you are going for.

3) Ok, yeah. You CAN use a compressor to make the quiet parts louder and the loud parts quieter. The problem is compressors take a lot of pactice to set up correctly and if you record through your compressor there is no easy way to undo OVERcompression. I almost always try methods 1 and 2 before resorting to recording though my compressor. The only exception is when I am using the compressor as a limiter and have it set to just catch any transients that would cause the track to distort.

There are probably a host of other options, but these are the common ones. All of them are solutions that work regardless of what preamp you are using, which only brings the mic signal up to line level and adds its own color if it has one.

Take care,
Chris
 
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