Those are two pretty different mics. IÂ’ve never heard the Weissklang (and it didnÂ’t show up in a search with any US resellers so not likely to).
What is your recording space like and what is the preamp/interface youÂ’ll be plugging in to?
Those are all top rate pieces of equipment. If you got the LDC, you would be able to do your recording without the preamp, at least to start and determine how to use your space. The Shure is a very good dynamic mic and will require more gain, as you have probably read, so may require a preamp. I'm not familiar with the RME Babyface interface, so don't know if it will be sufficient for the Shure.
If you expect to do any instruments and not only vocals then the LDC will probably be a better choice, with the downside that its sensitivity will make managing external sounds in your recording space a bit more work.
The SM7 is one of the finest mics that Shure has ever made.” - Harvey Gerst
The SM7b is the newer version.
SM7 has a great reputation so your problem seems unusual unless you are not using it correctly --
Did you talk into the end or the side? Talk into the end of the microphone.The SM7 is NOT a side address microphone.
You need to use a mic to line amplifier (also called a preamp).
The SM7 (SM7A, SM7B) is a dynamic microphone. A typical dynamic mic has a lower output level than a typical condenser mic.
I do not have the Shure SM7b myself, but almost everyone will tell you it's going to be marginal with your standard audio interface mic preamps, and so it's typically paired with an external preamp of some kind.Thank you for the answer. Do you know any interfaces would go well with the sm7b?
the rotational change to the sound on some of those mics when they go off axis is quite unpredictable. I had no idea what would happen. Since that recording, as I have a few, I've been using the old AKG D190s I found while scrabbling around for mics as overhead mics for live drums on stage and rather like the sparkle they have - unusual for a dynamic.