How to select preamp/AD interface to minimize distorsion from powerful singers?

[Dantheman06]

I got problems recording a VERY powerful opera singer. She was almost whispering and a fraction of second later, at full volume, she was rocking the whole building…
I was using the latest edition of Rode NT1 microphone (the black one). The preamp with A/D was an e-mu-1616m PCI. (Product - E-MU 1616M PCIe) . At full volume the opera singer was pushing the preamp into distortion even at low gain. Next time I record her I may use an in-line attenuator like the shure A15AS. If I prefer to use a more robust preamp instead what should I look for while reading the specs? Would a Roland Octa-capture ( https://www.roland.com/global/products/octa-capture/specifications/ ) be more robust and handle my highly dynamic singer better? Here are some of the specs for both systems:

e-mu 1616 m Pci

Gain Range: +60 dB
HI-Z LINE INPUT
Input Impedance:1M ohm
Max Level:+18 dbV (20.2 dBu)
Dynamic Range: (A-weighted, 1kHz, min. gain: 118 dB
SNR: (A-weighted, min. gain): 118 dB
THD+N: (1kHz at-1dBFS): -105 dB (.0006%)
MICROPHONE PREAMP
Input Impedance: 1.5 Kohm
Max Level: +6 dbV (8.2dBu)
EIN: (20Hz-20kHz, 150 ohm, unweighted): -129.5 dBu

Roland Octacapture

inputs 1–6 (XLR type): -56 to -6 dBu
inputs 7–8 (XLR type): -50 to +0 dBu
inputs 1–8 (1/4 inch TRS phone type): -46 to +4 dBu
Head Room 16 dB
Impedance
inputs 1–6 (XLR type): 5 k ohms (balanced)
inputs 7–8 (XLR type): 10 k ohms (balanced)
input 1–8 (1/4 inch TRS phone type): 17 k ohms (balanced)
input 1–2 (1/4 inch TRS phone type, Hi-Z): 740 k ohms (unbalanced)
Residual Noise Level
INPUT 1–2 OUTPUT 1–2: -87 dBu typ.
(GAIN: min., 600 ohms terminated, IHF-A)
* Internal Direct mixer setting
Dynamic Range AD block INPUT 1–8: 104 dB typ. (GAIN: min.)


Thank you for your help,

 

[Steenamaroo]

Hey,

I don't know what a more robust preamp would mean but if the singer, at peak, is overloading something in the signal path with gain at minimum, just use a less sensitive microphone, more distance between source and mic, a pad, or get the singer to implement some mic technique.

Those are pretty much the options.

If the quiet parts end up being so quiet that noise floor is an issue then, again, it's mic technique. Get him/her to move in for those parts.
You could go for a near+far mic setup but it would need to be absolutely necessary, for me.

 

[Chili]

Mic technique. What works on the stage doesn't work in the studio. You might have to coach her a little. You can also try an outboard compressor or maybe even a limiter before the interface.

 

[witzendoz]

Mic technique

Amazing how many singers don't have any. To singers the mic is an important part of the instrument and they need to learn how to use it.

If I have a real problem vocal I insert a compressor on the input, turn down the pre and use the compressor as a gain stage. I hate using a compressor when tracking but sometimes it's all that works. Also stops the headphones from blowing up LOL.

Alan.