Any phantom power supply will work, as noted above. For instance:
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As far as the mic goes, that's a tough one. I can show you condenser mics that are appropriate for your stated use from less than $100 to over $5,000. It's like you asked, "I need a car, which one should I buy?"
A used Honda Civic? A new Maserati? I love the ones that say, "I want to make professional quality, radio-ready recordings. What mic should I buy for under $100?" Well, I want to race in the Indianapolis 500. What car should I buy for under $1000? The answer is a getaway car, because I'm going to have to take up safecracking. To make matters more complicated, there aren't just good mics, bad mics, and better mics. There are mics that are *right*, mics that are *wrong*, and mics that are *acceptable*. And- a mic has to be right, not only for the person using it, but also for the job it has to do.
I don't think I'll do well in the Indy 500, no matter how good my pickup truck is. Some mics make certain vocalists sound good, and it isn't always the most expensive one. In fact, it often isn't. And- no one can predict what that will be. Telling us about your vocal style, your music, and putting up clips won't help. This is further complicated by the fact that two perfectly competent engineers will not have the same opinion about what sounds good. It has to sound good to *you*, and the person using it.
That's why professional studios have *lots* of vocal mics. When I get a new singer in my studio, I usually go through a dozen or so mics until we find one that the vocalist and I can both live with. That said, you have to start somewhere. So where do you start? IMHO, you start with mics you can afford. That probably isn't a Brauner Voice Valvet or a B.L.U.E. Bottle. I recommend starting with mics by reputable manufacturers that work for *somebody*. This improves your chances of success, makes it more likely that the mic will be good for recording *something* or *somebody*, even if it doesn't work out as your main vocal mic. It also makes it easier to re-sell it if it doesn't work out for you at all.
Here are some of my recommendations for starter mics:
Dynamics:
Behringer XM8500 (dirt cheap)
Shure SM57
Sennheiser e835
AKG D770 (discontinued but still out there)
Shure SM7b (more expensive- but very versatile)
Electrovoice RE20 (like SM7b-pricey and worth every penny)
Condensers:
AKG Perception 100/120
AKG C2000B (a personal favorite- a virtual swiss-army knife)
Marshall Electronics MXL V67G (cheap mic that works for lots of people- my favorite in the $100 class)
B.L.U.E. Spark (new kid on the block)
B.L.U.E. Baby Bottle (now we're into $400 or-so mics)
B.L.U.E. Bluebird
Audio-Technica AT4040
Oktava MK319
Shure KSM27
Rode NT1a
CAD M179
CAD Trion 6000
Studio Projects B-1
I tried to stop at a maximum of about $400, most are cheaper. You will also note that aside from one dirt-cheap dynamic, you won't find mics on that list by Behringer, Samson, or Nady. These are bottom-feeder mics from bottom-feeder companies that will have very little resale value. Note this: I could create a list like the one above that would be just as likely to work for you, with completely different mics. Those are just some of my favorites. I would start with the best dynamic I could afford, and the best condenser I could afford with whatever is left over. Good luck-Richie
