Pretty much, anything that produces phantom power has a preamp in it. The preamps in most digital and cassette recorders aren't the greatest. They tend to be of about the same quality as the preamps in a mixer. Go figure- A Roland VS2000 is about $2000. It has 8 XLR ins, each with a preamp, plus the hard drive, the mixer, computer based effects, etc. So it's basically a hard drive, a mixer, and a small specialized computer with a CD-R drive.
My Avalon AD2022 is about $2500. It has 2 channels of preamp and nothing else. Which do you suppose is a better preamp? Duh.
So- the question is- do you need a preamp? The answer is- not if you're happy with the sound you are recording. I've been using
a Roland VS1824CD, and if my Avalon died, I would *need* a preamp. (and a new wife).
As far as the distance from the mic, that too, is situational, and a matter of preference. All directional mics, whether cardioid or figure 8 (most vocal mics), produce "proximity effect". As you get closer to the mic, bass is boosted. This can be used to augment a voice that is weak in the bass range, or as an effect, commonly used by radio announcers and comedians. Experienced singers often have worked with PA systems that are prone to feedback, and may work very close to the mic so the gain can be turned down to reduce feedback. Often, they have gotten used to the proximity effect, so they swallow the mic out of habit. Many rappers do this on purpose just to get the proximity effect.
Studio condensers tend to be more sensitive, and often more expensive than stage dynamics, and trying to "swallow" one can get ugly pretty fast. Aside from that, when you sing, water comes out of your mouth, not just spit, but water vapor in your breath. Usually a pop filter is used, for three reasons:
1. to reduce "popping" or "plosives" from aspirated consonants, especially "P".
Try putting your hand right in front of your mouth and reciting "Peter picked a peck of pickled peppers". You'll get the idea.
2. To keep the vocalist from spitting on the diaphragm of your nice mic.
3. To keep the damn mic swallower a certain distance from the studio condenser.
Characteristically, the pop filter will be placed 3-4" from the mic, and the singer will be 4"-8" from the pop filter, 8"-12" from the mic, but that can vary a lot, depending on the room, the mic, the material, and the singer. Really good singers who are used to mics will vary their distance from the mic, using the proximity field as a tool, "working the mic". This can play hell with your gain settings. If you have a singer that does this, you need to set your gain levels so that the loudest, closest part of the song does not result in clipping. Compression may be necessary.
If you have a singer who is really studio-savvy, they will lower their volume as they move into the proximity field to keep the level more or less even. Keep this singer, because he or she is most likely a real pro. Note that different mics have very different proximity fields. They start at different distances from the mic, and the bass boost increases quite differently as you approch the mic. One of the things that makes certain mics a vocal standard over the years is a proximity field that is useful and understandable to the singer.
Broadcast mics, like Shure SM7 and EV RE20 have very gradual and not particularly severe proximity fields, which are forgiving, and good for interviewing people who don't have a clue. Good for musicians who move a lot while they sing. Other popular standards, both moderately priced and expensive, such as Rode NTK or Neumann U87, simply have proximity fields that are similar to commonly used stage mics, like a
Shure SM58. It may not be as forgiving as an SM7, but if you are used to an SM58, it won't take you very long to learn how to work a Neumann U87. This means the singer will like it right off the bat, because they understand it.
Some other mics can be excellent vocal mics, such as an AKG C414, but their proximity field is unlike any stage mic, and you have to learn how to use them. This is why a 414 can be a vey good mic for a mic-clueless singer who doesn't move at all. The nice engineer puts the mic in the sweet spot, and everything is warm and fuzzy. Others (Celine Dion) actually learn how to work a mic like the 414, and get used to its unique proximity field.
In conclusion, the better your room is, the farther you can be from the mic, and the better the singer is, the more they can vary the distance from the mic without screwing up the engineer. Mic swallowers need a handheld mic with some kind of built in screen to protect the diaphragm from water, and an engineer whose handgun has been checked at the door.-Richie
