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Audio interface for soft ambient and vocals, help please :)

Moonflower

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Hello!
I hope I’m in the right thread. I’m new here and would love some help on understanding/choosing audio interface for my needs, this will be my first one so it’s rather exciting but also difficult for a neewbie!

My set up at the moment is an osmose expressive, microfreak and microcosm pedal. I’m also looking to get a condenser microfone for vocals. I would prefer to have everything connected at once and also use an output for software instruments to go through the pedal and back in again. But at least have most of it plugged in. Oh and important to note that sounds I create often have low volume, very soft and ambient. So decent gain would be prefered and low noice floor since I may have to turn up both gain and volume quiet a lot sometimes :p I’m also a fan of subtle sounds and soft silent music :)

I’m currently considering a pretty good offer on a focusrite clarett+ 4pre, but I have read much about the gain issue. I’m still rather new (this will be my first interface) so I would like the controls to be as simple as possible (unless audio quality is really amazing then I’d def learn how to use it somehow). I borrowed this from a friend to try and with the low volume pads through the pedal I did have to turn up the gain a lot and also add a decent amount in my dav. So I’m unsure about this one.

I also saw a pretty good offer for a Motu 624 AVB but I know nothing about it.

And am considering motu ultralite mk5. It seems to have all the ins and outs needed for a really good price too!

Prefered price would be under $800, but if it’s the right one I can be flexible!
I have a mac computer that can handle thunderbolt.

I have not looked att all the interfaces so there might be many good one I’ve missed :) so do you have any thoughts or suggestions?

I hope someone can help. I would be deeply greatful! Thank you so much :)
 
I can't make a specific recommendation. RME does have a great reputation for low noise, etc. You'd have to check the gain.

The manufacturer's published noise specs aren't that useful because there is more than one way to measure it. You'd need independent apples-to-apples measurements. I don't think there's THAT much difference. BUT, sometimes with USB powered interfaces noise gets into the preamp from the USB power (which is notoriously noisy) so your odds are better with an inerface that has it's own separate power supply.

My set up at the moment is an osmose expressive, microfreak and microcosm pedal. I’m also looking to get a condenser microfone for vocals. I would prefer to have everything connected at once and also use an output for software instruments to go through the pedal and back in again.
If you want to use the microphone the with the pedal, I assume it doesn't have a mic input so you'll probably need a stand-alone preamp. That makes the interface less critical.

Stand alone preamps often have more gain than interfaces. Most interfaces are designed for condenser mics (which have more output than dynamic mic) and "normal volume" vocals within a few inches of the mic. Often with a dynamic mic, a FEThead or Cloudlifter booster is used to get an adequate signal with normal vocals. (I don't think these boosters pass-through phantom power and that means they won't work with phantom-powered condenser mics.)

With quiet sounds, acoustic noise is often a bigger problem than electrical noise, especially if you're not working in a soundproof studio.

Condenser mics have a head amp which also generates some noise but it's usually not significant. It's usually better than the preamp noise so overall a condenser is usually quieter than a dynamic mic with lower output and a cranked-up preamp.

Also any effects like compression that boost volume will also boost any background noise so compression tends to make the signal-to-noise ratio worse.
 
also for a microphone I'd recomment checking https://lineaudio.se/
either cardioid or omni, they are both fantastic.
I think here you can contact a canadian re-seller
 
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also for a microphone I'd recomment checking https://lineaudio.se/
either cardioid or omni, they are both fantastic.
I think here you can contact a canadian re-seller
I haven't used those exact microphones. But small condenser mics tend to have issues with pops when used on vocals. Large diaphram condensers usually have little of this problem. It is an cardioid issue.

A good affordable option is the Lewitt LCT 440 series. Or second hand Shure KSM 32.

I'm not sure about all the routing of the OP's needs, but you aren't going wrong with a Motu Ultralite Mk5. I'm not familiar enough with the 624, but expect good performance with it also.

RME is a good suggestion, but I think one with the ins and outs you need will be more than your budget.
 
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I haven't used those exact microphones. But small condenser mics tend to have issues with pops when used on vocals. Large diaphram condensers usually have little of this problem. It is an cardioid issue.

A good affordable option is the Lewitt LCT 440 series. Or second hand Shure KSM 32s.

I'm not sure about all the routing of the OP's needs, but you aren't going wrong with a Motu Ultralite Mk5. I'm not familiar enough with the 624, but expect good performance with it also.

RME is a good suggestion, but I think one with the ins and outs you need will be more than your budget.
I haven't used Lewitt LCT 440, but dual-sided LDC usually have muddy lower bass.

And I also don't think there's any point in spending 200$ on Lewitt when you get Alctron MC410 or Behringer B1 for 50$. Given that Lewitt uses probably the same Takstar capsules as everyone else on the market.

Today's microphones are so similar in terms of sound (and any difference becomes even more negligible after post-processing) that microphone can be picked based purely on looks. That may actually be more rational, considering the psychological factor in the performer's handling of mic. You know, some people will feel confident when "having that big thing in front of them", others on the contrary like when it's invisible, someone else prefers strict colors, and some other people will refuse to use anything other than retro Neumanns or Sony C800G...

But since the OP considers himself having a rather "thin hearing", maybe he should try these microphones and decide based on what he actually hears... Dunno, maybe :D

p.s. also, I don't really hear any pops here
 
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And I also don't think there's any point in spending 200$ on Lewitt when you get Alctron MC410 or Behringer B1 for 50$. Given that Lewitt uses probably the same Takstar capsules as everyone else on the market.
This?
If memory serves the B-1 is quite close to my old Samson CL-8, and I can't say I particularly like the treble on any of 'em out of the box. The Alctron seems to have low enough noise to make a good candidate for EQ, I'll give it that. The B-1 can apparently be noisy under some circumstances. Mediocre self-noise is not at all unusual among pre-2010 budget condensers.

IMHO there are plenty of reasons to be considering a $150-300 class microphone instead of a budget special if you have the money (minimum AT2035 or NT1), and there is a wealth of "microphone for life" choices in the $150-700 range in general, including the excellent Sennheiser MK4 or Shure KSM32.

Since vocal mics are typically placed on-axis at modest distances in rather dead spaces, they can get away with >1" capsules (like the typical 34 mm ones) the most easily which tend to have the most pronounced proximity effect, but those are also likely to have the biggest issues with treble directivity (narrowing dispersion, backlobes). At least they're also good for extremely low self-noise, should you ever find yourself in a snow-packed arctic landscape in the middle of winter or an anechoic chamber. With how good the electronics are these days, beyond a certain point going for a smaller capsule with more even directivity while still achieving plenty decent self-noise may make more sense in an all-round mic (case in point: the KSM32 with a its 19mm element and still plenty decent 13 dB(A) self-noise, or the MK4 with a 1" and 10 dB(A)).

The Clarett+ 4Pre doesn't have any inserts, and neither does the 624 AVB. While you can fundamentally use spare line-outs and lin/inst ins as insert send / returns, interfacing the outputs to an unbalanced pedal input may take some extra effort (as in extra line isolators or custom cabling) as they may not take too kindly to just using an instrument cable. Unbalanced connections for outboard effects are no longer very popular due to the risk of ground loop issues.
 
Wow thanks for all the replies! I’m learning so much too!
I’ll have to re-read and reply in a few days. I got myself down with the flu so new info and writing is extra difficult.
Thank you again, looking forward to dive deeper into this and I felt so stressed about this before and reading your replies makes this adventure feel much more fun and light again!
 
p.s. also, I don't really hear any pops here
Not likely to hear pops when the axis of the mike is 45+ degrees off axis of his mouth. I wonder if that is why it was there as much as to clear the view of his face. While in videos for other mikes he obscures his face somewhat or cannot help turning his mouth toward them or more often has them directly in front of his mouth. This one he clearly keeps well clear of the line where pops from P's would be a problem.

These mikes have a good rep and are fine looking spec wise. The problem with pops from vocals is endemic to the small diaphragm design. It can be overcome using a separate pop shield and give some extra space. It is a good thing to inform people who may not know that such will be the needed in case it doesn't fit with what they have in mind.
 
If you want to use the microphone the with the pedal, I assume it doesn't have a mic input so you'll probably need a stand-alone preamp. That makes the interface less critical.
I was thinking to route the mic out from my daw through the pedal. Although a pre amp sounds like a nice add on in the future. I’ve only now thought about using it that way for vocals but this game me many more fun ideas how to use it!

Thanks for all the info! I now understand all of this much better :)
 
The Clarett+ 4Pre doesn't have any inserts, and neither does the 624 AVB. While you can fundamentally use spare line-outs and lin/inst ins as insert send / returns, interfacing the outputs to an unbalanced pedal input may take some extra effort (as in extra line isolators or custom cabling) as they may not take too kindly to just using an instrument cable. Unbalanced connections for outboard effects are no longer very popular due to the risk of ground loop issues.
Oh I thought they all had what I needed. Then it makes it all even easier. I’ll go for the ultralite mk5 :D Thanks so much!
 
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