Yesterday, I've bought a Rode NT1-A to upgrade my vocal chain. At home I've got a Scarlett 2i2 preamp, with a $30 CM25 condenser mic, which I feel does not pick up enough low frequencies and is a bit harsh on the high end. My goal is to achieve additional warmth in my digital-sounding recordings (they sound great, they do, but feels 2 dimensional and too transparent). I figured to upgrade my vocal chain for starters.

Now, my Scarlett interface makes crackling and popping noises due to driver issues. So I've considered to upgrade to a new interface as well.

Moreover, it appears I cannot bypass the Scarlett preamps even if I do buy a new preamp. So my choices are either I replace my old interface with a new one, or stay with the Scarlett interface with my new mic. (Any experiences with Rode NT1-A + Scarlett 2i2 pre's?)

PS: My budget is very limited, perhaps only up to $300. Still debating whether to get a compressor or EQ for the first time and stay with the scarlett preamp. Cannot sell the preamp right now anyways, since I'm out from home which is a million miles away.

PPS: My only goal is to further enhance my new NT1-A and perhaps add some color and get it to its full potential. Which do you think I should get- new interface, or some tube EQ + Compression channel strip?

You'd need an external pre-amp for a HW comp, also sounds like a new interface would benefit you the most at this point without worrying about "mojo".. Although it's probably buffer settings causing pops / cracks, if it's doing it on anything over 128 / 256 samples then you want to raise a support ticket with Focusrite..

If you do decide you want to go down the pre-amp route, probably a GAP Pre-73.. The neve style clone sounds exactly what you're looking for.

Can you tell me what "mojo" means? thanks. Also don't I need a new interface if I wanted the gap 73 pre? Since the Scarlett pre's cannot be bypassed?

I don't know how far my budget can stretch, just getting the GAP 73 will probably be my limit. I'm considering Audient id14, since the pres are bypassable, but I'm still debating whether to just use the Scarlett pres instead (and not sell it) haven't tested it with the Rode mic yet.

What the word?

"NOUN
US

a magic charm, talisman, or spell:
"someone must have their mojo working over at the record company"
synonyms: spell · incantation · conjuration · rune · magic formula · [More]"

In terms of gear it usually means harmonic distortion, which we class as opposite to "clean".. Generally valve / tube has the most, which is why some go for that.

I recently bought a DBX 676 as a front end which is a tube PRE and VCA compressor. Which I will stick my tube microphone into for double "toobing".

Don't expect a toob pre-amp to make a drastic difference, it usually comes as part of a chain and different characteristics entwine to become a certain sound..

Like mine is generally toob mic > toob pre > vca + opto compressor > EQ > Lexicon effects.

If you set your Focusrite to a couple of DB and then use your other pre to drive the signal it won't have much effect on the sound.. Although the whole tube path isn't cheap and generally in the low end not very good..

I've had some success with ART tube's and you can get them as an MP/C (compressor / limiter built in).. Although I do have my reservations, they must be a starved plate right? (I'm sure someone more informed could tell us)..

Anway, on your budget at least it's something to ponder.. They'll be better than your interface pre-amps, that's for sure.

Thanks for this info I just want to understand this statement more.

So does this mean that I can still use another preamp to my Scarlett interface? (without any nasty sounds from using 2 pre's at the same time? actually, is there anything bad with using 2 preamps?) ..

Because if this is the case then, I will definitely buy a new preamp instead.

On a side note, I'm a bit worried. The audient interface sounds good, but I already have the scarlett interface, and I just wanted to upgrade the pre's.

I’m not a user of the Focusrite 2i2, but the photos on their website clearly show bypass switches (line/inst) on the front panel of the unit. So you could use any preamp you want with the Focusrite.

That said, I don’t know why you don’t consider the “crackling” of the interface your highest priority? Who cares what a mic sounds like if there’s crackling in the take? I’d get that fixed before anything else.

Finally, Focusrite makes great preamps, so I don’t understand why you think they’re not good enough for the NT-1a? If anything, I’d think it’d be the other way around.

Focusrite's statement on preamp bypassing......
Do the line inputs on my interface bypass the Mic Preamps? – Focusrite Audio Engineering

Agree with ShadowAMD that the GAP Pre73 would be a decent preamp to put in front of the 2i2 to add a bit of 'color'. I had been using an FMR RNC as a compressor for a while in the signal chain, but a few months back bought a Klark Teknik 1176KT compressor which I'm very pleased with.
MIC > GAP Pre73 > 1176KT > Tascam interface

You do need to fix the 'crackling' issue and perhaps it just might be some tweaking of settings in the software.
'The real objective is to find a buffer size low enough that your CPU can handle before it has to work too hard. You will notice when it's working too hard because there will be problems with the audio, such as crackling, stretching and even dropouts.'
Latency Issues with Interfaces – Focusrite Audio Engineering

I've decided to get a DBX 286s. With this, I can get a better pre, a compressor, a gate for the PC fan noise in my room, and a desser. Imo it's the most versatile bang for buck HW I need the most right now. What do you guys think? (any alternatives in mind, or why I shouldn't buy it?)

PS: the scarlett pops were from the buffer size indeed. I plan to upgrade my ram. The only issue I have with scarlett, is that I can't hear my voice loud enough when tracking. I've inquired support from focusrite, asked forums for solution, but there isn't. The direct monitoring seriously needs a volume knob. What I do is I just use my mixer to override the gain, but there's some white noise because of that.

It's generally the CPU that causes pops, although if you're running out of RAM you'll need to upgrade as well..

Doesn't seem like a very good interface, whilst I do like my hardware the fact of the matter is when it comes to low end stuff you may be better off with plugs..

Although it seems like a good utility unit and I have to admit I do really like the DBX 160A's I recently borrowed and I have some 162'S / 676 so if the 286 is anything like them you're on a winner.

I use the 162's on tons of things, probably most on GS would think I'm crazy for doing so but they just work and glue like no business. Couldn't mix without them..

I'm probably one of the few here that's never liked or wanted a 1176, I'd rather have DBX's instead..

Obviously way out of price range but if you ever get a chance to run it through anAvalon 737 as I did when I was in school, it was epic!

There are probably herds of people on here struggling with the notion of putting stuff through the preamps of standalone vocal preamp "A" and then through the relatively inferior preamps of interface "B," and wondering how much of A will be eaten by B.

This seems like another thread about wasting money. I don’t love the NT1A, but it will work very well through your current interface, which is way above the “garbage” level of audio gear. There is nothing deficient about any part of that combo (if you solve the crackle problem, which I suspect IS solvable). The 286 is not a “keeper” in the sense that you will still be using it in a few years if you are progressing towards serious engineering. I have used the 286, and I don’t think its preamp is better than your Focusrite interface preamp.
The 286 is useful for learning about hardware compression. You may also learn why many engineers hate to start fussing with gates, and why deessers seldom get you where you want to go with a vocal. Those are useful lessons.
I don’t think you can buy much hardware magic for a few hundred dollars. If you work with the NT1A and the interface, and work with some good affordable plugs, like the Slate bundle, you will learn a lot about engineering while saving some serious money for gear that does have some magic.
It isn’t very exciting advice, and most eager newbies don’t have the discipline and long view to follow it. I wish you much luck and fun, whatever you decide to do.

Oh, and hang on to the CM25. It is a decent basic all-around condenser. I’m not sure that the NT1A is a significant upgrade, if it is an upgrade at all (but as I said, I’m not a fan of the NT1A).

Good advice but I think the NT1-A should be a step up from the CM25 in terms of capturing vocals. I can hear very subtle differences (not trying to brag, just saying I've got experience with these ears of mine), and I've already read through its specs in comparison to the CM25 and determined it is superior in terms of quality.

Yes I was never planning to sell it anyway. I might still use it for instruments or backing vocals. As for your statement on NT1-A.. I'll let you know when I get home and the NT1-A disappoints me and doesn't sound any different than the CM25 (which I doubt).

Yes you're right about that statement. The only thing I'm interested in DBX 286s is the compression, I don't wanna clip everytime I track. The other things could be useful though. I could use the gate because of my room.

But! I also think the 286's don't have much better pre's than the Scarlett. But I think it's better buying it instead of a $300 GAP pre. Since I won't be getting the compression etc. (which is a bonus). What do you think?

I'm usually quite blase around here, but let me be forthright for once (I'm only trying to help here)..

Before spending a dime, find out what's going on with your interface and make sure you're using it properly.. There's signs here from the buffer sizes (and what does what) you're not sure about the fundamentals of recording yet.

Further exascerbated by the fact you're saying you want to use a compressor to somehow overcome the issues of your interface crackling and recording in a bad room.

Having a cheap outboard compressor unit is only going to do one thing, make the problem worse. It'll raise the noise floor (of your enviro too) whilst introducing it's own self noise and a gate is only useful for silencing bits inbetween the gate threshold.

You might be able to do something ITB or at least layer back bits to hide the fact it's not the best recording ever. Printing with an OTB compressor means there is NOTHING you can do about it.

Get the basics sorted (even padding walls etc. with blankets etc.) look around, plenty of resources out there for home recording.

IF then you get gear lust fever, save up a bit and get something you'll want to keep. I've heard quite a few good things about the 286 BUT! It can be a step down from plugins and the pre-amp isn't going to hands down beat what you have.

If you're clipping TURN IT DOWN.! Shame you're not in the UK, I have an apogee Duet 2 I'm getting rid of for next to nothing (which has a software pre limiter) and IMO any low end Focusrite doesn't stack up in the slightest.

P.S Again I am honestly trying to help here, apologies if anything came across a little too blunt.

A good while back I bought a DBX286s also thinking having the extra 'features' would be useful. I'm mostly a singer and the 286s just wasn't what I consider a 'musical' sounding channel strip. I did find it worked OK for voice over/narration type use. For an SM7b I did find I needed to use a Fethead in front of the 286s, as when the 286s gain is pushed up by itself there was a good bit of noise that became evident. Subsequently I got a GAP Pre73 which I feel is a better sounding preamp for vocals to my ears. Having a separate preamp and compressor allows more future flexibility in selection of what you use in the signal chain and doesn't lock you in like a channel strip.
Another preamp I might recommend looking at are ART Pro MPA II.

First of all I appreciate your help. I just want to understand something. Why do you say it's a step down from plugins? It's not like I am going to delete my plugins after getting an OTB compressor. I will still make use of what I have.


Let me politely clarify, I am aware the process irreversible and I'm not going to use the compressor for that purpose. My idea is to just dial in some amount of compression, because even with low gain, a singer may be too dynamic- that it exceeds 0db, hence it clips and we don't want that.

I usually record without ever clipping, but in the rare event of superb screaming on the mic (even with proper mic distance) resulting to distortion, the OTB compressor could prevent that.

Nice assumption. I never stated that I'm going to use the compressor for that purpose. The gate is for ambient noise (from crickets at night, small fan noises etc), and is barely audible. I saw in a video that the DBX 286 could help with that. I think it will improve my recordings to remove those small background noises (now I know you will tell me that solving the noises should be more important, but it's not going to be easy stopping the crickets or completely silencing my PC's fan noise).

But I do acknowledge that my room needs foams and better treatment. I'm working on that.

If you do decide on the 286s and you're in the US, open box savings..... Used dbx 286s - Microphone Preamp/Channel Strip DBX286SV B&H

Because some are modelled on the best hardware in the industry and some are pretty close. An external pre / compressor / effects unit with potentially starved plate designs and cheap components are probably going to struggle to compete.

You could be doing more damage than good.

There's only one use a compressor has and that's to compress, which will raise the noise floor and "suck in" any other noise in your room.

Also it won't catch all peaks what you're really looking for is a limiter and even then it's , or get a singer with mic technique :D..

Again there's only one use for a compressor, to compress.. My point was your fluff will still be picked up in the parts that aren't gated, you use gates generally to roll off long trails / transient information not generally as a fix for interface issues / room issues etc.

As said, just trying to help.. It's up to you, I'm just putting in my 2c so you can weigh your options end of the day whatever you do isn't going to affect my recordings.

I wish you the best..

The NT1A has very good build quality and low inherent noise. Those aren’t qualities you hear. If you have to gate out room and computer noise, you are never going to hear self-noise from a good LDC.
You use the word “different” to describe the NT1A vs the C25. Yes, exactly... the NT1A sounds different from most other LDCs. You hear it now as clarity and sparkle. It isn’t. It is a harshness in the top end that may eventually start to annoy you. It can’t be EQd out without losing the top. It isn’t a sound that is similar to the smooth top on most popular recordings in most genres.
There are many who never tire of that sound, and many who do. I’m in the second group. Let us know what you think in five years, and if you still use the NT1A as a main vocal mic. I eventually had my pair modded by Micheal Joly.
I just want to go on record so you can update this thread in five years and tell me that you still love your NT1A... or not.

Gotta love 'em.

I've owned one of the original dbx 286a units and the newer (made in china) 286s for years, as well as a Symetrix 528e for a good 20 years. These channel strips, used practically daily, are only for voiceover/spoken word.

IMO the gates can be smooth and effective at knocking down maybe 5-6 db of noise/hiss/rumble which will help keep noise down a bit when adding moderate compression. EQ/Freq enhance can be effective when only touched lightly. De-esser? You're better off developing better mic technique.

I use these extensively with a variety of mics, including an original Rode NT1, AT 4033, Sony C-48, Neumann tlm102, and my favorite, an 80's version of the Sennheiser MD421. Selection based on project at hand and how my aging voice is holding up.

Now, this certainly ain't Avalon 737 and Neumann 87 product territory here, but used properly, these compressors WILL get the job done. This works for me with product on air from Alaska to Ireland and points in between. It's all in learning how to use and not abuse. YMMV.

Edit... I should add this hardware is used on the way ITB with plugs doing the final "final".

I've heard about the treble boost on the NTA-1, you actually made a good point here because if it eventually becomes a problem (which I think won't be, because it seems managable to me) at least I know Oktava upgrades are always possible.

Yeah maybe I mistakenly phrased that part. I don't actually record with the crackling on. The issue is only present in 64ms and 128ms which is due to the CPU usage as you've said, meaning it barely had anything to do with the interface itself. Most of the time I record with 512ms and the results are crystal clear. The sound goes through.

My only problem with it is its lack of a volume knob for Direct Monitoring and outdated drivers for Windows 10 which many users also report to not being well compatible to the OS.

However, thinking about it for a few days.. I don't think I have to upgrade to a new interface. Despite the Direct Monitoring issue, it is still managable and on top of that the Scarlett is what I'm most familiar with. Not to mention that it works perfectly fine.

I'm trying to utilize both the advantage of mic technique combined with very little amount of compression to avoid peaks in the digital world. To add, mic technique had always been mostly consistent in my previous recordings. I just wish to lock it to -0.1db in the rare event of an extremely dynamic vocal take.

In my understanding, unnoticable amount of compression should not hurt. Many rely on stacking 2 or more different compressors ITB either way. If you think that's a bad idea, state your reason and let me know. That's why I'm asking for your assistance to be sure. Also include the assumption that the room is fully treated with minimal background noises.

For me personally I think it would certainly be more beneficial for me than getting a $300 preamp. My Waves CLA-2A won't be replaced by the 286's any time soon. But I may use it for different purposes who knows, never tested the dbx comp yet.


I think this is an aspect of gearslutz mentality. I don't believe cheap equals to bad. I would just say it is different. You could be trying to get a radio effect from a voice by EQing it with a well recorded mic, while you could also track on the cellphone and record its playback on its speakers to get a similar effect.

The dbx comp might be useful for me other than the plan I've stated above. Perhaps in a more creative sense, since not all compressors compress the same way.

I did make a good point, but I didn’t say “treble boost”. Simple treble boost can be dealt with by cut EQ. Harshness and image blur due to choked headbasket design can’t be corrected with EQ, or with any treatment.
Five years... I’m looking forward to hearing from you then. You’ll be out of the newbie forum and perhaps wiser from sussing out the mistakes you make.

Thanks for that clarification. Just for the record I've forgot my pass on my old account here in GS. Also if you are implying that getting the Rode NT1-A is a mistake just because of the harshness, I don't believe so. I'll make use of it as much as I can.

No, this is an aspect of nearly two decades worth of experience.. I've not used one, but I have used much more expensive units that still didn't cut it vs. plugs..

As said, love my DBX 162SL's (which were expensive) and my DB 160A's (which were cheap), I've had other DBX stuff that was meh to say the least.. If you want to truly find out, you gotta take a risk like most of us have..

The amount of equipment I've gone through over the years starting from $30.00 mics is ridiculous.. But you eventually get "your" sound and know what you're looking for.

I don't know how that is relevant to anything I've discussed. Wish you'd mention something about the compression part instead.

Don't get me wrong I don't doubt your skills as a musician, was just sharing my view on that part.

Yeah well I don't have money. Already stated that in the thread. My suspect is that all condensers below the $1000 price range has this harshness Bushman mentioned. But unfortunately I can't afford any Neumann mic out there as of now.

I've read that NTA-1, for the $300 price range is a good mic for the price. Strictly speaking I'm just interested in getting it to its full potential. That's all the thread is for.

PS: The thread title "Best preamp for Rode NT1-A?" is just to make more people interested to click. Would be difficult to summarize the actual situation.

Ok, if it's just named to invite comment mine would be sell the harsh sounding thing AND the muddy sounding interface and get a warm sounding mic, like say a second hand at4050 and a clear sounding interface, like say a second hand Audient ID-22.

What you would instantly notice is how much less you struggle with hardness, wrongness, and cheapness of sound all round. Plus, all sorts of (cheap!) dynamic mics would suddenly sound very good at yours, opening up a sea of great sounding mics for little that would sound like shlte up the 2i2.

But if you want to play around with putting something between the Rode and the 2i2 first, enjoy. If you make it a dbx 286, at least the chapter won't last too long until you don't like it anymore.

I've been making awesome records with the Scarlett mic.. I can't imagine the NT1-A being a downgrade. To be honest!

Although, thanks for the opinion and recommendation. For 2i2 it's been way too long since I got it, and it's going to be hard to sell for many reasons.

You are making a very broad statement, which is in part false. A few examples: None of the A-T mics I’ve used are harsh. None of the Mojave mics are harsh (I have used all their LDCs).
You bought the NT1A and want to love it. And you may love it. But don’t try to hide any faults it has by saying that every mic under $1,000 has the same faults.

"I suspect"
I'm not hiding its "faults". Rode NT1-A, is probably harsh, to you and some others. But I think that issue is manageable for me that's why I bought it. Plus it's a trusted all around condenser with a good build quality (arguably better than CM25 in terms of technical components), like you said. That's all I was saying.

I've yet to test it, if there's an imperfection which I don't like, I will let you know.

Also, my apologies for any exaggeration. I heard from someone that this was the case. But he did not provide me a reliable source from that statement you quoted.

I do think, the harshness can be minimized by processing. Otherwise, the NT1-A would have such an unbearable reputation of that particular issue, it would no longer be as popular or well received- everyone would be complaining about it (which is clearly not the case).