Very nice description of your portable kit. I have one minor technical note: the Shure SM7b is a dynamic element microphone that does not use phantom power. However, it has a rather low output level, and benefits from using a booster pre-amp in line, and that pre-amp is what you need the phantom power for. I also use the SM7b, usually w…
Very nice description of your portable kit. I have one minor technical note: the Shure SM7b is a dynamic element microphone that does not use phantom power. However, it has a rather low output level, and benefits from using a booster pre-amp in line, and that pre-amp is what you need the phantom power for. I also use the SM7b, usually with a Cloudlifter pre-amp (boosts level similar to the Triton unit, but a bit bulkier). But when I plug the mic directly into my Sound Devices MixPre-6 recorder, which has very sensitive, very good quality microphone pre-amps, I do not need to use the Cloudlifter, or phantom power.
I'm a professional audio engineer by the way, and in my opinion you have made good, appropriate choices for your broadcast travel setup. I would resist suggestions to use other, smaller microphones--using a good broadcast quality mic like the SM7b makes a big difference in sound quality.
Thanks for the qualified attaboy. I use the SM7b in studio mostly, but recently have been using the LCT-640-TS (Lewitt) on a boom. I use the Cloudlifter in studio and for my larger portable rig, together with a Focusrite USB interface. In the studio I am also migrating to a Rodecaster Pro mixing board.
I've been active in music/sound production for decades. That said, a SM7B is always a solid choice for voice, but the Lewitt LCT-240 Pro is more than adequate for commercial broadcast and less than half the price and size and weight. Plus they are often available as bundles with cables, stands, pop filters, ect. (see Amazon or Sweetwater). Last I saw, Glen Beck and Candace Owens are on 240s. The one thing most people miss in their rig is a decent compressor (often called a leveler in the broadcast world). Even an inexpensive and compact one makes a huge difference in audio quality, and indeed is the "missing link" for a broadcast quality sound. In the old days this was a large rack mounted piece of hardware. And still is for those insistent on not using plugins instead. Nowadays available as VST plugins that run on the computer you are running your sound thru. And decent plugins are available for free or a few dollars since the plugin world is basically commoditized pricing at this point. For what you're doing the "Supercharger" freebie from Native Instruments would be a great choice for simplicity and sound quality. (Note you do still need a preamp, and if the mic is a capacitor type or has a built in pre, also phantom power (which most interface/preamps have built in now days). PM me if you want more details.
Also, for studio where mic is not in camera view, I'd recommend looking into shotgun mics running thru compression (leveling). Rode makes decent products at reasonable price points that are well regarded. World of improvement when using a shotgun over a cardioid for this purpose...
Very nice description of your portable kit. I have one minor technical note: the Shure SM7b is a dynamic element microphone that does not use phantom power. However, it has a rather low output level, and benefits from using a booster pre-amp in line, and that pre-amp is what you need the phantom power for. I also use the SM7b, usually with a Cloudlifter pre-amp (boosts level similar to the Triton unit, but a bit bulkier). But when I plug the mic directly into my Sound Devices MixPre-6 recorder, which has very sensitive, very good quality microphone pre-amps, I do not need to use the Cloudlifter, or phantom power.
I'm a professional audio engineer by the way, and in my opinion you have made good, appropriate choices for your broadcast travel setup. I would resist suggestions to use other, smaller microphones--using a good broadcast quality mic like the SM7b makes a big difference in sound quality.
Keep up the good work!
Thanks for the qualified attaboy. I use the SM7b in studio mostly, but recently have been using the LCT-640-TS (Lewitt) on a boom. I use the Cloudlifter in studio and for my larger portable rig, together with a Focusrite USB interface. In the studio I am also migrating to a Rodecaster Pro mixing board.
I've been active in music/sound production for decades. That said, a SM7B is always a solid choice for voice, but the Lewitt LCT-240 Pro is more than adequate for commercial broadcast and less than half the price and size and weight. Plus they are often available as bundles with cables, stands, pop filters, ect. (see Amazon or Sweetwater). Last I saw, Glen Beck and Candace Owens are on 240s. The one thing most people miss in their rig is a decent compressor (often called a leveler in the broadcast world). Even an inexpensive and compact one makes a huge difference in audio quality, and indeed is the "missing link" for a broadcast quality sound. In the old days this was a large rack mounted piece of hardware. And still is for those insistent on not using plugins instead. Nowadays available as VST plugins that run on the computer you are running your sound thru. And decent plugins are available for free or a few dollars since the plugin world is basically commoditized pricing at this point. For what you're doing the "Supercharger" freebie from Native Instruments would be a great choice for simplicity and sound quality. (Note you do still need a preamp, and if the mic is a capacitor type or has a built in pre, also phantom power (which most interface/preamps have built in now days). PM me if you want more details.
Also, for studio where mic is not in camera view, I'd recommend looking into shotgun mics running thru compression (leveling). Rode makes decent products at reasonable price points that are well regarded. World of improvement when using a shotgun over a cardioid for this purpose...