[knight46]

I am using a TonePort UX1 to record with and it has an XLR preamp connection for mics. I am thinking about getting a Condenser mic and need to know if a preamp is the same as phantom power.
The two setups that I am looking at are:

Marshall MXL 603/2003
AT 2020/2021

Thanks for any input.

[X4StringDrive]

Hi Knight, I had a little time for searching...hope this helps! I know I learned a few things from it.

phantom power, is the term given to the standardized scheme of providing power supply voltage to certain microphones using the same two lines as the balanced audio path. The design calls for both signal conductors to have the same DC potential. This allows the use of microphone connections either for microphones without built-in preamps, such as dynamic types, or for microphones with built-in preamps such as condenser types.

also found interesting...Following info "borrowed" from "Home recording" at About.com

When selecting microphones to use both live and in your home studio, you'll commonly come across two different types of microphones, dynamic and condenser. Let's look at both of these microphone types, and what their advantages and disadvantages are.


Condenser Microphones
Condenser microphones are the most common types of microphones you'll find in studios. They have a much greater frequency response and transient response - which is the ability to reproduce the "speed" of an instrument or voice. They also generally have a louder output, but are much more sensitive to loud sounds.

Condenser microphones are generally much more expensive than dynamic microphones. They require the use of a power supply, generally 48 volt "phantom power", and that's supplied very easily by most mixing boards or external power supplies (look for a switch that says "P 48" or "48V" on the channel strip or on the back of the mixer.)

Condenser microphones are generally used only in studios because of their sensitivity to loud sounds and the fact that they're quite a bit more fragile than their dynamic counterparts. That being said, you'll find them onstage at live music venues for use as drum overheads or for use in orchestral or choral sound reinforcement.

With condenser microphones, you'll generally find two different types: small diaphragm, and large diaphragm.

Large Diaphragm Microphones - Large diaphragm microphones (LDMs) are generally the choice for studio vocals, and any instrument recording where a more "deep" sound is desired. A large diaphragm microphone generally warms up the sound of what it's recording, which also leads to the myth that most LDMs reproduce low frequencies better than small diaphragm mics; this isn't true, in fact, small diaphragm mics are much better at reproducing everything evenly, including bass. You'll want a pop screen if using a condenser microphone for vocals; they're so sensitive to transient noises that the "P" and "SH" sounds you make will cause distortion.

Small Diaphragm Microphones - Small diaphragm microphones (SDMs) are generally the best choice where you want a solid, wide frequency response and the best transient response, which as we mentioned before, is the ability for your microphone to reproduce fast sounds, such as stringed instruments. SDMs are also the preferred choice for concert taping.

Good suggestions for condenser microphones include the Oktava MC012 ($99), RODE NT1 ($199), and AKG C414B ($700)
Dynamic Microphones
Compared to condenser microphones, dynamic microphones are much more rugged. They're also especially resistant to moisture and other forms of abuse, which makes them the perfect choice onstage. Dynamic microphones like the Shure SM57 and Shure SM58 are legendary for not only their good sound quality, but the amount of abuse they can withstand. Any good rock club probably has at least 5 of each of these microphones in various states of aesthetic ruin; however, they still turn on and more than likely sound just as they did the day they came out of the package.

Dynamic microphones don't require their own power supply like condenser microphones. Their sound quality is generally not as accurate, however. Most dynamic microphones have a limited frequency response, which makes them well-suited, along with their ability to withstand high sound pressure levels, for loud guitar amps, live vocals, and drums.

Good dynamic microphones include the Shure SM57 ($99), Sennheiser E602 ($100), and the Shure SM58 ($109).
Selecting Between The Two
Let's take a look at what you might be doing, and then we'll suggest a microphone for your use.

Recording Vocals At Home - You'll want a large-diaphragm condenser microphone if you have phantom power; if not, you might want to consider a large-diaphragm dynamic microphone like the Shure SM7B ($350). If you're on a budget, you won't get much better than a Shure SM58.

Recording Acoustic Guitar - You'll want a good small-diaphragm condenser microphone. A good choice is the Oktava MC012 ($99), Marshall MXL 603S ($99), or, more expensively, the Neumann KM184 ($730).

Recording Cello/Upright Bass - You'll want a large-diaphragm condenser microphone. This is because, while the strings resonate quickly, the slower transient response of the large-diaphragm microphone will lend to better low frequency reproduction on these instruments.

Concert Taping - You'll want a pair of small-diaphragm condenser microphones for stereo recording.

Drums - Here, you'll want a combination of dynamic and condenser microphones. You need a dynamic mic on the drums themselves - Shure SM57 or Sennheiser E602 are great on toms and snare, AKG D112 and Sennheiser E602 are great on kick. Then for overhead mics and cymbals, you'll want small diaphragm condenser microphones, since they give you the best frequency and transient response.

[eddiez152]

Knight,
No, For instance, my PreSonus Interface has 8 plugin's. Pos 1 and 8 are supported with phantom power that I can turn on or off.
When using a powered condenser mic I turn the phantom power on.
Hope that helped. I use a Sterling Audio ST33 small condenser for guitar and a Dynamic Shure SM7B for vocal or Electrovoice RU20.
I did not see Kenny's post when I typed this. I guess it explains it all. But the preamp is used to boost the signal and the phantom power is just for powereing the mic as condenser mics need it.

I looked on line and see that your unit has a plug in for guitar, One for a mic and one for head phones. I did nor read anywhere where it has additional phantom power available.

Here is a link to phantom power hardware.
Phantom Power at Guitar Center. | Search Results

[knight46]

Kenny,
Thanks for the details, that is some good information.

Eddie,
Thanks for the link to GC, I think that you are correct, the UX1 doesn't have phantom power while the UX2 does have phantom. I guess I will have to buy a phantom power supply and then I guess that the route is mic to phantom power to UX1 to computer to Reaper. Sound reasonable...I am looking at Samson S-Phantom 48-volt Power Supply, anyone have any experience with Samson?

[eddiez152]

Knight,
You may want to consider an upgrade to the UX2. I know experiments63 has one and he loves his. But you need to make the call.

[X4StringDrive]

Say Knight, something to ponder......maybe invest instead to a mixer with Phantom power....more for your money IMO.

Here's one of many I'm sure...
MIXERS / POWERED MIXERS - XENYX MIXERS SERIES - XENYX 802 : Premium 8-Input 2-Bus Mixer with XENYX Mic Preamps and British EQs
heres the same at GC
Behringer XENYX 802 Mixer and more Unpowered at GuitarCenter.com.


Just a thought! Or as Eddie just posted as well!

[eddiez152]

Ya, now thats a good deal on the 802