I’d say get used to it for a year, or at least long enough to learn how it handles vocals and other instruments before pondering how you’d compliment or extend it since you’d just be adding on things to learn and understand…
Which model Focusrite?
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Got the Scarlett 2i2, that’s probably relevant info haha
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I’ve recorded guitar and vocals for years with a cheap mic and cheap preamps.
This year I was lucky enough to pick up a warm audio WA73-EQ and a Blue baby bottle mic for super cheap. Wow! I normally hate what I record! Now it’s so full and detailed!
I say upgrade! Wasted too much time thinking I didn’t need it!
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If you can’t go line-level into your interface, then you will not be able to properly use an external preamp.
That said, I would be shocked if you were not able to do that on a focusrite interface.
If you find that you can go line-in, then order a couple reasonable preamp candidates at the same time on the ol credit card, and send back what you don’t want for a refund.
Yes it is very much worth it. Coming from built in pres in audio interface , there is a huge difference. a bit over your budget but I would highly recommend this one.
Phoenix Audio DRS Q4 $1100
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The preamp itself doesn’t make as much difference as a whole channel strip. Ofc, a good preamp will help you get a clearer vocal as a source. But if you can afford a channel strip, it would be night and day difference. Therefore, some preamps have extra features: different impedance or something else than just amplifying. These analogue features are very valuable. Take a look at RND 511 for example: it has in addition to the preamp superdecent hi-pass filter and Silk saturation circuit. Your Focusrite and plugins are not capable to do these chores as good as RND does. I don’t like so much to use many Silk on vocal for example, but as a fraction of character it could be very helpful to lay it better in the mix.
The difference is very tiny for untrained ears. But you’ll notice that you use less additional processing (or no processing) just by utilising this pre. And with a nice pre you can get more colour tracking instruments (but bear in mind you need a proper DI to drop the level down to the mic level).
Another example is Cranborne Camden preamp. It has Mojo circuit which is pretty awful on vocal, but it is terrific on drums and instruments: no any plugin do that.
I got Chandler Germanium Preamp second hand and it is just colour machine producing very wide palette of sonic deviances. Try to check it too: fits your budget easily and sounds spectacular being driving hot.
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Thanks for the recommendations everyone!
You can definitely go line level into the Scarlett, but I think I read people saying that even when you do that you’re still going through the Scarlett pres. But I feel like that’s fine?
Gonna do some more research on this stuff thanks y’all
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Based just on a quick google, you bypass the preamps by using the inputs on the rear—those are line-level inputs.
Preamps expect to see a very low level signal (and different impedance) because microphone levels are relatively low, often very low. Live levels are much higher and will distort preamps looking for mic levels.
Absolutely yes, but some designs are stronger than other. For example, that RND 511 designed to handle any level, even line level signals being at 0db of gain. Or Burl B1D has a -20db pad, specially for line level inputs. So novadays is worth to check specs beforehand
Ahh interesting, the model I have doesn’t have any inputs on the rear, it has 2 combo xlr/line inputs on the front with a “line/instrument” switch underneath
Ok then “line” will bypass the preamps
I don’t understand why I can’t scroll past this topic without reading Preamps as
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Ha! The photography thread title always make me do a double take!
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In very most interfaces there are no separate line inputs along with the mic inputs. So basically “Line input” switches just reducing the sensitivity of the preamps. Input scheme is the same, switches are attenuating the signal. In my digital A&H QU-SB mixer there are separate XLR and TRS sockets on each input, but they go to the same preamps, so it is impossible to bypass those preamps.
But it is totally fine, you just get all the amplification from external pre and then use no amplification on adjacent preamp. Colour of preamps are very dependant on the amount of amplification. So if it not amplifies, it should be pretty clean.
And yes, to the previous topic, plenty of preamps are capable of taking line level. Cranborne Camden have a switch for three different types of signals (Mic/Inst/Line).
Ahh, this thread made me feel right at home…
The consensus from several EM guys over at GS seems to be, running line level gear into a DI into a vibey mic pre isn’t a very cost effective way to tackle “tone issues” for synths. You’re better off spending your money elsewhere, like on distortion processors, comps, channelstrips etc. Heck why not even abuse old crap gear instead, its cheap and there are a lot to choose from.
However, I must express my opinion on the internet’s irrational hatred towards DI boxes. DI boxes are great problem solvers, and sometimes just the ticket when you’re dealing with output/input level mismatches or battery powered lil music devices outputting aweak-ass signal. Everyone should have at least one decent stereo DI box at their toolkit. You dont use a DI for mojo (unless its a passive source like an electric guitar/bass), you use a DI for solving impedance and dBu -related problems!
I have used DIs and mic pres myself at times for tracking, but its not a magic bullet by any means. Something like a 1073 might even end up making a source sound ugly in the high end if pushed the wrong way compared to the “dry” sound… Whenever making tracking decisions, always make sure to do levelmatched A/B of the results just to make sure you aint audiophile tripping, expecting stellar results just cuz you used primo gear while in the real world you only made it sound worse than the dry sound LOL
just my 2 cents (jm2c)
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Why would you need it? Only for really low output devices I think? AFAIK the MicroFreak is considered low output, but still I get a perfectly usable signal from it. Effect pedals are built for coloration of the signal, you don’t need preamps for that too. But still, making music is an art, and art doesn’t need to make sense 
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I do get it in the studio for detailed production for specific style of releases, it does colour the sound (not transparent).
You can reach that with vsts, but some prefere full hardware, and I’d say, if you really have so much disposable income… Sure.
Where I’m getting confused when those are used for live performances in a huge nix, then I honestly don’t think the nuances come through.
Do you need it? Hell no.
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The beauty of analogue equipment is in interactions between each unit. That is not implemented in plugins. The same synth will sound different being connected to different impedance receivers. Some preamps provide switches of impedance for a reason. I have Burl B1D and it sounds totally different on those two impedance settings. So DIs are matching impedance and balancing the signal. And do you know other more effective way to convert unbalanced synth signal into balanced one? I bet no until some preamps have internal DI with TS input. And if one is not using balanced connections (or doesn’t differ balanced/unbalanced signals at all), he shouldn’t care about until then. But DIs also solve ground loop and interference problems. If you have room full of synths, how do you solve the issue of running 5-7m of TS cable across the room, picking up all noise around? Especially synths with USB MIDI are exposed to ground loops.
So it’s the issue if your studio is grown up. If you need it when you started in your bedroom? Absolutely not. If you need it building up semi-professional studio? Of course yes!
The trap is that both TS and TRS inputs are looking the same, but this doesn’t mean that TRS and TS are the same even being compatible in some cases -) That fools novices.
And some DIs are better than other. RNDI for example is marvelous. It is adding the FET mojo in very beautiful way. And also “opens your signal for mojo to be added” (sorry, I can’t explain it in more professional way). Maybe better phase coherence, maybe bit of beautifully sounding distortion, but you’ll def feel it after some time of using.
When I firstly got an RND pre, I thought that my unit is broken, because Silk feature was such tiny even dialled full. But as for now I have a better sense of it and even rarely using it dialled in half. That doesn’t mean that I’ll be able to define something during a blind test 
But you’re operating way more efficient using those tools.
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i’ve done my mpc X, 8 individual outs → 8 channel active di with pad (phoenix ndi-8) and basically very little gain → spl crescendo 8 (also with pad and not too much gain) and got some nice results
i haven’t done any scientific measurements or anything, the output of the SPL pres go into my 8 channel interface (metric halo) and then the final stereo sum was captured.
heres what it sounds like, this isn’t a masterpiece or anything lol but an idea for a bit of the “warmth” or gentle saturation/rounding of transients a process like this does
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Anyone have any experience with the SSL quad?
After a few more weeks of research and consideration, it seems to be exactly what I’m looking for. Stereo, 4 separate inputs, easily adjustable impedance settings, and different gain options with tons of room to push stuff.
Would be curious if anyone on here has one in there studio and could share any experiences they’ve had using it?