Which is the best of those three? can someone recommend a proper condensator micro?
if someone could recommend something other don´t hesitate to tell me.
thanks
What preamp , SPL Track One, Focusrite Trakmaster or Mindpri
Well, you could get a Manley SLAM and a Blue Bottle mic. That's be a decent combo. <snicker snicker>. Hope you have a trust fund to fall back on. 
Seriously though, the debate over who likes whatever they can't afford, or have already dropped cash on is almost irrelevant except to give you some ideas of what's out there.
The only way you can know you're getting something decent is to go to your local shop and play. I dunno where you hail from, but if there's an equivilent to a Guitar Center or Turnkey style shop, you should be able to get some ponytail'd wanker to schlep around whatever mic's you're interested in to their mic-pre rack and let you test it out.
I'd call in advance to make sure they're not slammed and can actually help you, but that's the only way you can know what you want. You may want to take a CD of your own material that you know inside and out and have them mic some reference monitors so you can hear how each setup alters the sound that you're used to hearing.
As for REALISTIC gear recommendations, I'll start from the low high-end and work my way down, re: what I'd buy.
Mic Pre's: Manley Langevin is my first choice without having to rob a bank. It's an AWESOME two channel pre with hi & lo cut (I hesitate to call them EQs) and a really nice limiter) and you can link the two channels and use input 1 to manipulate both.
Why 2 inputs? Well for 1: you can then take stereo sources (like say a MiniMax) and run them through to get some really nice, natural warmth added to the signal. 2: you can record one channel with a mic right at your source (i.e. mouth, guitar, pot & spoon, what-have-you) and one about 6 feet away catching the sound a few % of a millisecond later.
Doesn't sound too useful on paper, but when you try it, you'll want to re-record everything, because your sources actually sound like they're coming out of a room, and not just a pair of reference monitors. You are able to catch the sense of the room you are recording in (not always a benefit I realize).
It's about $1700 which puts it ~ $299 cheaper than a mono Avalon channel strip, and to be honest, I think the Avalon's are overrated. The EQ's are not very precise and it's not too hard to overdo them. Plus, every jackass and his grandma has one so your tracks will share a similar tonal characteristic with all of them. My opinion. Discard at your will.
Next up, I'd recommend the UA 2108 dual mic pre/compressor limiter. It's $1399 and is essentially a Vinco (urei 1176LN) with mic pre's in front of them. They sound pretty good though.
If neither of those shine you on I'd recommend something in Focusrite's Platinum range... whatever you think fits the bill. Just beware the knob overload. One thing I've noticed is that the cheaper the tool, the more knobs it has bolted on to it. I think it's a general rule that if the quality isn't there, there's no amount of knobs that can help you polish a turd.
Honestly, I'd recommend a RNC, RNP combo (Real Nice Compressor, Real Nice Pre) above a Focusrite unit, unless you're going into the ISA/Red range. You're buying the name more than the quality below $1000 with those guys (again, my opinion. Let your ears decide.)
Mic's are a different story. I'd say you can't go wrong with a Blue mic. They're all really great and they've got something for every price range. I love my NTK, and I'm secretly hoping the updated one they are making sucks ass (unless they have an upgrade policy) as I'll really be pissed if they remake my baby into something better.
Anyway, I'd stay away from the Samson's. I don't really know much about any AKG mics, and I'd only buy the Chinese replica mics if you know you'll be doing this again in a few years. Beyond that, you can do a lot of good in this world with an SM 57/58.
I think someone mentioned that Peter Gabriel recorded most of his vox with a 58. Wouldn't surprise me. I would be seriously surprised to find out he wasn't packing some serious mic pre behind that 58, so if you're in it for the long haul, put more money into the pre. And make sure to test what you want against what you've already got.
Meaning, if you already have an SM57, use that to pick your favorite 3 mic pre's and then start going through mics and see how they hold up with each pres you're deciding on.
If that doesn't get you started in the right direction, then just go to Radioshack and buy whatever the old balding fat guy recommends.
No offense to the old balding fat men of the world... unless you work at Radioshack, and then %&#$ you.
Hope that helps,
Sam
Seriously though, the debate over who likes whatever they can't afford, or have already dropped cash on is almost irrelevant except to give you some ideas of what's out there.
The only way you can know you're getting something decent is to go to your local shop and play. I dunno where you hail from, but if there's an equivilent to a Guitar Center or Turnkey style shop, you should be able to get some ponytail'd wanker to schlep around whatever mic's you're interested in to their mic-pre rack and let you test it out.
I'd call in advance to make sure they're not slammed and can actually help you, but that's the only way you can know what you want. You may want to take a CD of your own material that you know inside and out and have them mic some reference monitors so you can hear how each setup alters the sound that you're used to hearing.
As for REALISTIC gear recommendations, I'll start from the low high-end and work my way down, re: what I'd buy.
Mic Pre's: Manley Langevin is my first choice without having to rob a bank. It's an AWESOME two channel pre with hi & lo cut (I hesitate to call them EQs) and a really nice limiter) and you can link the two channels and use input 1 to manipulate both.
Why 2 inputs? Well for 1: you can then take stereo sources (like say a MiniMax) and run them through to get some really nice, natural warmth added to the signal. 2: you can record one channel with a mic right at your source (i.e. mouth, guitar, pot & spoon, what-have-you) and one about 6 feet away catching the sound a few % of a millisecond later.
Doesn't sound too useful on paper, but when you try it, you'll want to re-record everything, because your sources actually sound like they're coming out of a room, and not just a pair of reference monitors. You are able to catch the sense of the room you are recording in (not always a benefit I realize).
It's about $1700 which puts it ~ $299 cheaper than a mono Avalon channel strip, and to be honest, I think the Avalon's are overrated. The EQ's are not very precise and it's not too hard to overdo them. Plus, every jackass and his grandma has one so your tracks will share a similar tonal characteristic with all of them. My opinion. Discard at your will.
Next up, I'd recommend the UA 2108 dual mic pre/compressor limiter. It's $1399 and is essentially a Vinco (urei 1176LN) with mic pre's in front of them. They sound pretty good though.
If neither of those shine you on I'd recommend something in Focusrite's Platinum range... whatever you think fits the bill. Just beware the knob overload. One thing I've noticed is that the cheaper the tool, the more knobs it has bolted on to it. I think it's a general rule that if the quality isn't there, there's no amount of knobs that can help you polish a turd.
Honestly, I'd recommend a RNC, RNP combo (Real Nice Compressor, Real Nice Pre) above a Focusrite unit, unless you're going into the ISA/Red range. You're buying the name more than the quality below $1000 with those guys (again, my opinion. Let your ears decide.)
Mic's are a different story. I'd say you can't go wrong with a Blue mic. They're all really great and they've got something for every price range. I love my NTK, and I'm secretly hoping the updated one they are making sucks ass (unless they have an upgrade policy) as I'll really be pissed if they remake my baby into something better.
Anyway, I'd stay away from the Samson's. I don't really know much about any AKG mics, and I'd only buy the Chinese replica mics if you know you'll be doing this again in a few years. Beyond that, you can do a lot of good in this world with an SM 57/58.
I think someone mentioned that Peter Gabriel recorded most of his vox with a 58. Wouldn't surprise me. I would be seriously surprised to find out he wasn't packing some serious mic pre behind that 58, so if you're in it for the long haul, put more money into the pre. And make sure to test what you want against what you've already got.
Meaning, if you already have an SM57, use that to pick your favorite 3 mic pre's and then start going through mics and see how they hold up with each pres you're deciding on.
If that doesn't get you started in the right direction, then just go to Radioshack and buy whatever the old balding fat guy recommends.
No offense to the old balding fat men of the world... unless you work at Radioshack, and then %&#$ you.
Hope that helps,
Sam