Well, you can either go grab yourself an Audigy sound card with all the fixins (like an XLR input), or hop over to Radio Shack and get converted. I assume you have the standard 1/8" input, and you ought to be able to get an XLR-1/8 converter (or, at worst, XLR - 1/4 - 1/8).

But the sound card would be the better method. You can also find full audio capture equipment (I recall that Guillemot had some) that come with a mixing box and everything you would need. Not surprisingly, those are expensive. So, I would recommend something in Creative's Audigy sound card line.

Oh, the nicer Audigy cards actually take up a space in one of the 5 1/2 slots (or they come in external pods) AND a space on the motherboard [grin].

But the one I was thinking of doesn't have an XLR slot - XPDIF, Optical, RCA, 1/4", 1/8", and S-Video (I think). In fact, none of the Creative ones have XLR, so you might have to look for a bigger package to get that. Still, I figure that one adapter and a decent sound card should be more than adequate for you.

Even if you do get a XLR-1/4 adapter and then a 1/4->1/8 mini-jack, that SM-58 is going to need a lot more power than any standard audio card will give to effectively raise your signals significantly from the noise floor.

A good pre-amp is really what's missing on those audigy (and all other non-pro sound cards). That preamp is probably the most important part of your signal flow, because if it starts out on a crap pre-amp then it will come out crap. But if you put a crap mic through a quality pre-amp then you have a fighting chance.

Unfortunately, on top of that a dynamic mic for creating SFX isn't "the best" way to go. Yes, I have TONS of sfx I made with a SM57/58. They are the only mics you can swing around, hit things, throw off a roof, or at a moving car (don't ask) and still not completely ruin. But most SFX needs to be as big as possible, and the best way to capture small sounds and make them larger than life (the goal with most SFX) is to use a condenser mic. These DEFINITELY need a preamp (usually with 48v phantom power to boot) but you will be rewarded with accurate, clean, malleable audio...assuming you have the right room/area to record in.

Consider getting a USB mic in the future. There are lots of new USB mics on the market now and most sound real good. They average for about $150-$250 (Samson, BLUE, for instance) which is about the same you would pay for an introductory condenser (like an AT2020). I kind of like this route better since they are easy to use, install and handle. Some USB mics are multi-pattern and/or condenser for roughly the same price, it's hard to argue the point.

Another plus to having a USB mic is you can hook it up to your laptop and you suddenly have a budget field rig for collecting SFX outdoors. Carry them with you go and record every cool thing you can...ambiences, SFX, random things. You'll use them eventually!

No laptop? Then you'll need a good place (usually with some room to "swing" things, heh.) Most people starting out do it in two places...their bedrooms, or their bathrooms and their closets (usually in that order.) The problem with your bedroom? Not only is your noisy computer in there but usually a large sound absorbing block of fluff (your bed) is right in the middle of it. Next, the bathroom. You can get good levels and keep outside noises at bay, but your assets will sound like you are recording everything in a BATHROOM and the slight reverberations and reflections of a shiny, porcelain laden room will give you away immediately. So then you jump to the closet and have to deal with getting longer cables, extensions for your headset...

Ooh...get a good pair of headphones! You definitely want to hear what you are recording as closely as possible (not through monitors) and a good pair of headphones (preferable non-commercial as they come a bit biased, look for the words "flat-response" or "zero-response")

So bottom line? Get a good preamp/audio interface, try to upgrade to condenser (though learn everything about your dynamic mic and you will discover it's shortcomings for certain applications and eventually try something else), use quality headphones, and make sure your recording area/room is as controlled as possible.

Cheapest and easiest? USB mics. That Samson I linked to is only $80 (never heard it, but worth checking out, no?)

Spend everything into getting the highest quality sounds recorded initially. You'll filter and chop and process them to hell later, but you need the best at the beginning...you'll go farther!

If you enjoyed this episode of Sally Jesse Raphael, please send 14.95 and a self addressed envelope to the address you see on your screen.

Tony

Another possibility I would strongly suggest is getting an external USB 2.0 or firewire sound card/mic interface. I have an M-Audio FireWire 410 which I'm very happy with. It has two XLR inputs with phantom power and functions as a 24 bit sound card for my laptop. It has a nice pre-amp and clean sound. I bought mine used for around $200. What's more, it powers entirely off firewire so I can use it for on-location recording. There are lots of other models and the lower end starts at around $200.

Using the internal soundcard for recording high-quality audio is nonsense.
Especially the built-in microphone connector is somewhat noisy...

Try thinking of purchasing an external firewire or usb2 audio a/d device, with line input and a mid-level to above-average mic preamp.
Behringer sells some devices which are quite ok for doing this job, i use one of those myself in my bandroom.
If you've got the money, for the a/d the digidesign mbox is definately worth a look, plus you get a copy of Pro-Tools LE with it, which is excellent recording software.

Well, the pre-amp is a good idea. I don't have one now, but I always used it in the past. It does seem to help. But it's okay, because I can't even find my SM-58 anymore.