If you're working with the 2i2 I would not recommend the SM7b...especially if you're dealing with a vocalist who sings on the softer end...that's a gain hungry mic! If you can pony up another $100 for a Fethead then you're golden.
On the low end...I'd try a CAD M179. For 130 bucks you're going to get a lot of mileage. If you're looking a bit higher, I absolutely love my Sterling ST59! I don't know what others think, but it's really worth a look. Not all Sterling's are great, but they hit a home run on the 59...
I would suggest that the problem is not the mic, but perhaps the way it's being mixed.
With a proper mix, just about any mic can be made to cut through, and sit well, in a mix.
Maybe try carving out some space for the vocals, sonically speaking.
This is true and a good point, however... When possible I like to get sources to sound right from the start - using the right mic (for the source) and proper positioning rather than having to do massive amounts of EQ'ing to fix issues in the mix.
This definitely seems like an issue where the OP's gear isn't quite right for the source and the music, and another mic may get him in the ballpark quicker and easier than spending a lot of time EQ'ing what he has to make it work. If he has the option of getting another mic I say go for it
Blue mics, if my memory serves, are notoriously purpose-built, and the Bluebird, isn't the microphone in their lineup that "captures the star of the show." In other words, it's got the response of a valley, and your star is in the nadir. In other words, it has recessed mids.
I think the Baby Bottle is the mic that's all mids. The Spark, a slightly bright, but generally even mic. Inexperienced people (not to imply I'm close to being a master) seem to be drawn to the Bluebird for some reason, even though the Spark, according to testimonials of sound signature, seems to be the easiest to use as a one-size-fits-all microphone.
The Bluebird gleaned the reputation of being the mic you put on everything you don't want to feature.
I've heard the Bluebird used on vocals to good effect, but "upfront and big sounding" is not one of its characteristics. For that, I steer you toward the SM7b, but your preamps can't handle it. I'd say if you absolutely cannot work with the Bluebird, try a KEL HM2 (not sure if KEL Audio still offers risk-free trials).
A mix is, by definition, mixed. That means you've taken all your inputs, processed and EQ'd them to work together sonically without stomping over each other. You've made them all complimentary.
If you open up the critical vocal frequencies in the instruments and subtly enhanced those frequencies on the vocal track(s), the vocal will fit in and stand out nicely.
To me, "cutting through" implies mixing by making everything louder than everything else, even if only in certain frequency bands.
Reducing the unwanted/unneeded content to allow the wanted/needed content to emerge is what I look for. While some mics may make it easier for you due to a hyped high-end response, the same thing can be accomplished with proper EQ. It matters not so much where/when you get the frequencies you need.
You just have to know what they are and how to use them.
That is a pretty solid choice for a basic vocal combo, but you might want to shift your mindset away from equipment and toward skills. Ask some of the old guard around here "How to get vocals to cut through a dense mix" and you will definitely yield better results in the end then just making gear upgrades.
I like how people keep pointing out that this isn't a gear problem and OP just ignores it and says "I should just buy blah blah". Like one of the earlier posters said, signal from any mic can cut through the mix if it's processed thoughtfully. Now if you just want a different sound, then sure shop for a new mic or pre, but you might be surprised when you lay down that new vocal and it's still getting clobbered by your synths.
I use an audio technica at2035 and the onboard pre of my Scarlett 6i6 and I have gotta my vocals to sit really good and all I did was add acoustic treatment and learned how to mix by sounds not numbers, as far as equipment goes you should match a slightly bright mic to a colored pre
You probably don't need to buy any gear to fix this problem. Focus more on your recording and mixing techniques.
I would second that - the mic you have is not the holy grail of mics, but its not a lemon either - and in the "cutting through" department, it should do the job. I certainly would not expect you to see an improvement with an SM7b if making room for your vocal to sit in the mix is the problem.
From my personal experience... Keep using what you've got. Keep eqing and compressing vocals until you'll be happy with the results. It will be beneficial for the future.
Tahts what ive done. I was recording and then mixing records using oktava mk319 and at 4040 for two years now and now when i know what i had to do to make it sound decent im ready for nice new mic (ive ordered peluso vtb last week:-)
My advise.. Wait until youll know what you really need.
And dont forget about effects like delay or reverb. with right eq it makes a huge difference.