It may not be the microphone assuming a good microphone. Good does not mean condencer. Neither does it mean nessasarily expensive. It may be a condencer, crystal, dynamic voice coil, ribbon in alphabetical order.
It may not be the singer assuming a good singer. A good singer does not mean a loudly singing singer.
Could it be that the weakest links are the recording room and the pre preamplifier.
Assuming a room or space (without low frequency reasonance or reverberation, having for example vibrating panels) or even any space with no LF problems for example large spaces or infinite spaces (outdoors)...
The problem may be how quiet the room is.
A very quiet room reveals noise problems in the pre preamplifier.
A very quiet room, makes us feel relaxed. Our ears adjust, their sensitivity increases and everything sounds smooth and loud. The same should happen when recording in it.
The singer does not need to sing loud and does not need to listen loud to the backing track.
There are no nasty peaks in the voice and the end result is a very good modulation of the recording medium. Therefore it sounds loud, see: Sound on Sound making a mix sound loud.
The singer does not need to listen loud to the backing track so the singing is in tune. The reason is that pitch perception does not only depend on frequency but on intensity too, see: Sound and Hearing - S.S. Stevens.
All the above cannot happen unless the pre preamplifier is extremely quiet. If not there would be hiss.
Could it be that the limit of quality is the quality of the pre preamplifier in terms of lowest possible noise?
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