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Post by mobeach on Jan 24, 2015 9:49:45 GMT -6
I'm sure one of you Mic Guru's will know   |
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Post by masteroftracks on Jan 24, 2015 9:52:26 GMT -6
Sure sm7
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Post by cowboycoalminer on Jan 24, 2015 9:53:48 GMT -6
SM7b
I'll sell you one if you like it.
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Post by svart on Jan 24, 2015 10:41:17 GMT -6
SM7b I'll sell you one if you like it. Do you favor the sm7/sm7a over the b version, or do you just dislike the family altogether? |
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Post by mobeach on Jan 24, 2015 10:42:48 GMT -6
What are the general characteristics?
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Post by mobeach on Jan 24, 2015 10:45:10 GMT -6
Condensers are too damn sensitive for me in the studio as I don't have a booth. I have a SM58 and a CAD D189 but I'm looking for something with more body that doesn't break the bank.
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Post by Ward on Jan 24, 2015 10:51:05 GMT -6
An SM7b? No harshness. Sounds a lot like a punchy LDC with out the top end extension. Lower output than you would expect. Has a hint of that 'Shure sound' to it... much like a 57/58 but more finesse than that. Punchy but kind of mayonnaise on white bread.
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Post by mobeach on Jan 24, 2015 11:23:59 GMT -6
Mayo eh? Trying to visualize the audio.  |
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Post by svart on Jan 24, 2015 11:29:27 GMT -6
Sm7 is more like the older unidyne 3 mics than the shure sm57 that are based on the unidyne.
Even those are going for ridiculous money now. I bought my unidyne for 10$ a few years ago, Now that same one is going for hundred +.
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Post by kcatthedog on Jan 24, 2015 12:02:07 GMT -6
What are the general characteristics? Think Michael jackson thriller And if you go to ua forum on the jacquire king thread the lead vox in the video good intentions is recorded on one, apollo pres (ic) and all ua plugs and there are screenshots of plug settings |
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Post by jeromemason on Jan 24, 2015 15:29:02 GMT -6
I've always used them for rock vocals. Not really something you'd want to do for female vocalist and such, but if you find yourself going through LDC's on a singer and just never finding something that works, usually one of these will work. That's just always been my experience with them, they are really good to have in the locker and most studios have them.
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Deleted Member
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Post by Deleted on Jan 25, 2015 13:30:54 GMT -6
Mobeach, if you want the dynamic mic for your own voice, without booth, you should also lend and try out Beyer M201(the "small MD441"), Sennheiser MD241 and MD441.
Maybe one of these fits your bill. I like the MD441 on voice somehow. It is supercardiodid, which is a odd if a singer moves while singing, but nice for recording without booth and live duties.
Testing before buying is mandatory IMO. Not that the SM7 is not a fine mic, but it's always good to check out alternatives and get your best fit...
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Post by M57 on Jan 25, 2015 14:29:25 GMT -6
I'm in the process of looking for a mic for my voice, and a Sm7 is on the short list of mics I intend to audition. It's by far the cheapest mic I'm considering, although I suppose in a similar price range, the RE20 could also be a contender.
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Post by ben on Jan 25, 2015 20:26:29 GMT -6
I bought a vintage SM7 a few years back for about the same price as a new SM7b. Great for rock singers, guitar cabs, VO's. An all-around utility mic.
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Post by Martin John Butler on Jan 25, 2015 21:57:13 GMT -6
You might enjoy this example of the Sm7B..
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Post by M57 on Jan 26, 2015 5:53:44 GMT -6
Condensers are too damn sensitive for me in the studio as I don't have a booth. I have a SM58 and a CAD D189 but I'm looking for something with more body that doesn't break the bank. My understanding is that it's good for close micing and will definitely deliver the body, but to me that means it's better to have a singer that knows what they're doing on the proximity effect side of things. On the other hand it has a classic cardiod polar pattern with no pop at the back. You can leverage that in not-so-great room conditions. |
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Post by mobeach on Jan 26, 2015 11:44:45 GMT -6
The singers here use them and sing pretty far away from them, but I like the tone they get.
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Post by Ward on Jan 26, 2015 12:55:58 GMT -6
In my findings, an SM7 (any version) only sounds right when you are 'eating' it. It can also be used as a snare mic and gives quite a 'whomp' in that application.
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Post by RicFoxx on Jan 27, 2015 8:48:06 GMT -6
I love this mic for male rock vocals. Its the classic...doesnt blow your mind solo'd but just cuts and sits in a mix perfectly. Really versatile...I like it through my API the channel. It's a really focused sound completely opposite of my MK47 which is huge full with some natural air. I can def understand why the Nashville guys would not like this mic...especially for vocals.
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Post by Ward on Jan 27, 2015 9:10:02 GMT -6
Funny, it seems to be the go-to microphone in Nashville for guide vocals done in the room with the band.
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Post by M57 on Jan 27, 2015 9:14:53 GMT -6
Funny, it seems to be the go-to microphone in Nashville for guide vocals done in the room with the band. Stupid question - "Guide" vocal. So a vocal that's not meant to be on the final track. I.e., cuts, but doesn't cut 'it?' |
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Post by yotonic on Jan 27, 2015 9:20:04 GMT -6
Correct. A lot of players perform differently while accompanying the singer. Different accents, more vibe and interesting pacing in places. Sometimes a guide vocal will just be kept when possible.
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Post by yotonic on Jan 27, 2015 9:23:25 GMT -6
Funny, it seems to be the go-to microphone in Nashville for guide vocals done in the room with the band. And just about every radio station in the country uses them for their on air mics, so you will see them in almost every "on air" artist performance. |
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Post by M57 on Jan 27, 2015 9:28:47 GMT -6
Correct. A lot of players perform differently while accompanying the singer. Different accents, more vibe and interesting pacing in places. Sometimes a guide vocal will just be kept when possible. I get that, but why an SM7? Especially if you know it's probably the 'wrong' mic. Sounds like the answer is that it's a good 'live' mic, but not necessarily a good tracking mic - unless you're looking for something that cuts through the rock? |
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Post by yotonic on Jan 27, 2015 9:41:25 GMT -6
I love this mic for male rock vocals. Its the classic...doesnt blow your mind solo'd but just cuts and sits in a mix perfectly. Really versatile...I like it through my API the channel. It's a really focused sound completely opposite of my MK47 which is huge full with some natural air. I can def understand why the Nashville guys would not like this mic...especially for vocals. This mic is a "go to" for some of the best guys in Nashville. It just needs a really good preamp aka Neve etc. I love what Charlie Peacock did with The Civil Wars. That record was his vintage Neve and the Sm7, the vocals are super vibey and the focal point. The arrangements are stripped down and you would think LDC would be the choice but the SM7 fits better as you say. Also all of Ray LaMontagne's hit records with Ethan Johns are the Sm7 and Universal Audio preamp. In my experience a lot of producers or artists will gravitate towards an LDC to try and pump up the vocal as part of the loudness wars. Guys just assume they need to use their biggest gun, but sometimes that's a mistake. Sometimes if you can use the restraint that an experienced painter or producer does, then you can have all of the parts and colors come together to create something more musical and vibey in the end. I struggle using the SM7 because it's not as hyped up as an LDC. But it definitely filters out a lot of noise and other frequencies that an LDC introduces, which results in this simpler more focused sound much like a single analog note ringing on a piano. There is something about a good Neve preamp that pairs really well with the Sm7. I've used everything from a Fearn to UA to Neve with it and the 1073 really elevates that mic to its full potential. |
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