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videoracer · 17th July 2008, 04:27 PM

I find it hard to believe the SM7b has no proximity effect. Unless it has a pressure compensation chamber like the RE-20 (highly unlikely), there's no way it's not going to have proximity effect. One of the SM7's desired properties (for radio work, anyway) has always been it's proximity effect. It gave radio jocks, who desired it, that "voice of God" effect. Shure would have to be shooting itself in the foot if it dramatically changed the mic's characteristics so drastically.

By the way, the SM7 is based on the same guts as the SM57 and SM58. Same diaphragm, voice coil, magnet, etc. Only the acoustic baffle (the outer shell) is different.

By contrast, the RE-20 was designed from the ground up to diffuse proximity effect. The long, ported baffle behind the diaphragm continuously equalizes the LF barometric pressure on the rear SPL radiation reaching the back of the diaphragm.

Ideally of course it would be nice to have both mics, as different singers would benefit from the two mics different characteristics. Incidentally, when the RE-20 first came out, engineers discovered it sounded good on tenors. Probably the two most famous singers to use it was Paul McCartntney and Stevie Wonder:

http://www.kalamu.com/bol/wp-content...onder%2013.jpg

If you look on the inside of McCartney's RAM album, you'll see him singing into and RE-20:

http://lh3.ggpht.com/WestSideforSale...o/IMG_0122.JPG

So if you're a tenor, you may want to consider testing out an RE-20.

17th July 2008, 04:27 PM	#18
videoracer Gear nut Join Date: Apr 2008 Posts: 83	I find it hard to believe the SM7b has no proximity effect. Unless it has a pressure compensation chamber like the RE-20 (highly unlikely), there's no way it's not going to have proximity effect. One of the SM7's desired properties (for radio work, anyway) has always been it's proximity effect. It gave radio jocks, who desired it, that "voice of God" effect. Shure would have to be shooting itself in the foot if it dramatically changed the mic's characteristics so drastically. By the way, the SM7 is based on the same guts as the SM57 and SM58. Same diaphragm, voice coil, magnet, etc. Only the acoustic baffle (the outer shell) is different. By contrast, the RE-20 was designed from the ground up to diffuse proximity effect. The long, ported baffle behind the diaphragm continuously equalizes the LF barometric pressure on the rear SPL radiation reaching the back of the diaphragm. Ideally of course it would be nice to have both mics, as different singers would benefit from the two mics different characteristics. Incidentally, when the RE-20 first came out, engineers discovered it sounded good on tenors. Probably the two most famous singers to use it was Paul McCartntney and Stevie Wonder: http://www.kalamu.com/bol/wp-content...onder%2013.jpg If you look on the inside of McCartney's RAM album, you'll see him singing into and RE-20: http://lh3.ggpht.com/WestSideforSale...o/IMG_0122.JPG So if you're a tenor, you may want to consider testing out an RE-20.