Dynamic Mic For Recording Vocals

[bcab17]

I've got a couple of condensor vocal mics (AT4050 is my "go to" mic), and I'm getting some clean, bright vocal captures. Now I'm looking to add a mic to my little home studio that would be a better choice to get warmer sounding vocal recordings. Though I won't be micing drums or amp cabs anytime soon, I was thinking that a good dynamic mic (EV, Shure, Heil, etc.) would be a logical next addition.

I'm getting good results on most vocals and acoustic guitar with my condensors, but some singers with thin or raspy voices don't always match up well with the condensors, and it takes hours of eq tweaking to save some vocal tracks.

I'm trying to stay under $400 (well under, if possible), and I'm hoping you folks can point me towards some good options.

[Jonboy79]

Check out Shure SM7, Heil PR30, or EV RE20. Any of those mics would be a great addition to a mic locker.

[BudgetMC]

This is Low End Theory, so don't be too proud. Slap an SM57 or RE-1X Variant up there and see how it sounds... you might be surprised, especially with a decent Preamp.

[ghetto3jon]

one "left field" option is the TAB-Funkenwerk SM57 mod. you can do it yourself easily, or buy the modded mic from mercenary. i did it to one of my 57s, and i though it made a great vocal mic. and it's super useful everywhere else.

[minus-sounds.com]

For that price you can find a second hand Senn MD441.

New, this is the most expensive dynamic mic and for a reason. It sounds so damn fine and smooth, like a ribbon, said a fellow member of the forum and I have to agree.

Also it is hyper-cardiod so it is very tight. What I do is, to take the mic, lower the monitors (no headphones) and sing. Minimal bleed and it is a technique that is used from many pros, including Bono.

[ARude]

I LOVED the MD 441! I had a pair stolen back in the 80's. The only reason that I haven't replaced them is that they are a little large for live work.

Here's a couple of suggestions:

Audix OM 5, OM 6 to my ear the 6 sounds very much like a 441 without the switches [flat position, no rolloff] and it's a whole lot cheaper. I have several artist that I work with that have adapted this mic as their main live vocal mic. It's my main live vocal mic...

[Nu-tra]

SM7 not the SM7B.

RE20

441 is dope!

[AnAverageJoe]

Great Mic Selection BUT, Don't forget about the M88

[ARude]

With the price of ribbon mics getting very reasonable there is no reason to get one for the mic locker.

Look at: Cascade, Karma, Shiny Box, for that matter even Nady. All have gotten some decent reviews at this forum and the Nady RSM-4 is selling at MF for $80. It's well worth a try at that price. If you don't like it, it'll make a cool paperweight...

Ribbons are the secret weapon for the vocal quality you describe.

[bcab17]

Originally Posted by Nu-tra

SM7 not the SM7B.

RE20

441 is dope!

What's the difference between the older SM7 and the newer SM7B that would make you recommend one and not the other?

[donsolo]

Do a search, there's a LOT of discussion about this.

[juan162]

Remember, there are also darker sounding condensers, as well as ribbons and dynamics. A modded 319 will give a smooth, dark tone to your vocals.

Juan

[popmann]

What's the difference between the older SM7 and the newer SM7B that would make you recommend one and not the other?

I say forum echo BS. I've had both here...there is a slightly nicer quality to the low end on the original I had...but, not enough to even speak of. Pure nuance. In the grand scheme, it's akin to any two of the same model condenser--one might sound ever so slightly different (sometimes not slight)-but, in the end, and Sm7b is an Sm7.

This is a no brainer. Every home studio singer songwriter should make life simple--go out and buy an Sm7b and an Sm81 (or pair if you've got the dough). If you can't get typical things-vocals, hand percussion, acoustic gtr, gtr amps-down with those two or some combination, you're a lost cause.

Too much time spent trying this and that...those are two time tested, proven workhorses. They'll get the job done...well.

[bcab17]

Originally Posted by popmann

I say forum echo BS. I've had both here...there is a slightly nicer quality to the low end on the original I had...but, not enough to even speak of. Pure nuance. In the grand scheme, it's akin to any two of the same model condenser--one might sound ever so slightly different (sometimes not slight)-but, in the end, and Sm7b is an Sm7.

This is a no brainer. Every home studio singer songwriter should make life simple--go out and buy an Sm7b and an Sm81 (or pair if you've got the dough). If you can't get typical things-vocals, hand percussion, acoustic gtr, gtr amps-down with those two or some combination, you're a lost cause.

Too much time spent trying this and that...those are two time tested, proven workhorses. They'll get the job done...well.

I have some familiarity with the sm7b, but what is the sm81, and how does it differ from the sm7b?

[bilco]

Originally Posted by popmann

This is a no brainer. Every home studio singer songwriter should make life simple--go out and buy an Sm7b and an Sm81 (or pair if you've got the dough). If you can't get typical things-vocals, hand percussion, acoustic gtr, gtr amps-down with those two or some combination, you're a lost cause.

Too much time spent trying this and that...those are two time tested, proven workhorses. They'll get the job done...well.

+1

I could have saved myself hours of experimenting and I don't know how much in rental fees if I had followed Popmann's advice early on. They are both very forgiving mics and sound good if you point them in the right general direction of the sound.

My search is over with these 2 mics. I am sure there are more expensive mics out there that would be a step up, but these mics just work and work well.

Bill

[Superdrumskills]

We did some live tracking stuff for preproduction with my band, and our singer used a SM58, for 100 bones it doesnt do a bad job. I would check it out!

[centurymantra]

Originally Posted by AnAverageJoe

Great Mic Selection BUT, Don't forget about the M88

On a slightly cheaper note, I was pleasantly surprised with how an Audix i5 fared on female vocals. They were just scratch vocals, but sounded pretty great.

[dannygold]

Originally Posted by bcab17

I have some familiarity with the sm7b, but what is the sm81, and how does it differ from the sm7b?

SM81=small cap condenser
SM7=large cap dynamic

[nandi]

how about Audiotechnica AE4001?

[rufus13]

635a, Re-15/Re-16, 666, bunches from Shure, or some Euro models. Low End means don't overspend, and take time to place correctly.

Your AT4050 will work fine when used at arms length in a decent room. Try fig-8 pattern and aiming the null at some unwanted noise.

Cheers.

[bcab17]

Originally Posted by rufus13

635a, Re-15/Re-16, 666, bunches from Shure, or some Euro models. Low End means don't overspend, and take time to place correctly.

Your AT4050 will work fine when used at arms length in a decent room. Try fig-8 pattern and aiming the null at some unwanted noise.

Cheers.

Yeah, the AT4050 has been great for my voice (and 99% of other applications -- I love this mic!), but I have not been able to get a good capture with it on a couple of other vocalists (I have to spend way too much time fixing their vocal tracks with eq). One particular vocalist that I'm starting to work with a lot has a Bryan Adams-ish rasp, and just the overall tonal character of his voice gives me a real hard time.

I don't like to record with eq (I just try to avoid printing tracks with it), so I go in relatively flat, with just a bit of compression to smooth out the bumps, which works great for me and others, but I keep getting an overly bright, high-end bite that's just touching the edge of harshness with this other vocalist (using the AT4050 and an MXL condensor). I then have to use quite a bit of high-end eq cut to tame "digital over-bite" (for lack of a better term), and while the results are decent, the eq cut tends to drain the "air" or "life" from the track.

I just figured, armed with about $300 of holiday money, a warmer (not "dark"), perhaps more forgiving dynamic vocal mic might be worth a try -- and not a bad addition to a very small mic locker that will definitely grow over the next couple of years.

I'm actually borrowing an inexpensive tube mic (TB-1) from a friend this weekend to see if some "tube warmth" will help, but I've been told that cheap tube mics may have the effect of making a harsh vocal sound even harsher.

[wildpark]

well if i have too take one mic it would be one for all situations mkh 800 and milennia micpre

but i still in love with my vintage units !.

patrick

[david_fowler]

You'll never get me to part with my RE20 !!!! tutt

I use it for lots of vocals as well as BASS CABINET and GUITAR CABINETS.

[lespaul666]

Originally Posted by Superdrumskills

We did some live tracking stuff for preproduction with my band, and our singer used a SM58, for 100 bones it doesnt do a bad job. I would check it out!

This really is no joke...A good sounding SM58 through the right pre, with the right vocalist can make some incredible sounding tracks. This is not always true, though...and again quite subjective.

[theblotted]

Originally Posted by lespaul666

This really is no joke...A good sounding SM58 through the right pre, with the right vocalist can make some incredible sounding tracks. This is not always true, though...and again quite subjective.

i agree.

if the singer is raspy, i would use a Shure SM57Beta or RE20 before a SM7 or RE15/16. the latter can make it difficult to EQ, as they tend to have a raspy, almost sandpaper like high-mid's.

or go the other way around: use the raspiness to your advantage. what Bryan Adams had was something unique to him; and when i hear him sing on Chicane tracks, it's the only way i'd want to hear'em.

so instead, use the latter mic's, and further enhance the singer's raspiness for showcase. why think that it's a fault?


btw, i've had a few incarnations of SM7's and SM7B's.. and i would say that other than the low's, SM7B's also have a slight bump in the 1k that gives it an extra bite; while SM7 retains the vintage smooveness. it's quite a difference actually (say when comparing converters for example).

[nandi]

what about Audiotechica AE4100 Artist Elite series? From the description they look cool. I'm going tomorrow to give it a listen.

[popmann]

I have some familiarity with the sm7b, but what is the sm81, and how does it differ from the sm7b?

And for the application...the Sm81 is a bright'ish SDC that sounds great on hand percussion, acoustic guitar, and if you play your amp quietly-on it. I also LOVE them on the top of my Leslie (although, that probably steps beyond most home studios)...years ago, I remember digging them on overheads, but I've not tracked drums myself for a long time.

The Sm7b is a fuller, larger, LDD which excels at close mic'ing just about anything. Particularly vocals and amps. On me...to get a better vocal sound, I've got to hire in some $4k+ condensers. Even then...I'm mixing the album with some Sm7b cuts, some U87ai cuts, and some Innertube modded U87i...I don't think anyone could tell me which is which. Certainly, there's a bit of a difference in how much was done at mix time, but in the end the Sm7b tracks sit well with the others.

The reason I think they should market those that way is that I know a LOT of singer/songwriters getting into recording--they get so overwhelmed with all these options. When, in reality, those two will handle everything they normally record...vocals, acoustics, hand percussion, amps--with ease. Bundle that with a nice sounding small computer interface, a MIDI keyboard with a few soft synths...there's all the demo studio most anyone needs at a certain level.

When I'm doing quickie multi instrument arrangement idea sessions...I just throw up those two mics. One or the other will sound great on whatever my creative brain decides to try to record.

[kojak]

Definitely consider an SM7 or RE20...both killer.

Also, strange as this sounds, using a cool nice condenser on the main vox, then a Beta 52 for backups mixed a little funky sounds just dandy...a lot of people don't realize the 52s range is actually quite large and makes for a really cool effect/alternate mic...

Anyway, try anything once...if it sounds good then it is good.

[bilco]

Originally Posted by popmann

The reason I think they should market those that way is that I know a LOT of singer/songwriters getting into recording--they get so overwhelmed with all these options.

I resemble that remark!!!

Originally Posted by popmann

When, in reality, those two will handle everything they normally record...vocals, acoustics, hand percussion, amps--with ease. Bundle that with a nice sounding small computer interface, a MIDI keyboard with a few soft synths...there's all the demo studio most anyone needs at a certain level.

They really are all the microphones I need for laying down a track at a time.

Thanks again, Popmann!

Bill

[mistarazor]

Originally Posted by ghetto3jon

one "left field" option is the TAB-Funkenwerk SM57 mod. you can do it yourself easily, or buy the modded mic from mercenary. i did it to one of my 57s, and i though it made a great vocal mic. and it's super useful everywhere else.

I heard good things of the TAB-Funkenwerk mod for the SM57, they got also one for the SM58, anybody got something on that?

SM58 Microphone with TAB-Funkenwerk Transformer