I worked in radio/tv for years and years so there are s couple of mics that I know particularly well... the sm7/7b and the re20... used them every day for hours and hours...

As it relates to recording studio world, I find that most people who own an Sm7 tend to all say that it’s far and away a different beast than an sm7b. I shan’t ponder as to why this is, but I suspect I know the answer.

I mean, seriously... take a 58 or a 57 from first year of production to one made last week... is the difference earth shattering? Doubtful... and it’s doubtful for the very reason a company like Shure depends on: reputation and continuity. They purposefully make these mics sound the same over the life of a given model.

All of that being said, I agree that the sm7/b is primarily a problem solver... poopy room, recording in s small space with a loud CPU, etc. have some giant artists used them? Yes! Does that mean that you will sound awesome through one? No!

If you are familiar with the sounds of angry little girls shouting in a closet, I suggest that choice of microphones should not be your primary concern.

I have a sm57 coming in the mail now funnily enough! So it will be interesting to see. I’ll check the 414 out!

Quick question, I’ve found a sm7 (not the b) for sale for $650 aud. The sm7b new is $699. Is it worth getting the used older model for nearly the same price as a new Sm7b? After reading some responses on here I thought it might be worth considering.

Touché

FYI I see used SM7b mics all the time for $300 US. I think that’s what I paid for mine in mint condition.

I've seen footage of the chili peppers recording "bloodsugarsexmagik" and anthony was singing into what looked like a coverless sm7.....he had his hands all over the mic, was moving it all around and being very rough with it

what I couldn't understand was why was none of this noise picked up on the recording? is the sm7 somehow impervious to handling noise?

Yeah here is a sm7b with the cover off, and he’s grabbing it all throughout the performance. Can barely hear, if at all. YouTube

I bought a SM7 in 1975 and the red foam in the gray metal case imploded after 20 years enveloping the mic with a red sticky goo. I sent the sticky mess back to Sure and they replaced my SM7 with a new SM7b with out charge. I was delighted with the quick service and was just a little bit disappointed with the cheap ass styrofoam new case however the mic looked just the same: but it certainly did not sound the same! Bruce is right.
Hugh

found the full docu here, pretty interesting stuff

see if this link works, it is an example of some SM7 manhandling:

YouTube

FWIW, I borrowed my friends sm7b to compare to some dynamics in my collection (sm57, re15, m88). Results were interesting, but not too surprising. Obviously, the sm7b required the most gain from my apollo twin (pretty much maxed out). I'd also say it was probably the most fun to sing into, just for its size and cool look. Sound wise, I thought it got pretty similar to the 57 with the high pass filter and presence boost applied, same ballpark but just a cleaner and bigger sound, I'd say. Pretty thick sounding without those engaged (kind of preferred it this way). The m88 easily had the most definition and clarity of the bunch, which I had expected, and is probably what I would reach for first if I was looking for a dynamic for most vocal duties. I also felt the re15 had more clarity and just a more natural frequency response than the sm7b, which is a bit surprising considering it looks like its been used to hammer in nails for the past 40 odd years.

Also, to corroborate the sm7b's ability to be excessively handled without producing tons of noise, it was definitely the quietest in that area.

They called an EV relative of the RE15 “The Buchanan Hammer”. Maybe someone took that literally.

It doesn’t seem to have made a difference. Have never had any other re15’s to compare to but the high end seems in tact compared with my other mics.

I liked the RE15 in a previous century, which was the last time I used one. The EV dynamics just disappeared from most stages and studios by about 1990. I don’t understand how or why that happened.

Sleeper choice for guitar amps

I’ve had multiple of each, they sound different.

yup, don't stop till you get enough

Just a happy TLM-102 user checking in. I've had mine over 10 years now, and I think it's excellent. I've used it for every vocal I've done since then, and it's been all over tv/radio whatever. I have a SM7B as well, and it's nice for voiceover but I can't think of a time I've picked it over the TLM-102. TLM-102 will be a way more versatile mic in the long run. Sure, it's not in as many pictures of people recording like the SM7B and it has that 'cheapest neumann' reputation but if mine broke, I would buy it again in a heartbeat. It's not as bright/brittle as TLM-103 i used for a few years, and it's also great on acoustic guitars, strings, great room mic. It's also dinkey and easy to place.

If my SM7B broke, I'd probably just live without it. I just picked it up because one was going at a decent price and it was the end of the tax year

I'm trying to remember what I've used it for. Close-mic of a trumpet, rear of cajon, and as a darker option for a cello, which I diddn't use in the end. I had one vocalist use it so he could sit on the floor and curl in a ball 'to get in the zone'. True story. It is handy for writing sessions, as you can just hand it to a vocalist and record it handheld and get a fairly decent clean vocal even with the monitors on. That's simply convenience though.

Great post! Hearing from a happy TLM-102 user is like getting email from Sasquatch. We weren’t sure you existed.

Sorry dude my sarcasm meter is way broken today. I can't tell if you're being serious or not.

Absolutely serious. I thought it was a detailed positive review of the one Neumann mic that often gets abused on these forums.

the SM7B and RE-20 are the most common over the air mic's for the last 20 years for a reason. The Heil PR40 is the new player on the market.

All three of these mic's are dynamics that will work easier in an untreated room vs LDC's.

The TLM 102 is a good match for me tonally.
But... My primary concern would be cutting though a mix with it.

Any favored compressor/compression settings for it? I'll retry it in about a week, at NAMM.
Thanks, Chris