The No.1 Website for Pro Audio
 Search This Thread  Search This Forum  Search Reviews  Search Gear Database  Search Gear for sale  Search Gearslutz Go Advanced
SM7B..After almost 2 years still not impressed Condenser Microphones
Old 2nd September 2011
  #31
Lives for gear
 
Insomniaclown's Avatar
 

I like my 7b. I find it useful on my vocals running through a 312 type pre. I also have a friend that I work with who likes to get right up on the mic, so it's really useful for his vocals. Keeps plosives to a minimum. I find the vocals I record with this mic cut through dense mixes well.

On my 312 type pres, I have a low and high impedance switch. I find that with the 7b it acts sort of like a tilt EQ.

Anyway, useful mic for sure, but for my own vocal recordings, I tend to go for an LDC.
Old 2nd September 2011
  #32
Lives for gear
 
Tom Higgins's Avatar
A question to the OP and other SM7(/a/b) users: Are you using the included windscreen or taking that off and using a pop filter?

I've heard that it's a lot better taking the windscreen off...
Old 2nd September 2011
  #33
Lives for gear
 
edva's Avatar
Not the world's greatest mic, but worth its price, at least.
MJ was probably the world's greatest pop singer, and would make even a 58 sound good, as good singers do; and the SM7 sounds way better than a 58.
Old 2nd September 2011
  #34
Lives for gear
 
302efi's Avatar
 

I knew this was going to be a nice debate :D

I never tried taking the screen off since I mainly use it with rock screamers and rappers that tried to eat the mic, in my experience these are the 2 perfect situations for this mic, but usually comes up missing alot.

I will agree I get silibant problems with it though, well the wind screen in 1 inch thick !

IMO the mic always sounds harsh and dull (ish) especially with the presence boost..

Now I know I'm not working with MJ caliber artists, I'm not QJ and Bruce isn't mastering it, but with the gear I got and about 10 exp, I would think I could get a nice vocal tone from given the difference sources I've tried on it.
Old 2nd September 2011
  #35
Lives for gear
SM7B..After almost 2 years still not impressed

Just wondering if any engineers out there can explain this concept of a preamp "driving" a mic? I can understand turning an input attenuator creating a different impedance that could affect the response of a mic. But unless I'm mistaken, the mic drives the preamp, not the other way around. The absolute gain of the preamp having less to do with the results than what happens to a particular preamp at different gain settings.
Old 2nd September 2011
  #36
Gear Head
 
Mike_R's Avatar
 

It's a cool mic, especially if you don't have the luxury of a stellar room to work in.
Old 2nd September 2011
  #37
Lives for gear
 
archfrenemy's Avatar
 

Quote:
Originally Posted by Aeolian View Post
Just wondering if any engineers out there can explain this concept of a preamp "driving" a mic? I can understand turning an input attenuator creating a different impedance that could affect the response of a mic. But unless I'm mistaken, the mic drives the preamp, not the other way around. The absolute gain of the preamp having less to do with the results than what happens to a particular preamp at different gain settings.
https://ccrma.stanford.edu/courses/1...Amplifiers.pdf

Not too specific... but the best I could find quickly.
Old 2nd September 2011
  #38
Gear Addict
 
DIGI ENT's Avatar
 

Loving mine with my GTQC/Rosetta 200. Will post sum clips in here maybe this weekend. Still, I will be buying a CV4 next, then an AR51 for a more bigger,wider,finished record sound.
Old 2nd September 2011
  #39
Gear Guru
 

Quote:
Originally Posted by Sounds Great View Post
Took you 2 years to decide?
I say give it another 6 months, just to be fair!
Old 2nd September 2011
  #40
Lives for gear
 
Faderjockey's Avatar
 

I love it. I don't like it on Gtr's as much as others..

but on vocals..not all but some Rock style vocals going into a TG2 pre with LTD1 EQ and Distressor sounds GREAT!!

I think it can take EQ sort of like a ribbon. You can over hype the top and doesn't stay as smooth as a ribbon mic.. but on some vocals it takes EQ better then some LDC mics.
Old 2nd September 2011
  #41
Lives for gear
 
302efi's Avatar
 

Quote:
Originally Posted by Sounds Great View Post
Took you 2 years to decide?
Yep..Not like it was getting used every day for 2 years straight

I like trying gear out before I write it off, isn't that what your suppose to do ?

So I'm suppose to dump a $300+ purchase after 2 weeks ?...Maybe n your 17,000+ post world that's how it happens..
Old 2nd September 2011
  #42
Lives for gear
 
Tom Higgins's Avatar
Quote:
Originally Posted by 302efi View Post
Yep..Not like it was getting used every day for 2 years straight

I like trying gear out before I write it off, isn't that what your suppose to do ?

So I'm suppose to dump a $300+ purchase after 2 weeks ?...Maybe n your 17,000+ post world that's how it happens..
Don't think you quite grasped what he was saying there...
Old 2nd September 2011
  #43
Gear Head
 
lanyee's Avatar
 

I used the sm7b all the time on guitar and vocals. In the end I realized it just wasn't for me, and for $300 I could do much better spending it else where. But I held off selling just out of laziness. haha.

Then in came a friend who wanted to cut vox. I tried a few ldc's on him and it wasn't sound good at all. It was almost too crisp and clean, and nasally. So I figured what the heck I will try the sm7b and it was perfect for him. He was the type of singer that liked to hold the microphone in his hand. That's when I found out that it's not just about how it sounds, but what kind of performance I can get out of it.

So now I'm holding on to it.
Old 2nd September 2011
  #44
Gear Guru
 

Quote:
Originally Posted by 302efi View Post

So I'm suppose to dump a $300+ purchase after 2 weeks ?.
That's your dichotomy? 2 years or 2 weeks?

my friend used to say "but ma, I don't want to be a doctor"; and his mother would say "fine, BE a garbageman, then."

The point you are being nudged towards is that YOU get to decide if a mic is working, not the "consensus" on Gearslutz. The forum has collectively 'decided' that this mic is the be-all and end-all of dynamic vocal mics. Its popularity in advice has grown to the point that answering "SM7" to ANY question, even one not about microphones, has become kind of a in-joke or meme.
"
But there's a lot of mics out there. And "So Little Time!" Looking at your list of preamps, I'd say you gave this mic a fair shot.

Even if you are not using it 'every day', 2 years is too long to beat your head against a wall. The mic has to work for YOU.
Old 2nd September 2011
  #45
Gear Guru
 
kafka's Avatar
Quote:
Originally Posted by 302efi View Post
Anyone else find thsi mic as useless as I did
I'm not enamored with the SM7b. I like it. It's a good mic, but honestly, I was recording just the right part through the right preamp before I ever cut a track with it that I thought was great sounding. In this case, it was some background vocals through a UA 610. Haven't really loved that combination for lead vox, but on the voices I was recording, just for background, it was really pretty good. I haven't ever preferred it on guitars, although it's certainly usable.

On the other hand, a friend came over to try out my mic collection to pick out something for recording some inspirational children's music on her Motu 828. She has a sweet, willowy voice. On her, the SM7b was hands-down the best mic.

I guess my point here is, it's never just the mic. It's the source + the mic + the preamp.

Quote:
Originally Posted by Aeolian View Post
Just wondering if any engineers out there can explain this concept of a preamp "driving" a mic? I can understand turning an input attenuator creating a different impedance that could affect the response of a mic. But unless I'm mistaken, the mic drives the preamp, not the other way around. The absolute gain of the preamp having less to do with the results than what happens to a particular preamp at different gain settings.
You are correct, a preamp doesn't drive a mic. The mic drives the preamp. A dynamic mic creates electricity. It's a generator. The load on the microphone will therefore affect the ability of the microphone to absorb acoustic vibrations and convert them to electrical energy. Think of how your car needs more gas to maintain speed when going up a hill. You have a greater load, so the engine has to work harder to get up the hill. A preamp is a load on the microphone, and therefore different preamps will present different loads to the mic. Since these loads are frequency dependent, the mic will sound different. This is why you now see some preamps with variable microphone impedances.

While this is also true for condenser mics, the preamp load is on the microphone power supply, and not the mic diaphragm directly. Therefore, the conversion from acoustical energy to electrical is the same, no matter what the preamp. Because a microphone power supply produces vastly more current than needed, the effects of different loading on a condenser are far less dramatic than on a dynamic, and may not be significant enough to be audible.
Old 2nd September 2011
  #46
Lives for gear
 
doncaparker's Avatar
 

Switching perspectives for a moment over to that of the singer (I am more one of those than I am a GS), it can be the right mic for obtaining the best performance from the singer. It is great if your singer likes to eat the mic and will either stand still or grab the mic and move around with it still up close to the lips.

I am the opposite kind of singer; I like to leave some distance between me and the mic, and I do move around a little bit (not a whole lot, but enough to lose the "sweet spot").

I own a SM7b, but I prefer singing into a LDC multipattern in omni mode, and my room sounds OK enough to get away with it. The LDC tolerates my preferences better.
Old 2nd September 2011
  #47
Gear Addict
 

Different strokes for different folks, but for me personally...

I bought a Kel HM7H and an SM7b around the same time. They both get equal time in my studio on a variety of sources, and I can easily say that these two mics have taken my projects to a whole new level. I don't care for the SM7b on guitars (electric or acoustic), but for kick and vocals...I love it. ESPECIALLY my own voice, where I had a very difficult time getting my vocals to sit right in a mix in the past.

It's a hyped mic, but gets a lot of love for a very good reason. It's not the holy grail, but if you go into it knowing that it's a good swiss-army knife to have in your mic locker, you won't be disappointed.
Old 2nd September 2011
  #48
Lives for gear
 
302efi's Avatar
 

Quote:
Originally Posted by joeq View Post
That's your dichotomy? 2 years or 2 weeks?

my friend used to say "but ma, I don't want to be a doctor"; and his mother would say "fine, BE a garbageman, then."

The point you are being nudged towards is that YOU get to decide if a mic is working, not the "consensus" on Gearslutz. The forum has collectively 'decided' that this mic is the be-all and end-all of dynamic vocal mics. Its popularity in advice has grown to the point that answering "SM7" to ANY question, even one not about microphones, has become kind of a in-joke or meme.
"
But there's a lot of mics out there. And "So Little Time!" Looking at your list of preamps, I'd say you gave this mic a fair shot.

Even if you are not using it 'every day', 2 years is too long to beat your head against a wall. The mic has to work for YOU.
Having a nice little collection of mics is not the same as "banging my head against the wall be cause it don't work"..LOL

Taking 1 min of time and have an artist run a verse into in so we can A/B with other mics t is nothing in the long term of things, is it ?

I'm sure lots of guys here has mics they don't use or like the sound of them..should they sell them ASAP ?
Old 3rd September 2011
  #49
Gear Addict
 
LonDonsen's Avatar
 

To be honest, recently I heard Thriller for the first time in full quality on my AKG K271 headphones. I knew that it was recorded with an SM7. But the first thing that I thought was... "hey wait, everything sounds fine but the vocal sounds somehow cheap". I would describe it thin and midranged focused. Get a Neumann, you can't go wrong with these!
Old 3rd September 2011
  #50
Lives for gear
 
doorknocker's Avatar
This thread is ridiculous!
Old 3rd September 2011
  #51
Moderator
 
narcoman's Avatar
 

Quote:
Originally Posted by LonDonsen View Post
To be honest, recently I heard Thriller for the first time in full quality on my AKG K271 headphones. I knew that it was recorded with an SM7. But the first thing that I thought was... "hey wait, everything sounds fine but the vocal sounds somehow cheap". I would describe it thin and midranged focused. Get a Neumann, you can't go wrong with these!
but then it'd be a different record? Is this where we've come!!?
Old 3rd September 2011
  #52
Lives for gear
 
302efi's Avatar
 

Quote:
Originally Posted by doorknocker View Post
This thread is ridiculous!
Im sorry some of you guys feelings :D
Old 3rd September 2011
  #53
Gear Addict
 

yes
Old 3rd September 2011
  #54
Lives for gear
 

I just used my sm7 on a duo project. The female singer had a soft vox and the acoustic gtr and or piano overpowered here voice when we tried the LDC's. We have Gefells, coles, DPA, neuman, innertube moded M7, schoeps etc.

The result was good for this demo. The mic works well with some vocalist and for tracking all instruments at the same time in the same room - it has good rejection and still manages to sound somewhat open.

Its a good mic when its needed.
Old 3rd September 2011
  #55
Gear Guru
 

Quote:
Originally Posted by 302efi View Post
I'm sure lots of guys here has mics they don't use or like the sound of them..should they sell them ASAP ?

if your process for evaluating microphones needs no improvement, then your criteria for starting threads does
Old 3rd September 2011
  #56
Jax
Lives for gear
 

After having read so many reviews and internet lore about the SM7, the mic I have that matches the descriptions of "crisp" (which the SM7 isn't really) and detailed (which it isn't as much as the following) is the CAD M179. It's about half the price and 100x more flexible. Actually I can't believe it's so cheap.
Old 3rd September 2011
  #57
Lives for gear
Quote:
Originally Posted by kafka View Post
You are correct, a preamp doesn't drive a mic. The mic drives the preamp. A dynamic mic creates electricity. It's a generator. The load on the microphone will therefore affect the ability of the microphone to absorb acoustic vibrations and convert them to electrical energy. Think of how your car needs more gas to maintain speed when going up a hill. You have a greater load, so the engine has to work harder to get up the hill. A preamp is a load on the microphone, and therefore different preamps will present different loads to the mic. Since these loads are frequency dependent, the mic will sound different. This is why you now see some preamps with variable microphone impedances.

While this is also true for condenser mics, the preamp load is on the microphone power supply, and not the mic diaphragm directly. Therefore, the conversion from acoustical energy to electrical is the same, no matter what the preamp. Because a microphone power supply produces vastly more current than needed, the effects of different loading on a condenser are far less dramatic than on a dynamic, and may not be significant enough to be audible.
Completely understood, as with the Stanford link above.

What I don't understand is the constant reference to "driving" mics with higher gain. I've run into live sound folks convinced that the input trims on their boards somehow control the overall gain of the channel strip and that X sounds better with more gain. Meaning that they pad down the channel fader while opening up the "gain".

I understand changing the load the preamp input presents to the resonant circuit of the mic voice coil or transformer and the pre's input section. This can be calculated if you have enough data on the bits involved. But there's no "drive" involved that I can see.

It's especially common in discussions of SM7s. I suspect that the popular preamps load down the mic unless the input attenuators are opened up near unity. There may also be some interaction between the mic's transformer and transformer coupled preamps when the attenuator is less involved in the circuit. Kind of like how a passive guitar changes sound when 250k pots are swapped for 500k or 1m ones. Even when they are "wide open" since they are part of the source impedance.

Then there is the gear slutz rocker fascination with distortion...
Old 3rd September 2011
  #58
Lives for gear
 
302efi's Avatar
 

Quote:
Originally Posted by joeq View Post
if your process for evaluating microphones needs no improvement, then your criteria for starting threads does
I had pleanty of time to evaluate it, it sucks IMO.

Then ask others on GS if any of them had such bad results.

Thread started on GS....and thanks for the replies and bumps to the top !
Old 3rd September 2011
  #59
Lives for gear
 
Aaron Miller's Avatar
I think the SM-7B is one of the best vocal mics for screamers and singers that get simblant. It rocks for singers that want to track live in the same room as others or play acoustic while tracking vocals. It's good in bad rooms. Better than a 57 or I5 on snare but a bit cumbersome. It kills on floor tom, especially bottom and is good on cabs and kick too. It's durable and well built. It's a mic I will never sell for these reasons.
Old 3rd September 2011
  #60
Gear Addict
 

are we talking 'usable, sounds good, works in a mix, makes people happy' or are we talking 'holy s*** please sir let me give you some more money and do it again whatever you just did' ?



i mean the thing isn't a freaking 251 fed into a DW fearn rack of signal processing

we're talking just an SM7. yeah it works. so what? it works. 'works' is a pretty low bar. even 'works well' is a pretty low bar.
Post Reply

Welcome to the Gearslutz Pro Audio Community!

Registration benefits include:
  • The ability to reply to and create new discussions
  • Access to members-only giveaways & competitions
  • Interact with VIP industry experts in our guest Q&As
  • Access to members-only sub forum discussions
  • Access to members-only Chat Room
  • Get INSTANT ACCESS to the world's best private pro audio Classifieds for only USD $20/year
  • Promote your eBay auctions and Reverb.com listings for free
  • Remove this message!
You need an account to post a reply. Create a username and password below and an account will be created and your post entered.


 
 
Slide to join now Processing…
Thread Tools
Search this Thread
Search this Thread:

Advanced Search
Forum Jump
Forum Jump