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SM7B..After almost 2 years still not impressed Condenser Microphones
Old 8th September 2011
  #151
Deleted User
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Try this again with the sm7b wav file. The last file became corrupted somehow.
Attached Files

sm7b.wav (3.63 MB, 199 views)

Old 8th September 2011
  #152
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302efi's Avatar
 

Wow big presence boost in the SM7B..even flat all the way on the settings ! Makes the 57 sound "cheap"

Wish mine sounded like that

***As an update to taking the mic back and A/Bing it, I can't as the little shop I bought the mic at has since went out of business

Heres a vocal that was recorded last night with my SM7B through my Grace 101. Nothing done to it at all and completely flat.

Sounds very grainy and "compressed".
Attached Files

SM7B Test.mp3 (823.4 KB, 248 views)

Old 9th September 2011
  #153
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Quote:
Originally Posted by 302efi View Post
Wow big presence boost in the SM7B..even flat all the way on the settings ! Makes the 57 sound "cheap"

Wish mine sounded like that

***As an update to taking the mic back and A/Bing it, I can't as the little shop I bought the mic at has since went out of business

Heres a vocal that was recorded last night with my SM7B through my Grace 101. Nothing done to it at all and completely flat.

Sounds very grainy and "compressed".
That's a cool clip. I'd love to hear it with some backing music to hear how it "sits". But damn! Your clip has a lot of high freq information and crunch.
I realize we have entirely different voices etc but your sm7b sounds bright, almost brittle. Could be the mic amp too.

I'm going to try mine through the apogee mic amps to see what difference it makes in the timbre.

Compared to my track, my mic sounds dark and smooth but with an adquate amount of detail for the rock thing that I'm doing.

Thanks for posting
Old 9th September 2011
  #154
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A day later and with fresh ears I'm hearing the huge difference. The sm57 while still great has a bit more of a tin can element to it. The sm7b is just simply more full bodied.

The thing is, sometimes I think we are counting angels on pin heads with all of this. If you/we/me can't make a decent record using an sm58 + 57 and an allen and heath board, we should just call it a day.

If you have good arrangements and chops, the music will speak for itself.
Old 9th September 2011
  #155
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302efi's Avatar
 

Thanks for giving it a listen !

That wasn't me on the track, that was a track I did for my friend last night. In the process of tracking the verse on a C414, I switched to the SM7 and the Grace for a couple takes.

On a side note, the guy on the track material is always real life type of lyrics..not that "funny" stuff on the radio...
Old 9th September 2011
  #156
Gear Maniac
 

302efi's clip does sound a bit harsh, in fact there seem to be some clipping, sounded like it went through some kind of brick wall limiter. I think there's something wrong with your sm7b if you recorded the clip without any effects.

I don't think the voice doubling and effects in trashman's clips are particularly helpful in showing the characters of 2 mikes, besides, the vocals with the sm7b was mixed louder.
Old 9th September 2011
  #157
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recordinghopkins's Avatar
Cloud Microphones' CL-1 or CL-2 Cloudlifter is a major win with the SM7b!

No, I won't post clips. They're cheap, get one for yourself. Till then, this is my secret weapon.
Old 9th September 2011
  #158
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302efi's Avatar
 

Quote:
Originally Posted by Solidtube View Post
302efi's clip does sound a bit harsh, in fact there seem to be some clipping, sounded like it went through some kind of brick wall limiter. I think there's something wrong with your sm7b if you recorded the clip without any effects.
Yea that is a completely dry signal, no compression, efx or anything. Tracked at about -6 coming in and I bumped up the track to -2 before I exported it.

Never had to RMA any other mics other then a Blue Baby Bottle, so I'm not sure Shure's warranty policy since the shop I bought it at is out of business ?
Old 9th September 2011
  #159
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Quote:
Originally Posted by Solidtube View Post
302efi's clip does sound a bit harsh, in fact there seem to be some clipping, sounded like it went through some kind of brick wall limiter. I think there's something wrong with your sm7b if you recorded the clip without any effects.

I don't think the voice doubling and effects in trashman's clips are particularly helpful in showing the characters of 2 mikes, besides, the vocals with the sm7b was mixed louder.
Really? I guess you missed the point then. It wasn't a critical assessment, it was a fun and friendly demonstration that the mic doesn't totally suck on every source.

Still, we compare the sound of recorded gear all of the time on this site. Processed, unprocessed .. It's all about how useful the gear is as a tool and within the context that we use it in. We compare Nirvana's tone versus Kiss' tone all from studio recordings. Talk about "processed", but we can still manage. Heh

Anyway, the timbre is ever present even with two layered tracks. I can hear the principle difference even better because it demonstrates how the mic might be used in a mix. That is, how it sits in the mix.

Anyway, this thread was about how unimpressed the OP is with the mic. It wasn't a scientific dissection of the ever so subtle differences between two different mics.

If we we set out to compare an older sm7 to 7b then perhaps a single take would have been better without backing tracks. I personally don't have the balls to put that out on the web or in this forum. I'm not good enough a singer to showcase what this mic is all about.

Generally, mics aren't used singularly. They are used as part of a tool set. An engineer will consider how each mic will work in relation to one another toward that finished mix.

If I knew of 4-5 recordings definitely made with an sm7b I might have posted links to them instead. I thought it might be fun and in the spirit of the "less blathering and criticizing " Gearslutz people wish for, to post something personal.

In my view the tracks I posted are completely useful to demonstrate that the mic doesn't always suck on every source. I was trying to show the OP that an off the cuff recording can sound decent. As a bonus and for fun, I tracked with the 57 too.

Any experienced musician, engineer, producer, listener would be able to discern the differences in tone and timbre and appreciate how the mic works in a mix versus just "hearing" it in platonic suspension, which tells you next to nothing about how it might work as a tool.

Thanks for the useless criticism. Why not just post your own sm7b recording that you find suitable to your interests rather than making a useless snarky comment? Do it. Whip it out and do it.
Old 9th September 2011
  #160
Gear Maniac
 

Quote:
Originally Posted by trashman View Post
Really? I guess you missed the point then. It wasn't a critical assessment, it was a fun and friendly demonstration that the mic doesn't totally suck on every source.

Still, we compare the sound of recorded gear all of the time on this site. Processed, unprocessed .. It's all about how useful the gear is as a tool and within the context that we use it in. We compare Nirvana's tone versus Kiss' tone all from studio recordings. Talk about "processed", but we can still manage. Heh

Anyway, the timbre is ever present even with two layered tracks. I can hear the principle difference even better because it demonstrates how the mic might be used in a mix. That is, how it sits in the mix.

Anyway, this thread was about how unimpressed the OP is with the mic. It wasn't a scientific dissection of the ever so subtle differences between two different mics.

If we we set out to compare an older sm7 to 7b then perhaps a single take would have been better without backing tracks. I personally don't have the balls to put that out on the web or in this forum. I'm not good enough a singer to showcase what this mic is all about.

Generally, mics aren't used singularly. They are used as part of a tool set. An engineer will consider how each mic will work in relation to one another toward that finished mix.

If I knew of 4-5 recordings definitely made with an sm7b I might have posted links to them instead. I thought it might be fun and in the spirit of the "less blathering and criticizing " Gearslutz people wish for, to post something personal.

In my view the tracks I posted are completely useful to demonstrate that the mic doesn't always suck on every source. I was trying to show the OP that an off the cuff recording can sound decent. As a bonus and for fun, I tracked with the 57 too.

Any experienced musician, engineer, producer, listener would be able to discern the differences in tone and timbre and appreciate how the mic works in a mix versus just "hearing" it in platonic suspension, which tells you next to nothing about how it might work as a tool.

Thanks for the useless criticism. Why not just post your own sm7b recording that you find suitable to your interests rather than making a useless snarky comment? Do it. Whip it out and do it.
The OP was unimpressed with his sm7b probably because it was defective, which was quite clearly demonstrated with his audio clip.

Your examples were more or less useless because with the amount of processing you've used, one could have easily made Justin Timberlake sounded like Pavarotti regardless of whatever mics were used. As of your comment about voice doubling doesn't change the timbre of the source, you obviously never listened to a solo violin vs 2-3 violins played in unison. If you don't have the balls to put your voice solo-ed and unprocessed here, maybe you shouldn't at all because it didn't really help. If we want to know what an sm7 or an sm57 can do on vocals, I'm sure most people here have got a copy of Thriller, Back in Black or Joshua Tree already.
Old 9th September 2011
  #161
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Quote:
Originally Posted by Solidtube View Post
The OP was unimpressed with his sm7b probably because it was defective, which was quite clearly demonstrated with his audio clip.

Your examples were more or less useless because with the amount of processing you've used, one could have easily made Justin Timberlake sounded like Pavarotti regardless of whatever mics were used. As of your comment about voice doubling doesn't change the timbre of the source, you obviously never listened to a solo violin vs 2-3 violins played in unison. If you don't have the balls to put your voice solo-ed and unprocessed here, maybe you shouldn't at all because it didn't really help. If we want to know what an sm7 or an sm57 can do on vocals, I'm sure most people here have got a copy of Thriller, Back in Black or Joshua Tree already.
Oh thank you so much. Troll.
Old 9th September 2011
  #162
Deleted User
Guest
To the forum:

I couldn't disagree with this guy more. My samples demonstrated the mic doesn't suck.

Two barely processed takes hardly constitutes a Timberlake level of processing.

There's always gotta be wet mop here. Always. I hope most of you got the drift of my samples. It was simply to demonstrate the quality.
Old 9th September 2011
  #163
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Btw, buddy, I would never mistake 100 violins in unison for rectified les paul.
Old 10th September 2011
  #164
Gear Maniac
 

I had my SM7B a couple yeas before I fell in love with it. The right vocalist, amp or whatever and my SCA N72 pre.
Old 15th September 2011
  #165
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302efi's Avatar
 

As an update, I took the mic to another local music store and explained the situation and they were willing to help me out getting a replacement !

Now after using the replacement. much better !

I'll post a clip tonight after I track a session tonight.
Old 16th September 2011
  #166
Gear Addict
 
Sinocelt's Avatar
 

Quote:
Originally Posted by Sounds Great View Post
I agree, had a 421 and it sounded just like it looked, boxy. Having had 441's and reading all the GS hype heh I thought it would sound great, didn't like it at all.
Really?? It's one of the few mics I think lives up to its hype. It's cumbersome, yes, and it pops like crazy, but it sounds great. It has some of the clarity of a condenser and a lot of the smoothness of a ribbon, with all the advantages of it being a dynamic.
Old 16th September 2011
  #167
Gear Maniac
 

Quote:
Originally Posted by 302efi View Post
As an update, I took the mic to another local music store and explained the situation and they were willing to help me out getting a replacement !

Now after using the replacement. much better !

I'll post a clip tonight after I track a session tonight.
Great, glad you like your new sm7b, look forward to hearing your clips.
Old 17th September 2011
  #168
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302efi's Avatar
 

Heres a clip from a session the other night...This is a dry track:

SM7B > 737 > 002r
Attached Files

SM7B Verse.wav (3.37 MB, 180 views)

Old 17th September 2011
  #169
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guitarmax_99's Avatar
 

Interesting thread. There are some really good posts here that put the SM7b Hype into perspective. Having bought one myself, I must say that I think the SM7b is a bit overrated. Sure, it sounds fine on a number of sources (guitar cabs, snare, and the right vocalist), but I'm mystified by those who claim to use it on EVERYTHING and get great results. IT'S A DYNAMIC MIC! It will NEVER have the transient response and detail of a good LDC. That being said, it's a very good dynamic mic with a very distinct flavor. Use it like a dynamic mic and it will prove effective. Ask it to do the job of a condenser and it will fall short of the mark.
Old 17th September 2011
  #170
csj
Gear Nut
 

yea i must say i not that happy with the sm7 to wel it does not sound that great on the people i record so yea im selling mine...
Old 18th September 2011
  #171
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recordinghopkins's Avatar
You guys need to lighten up, you're gonna kill my resale value on this thing
Old 18th September 2011
  #172
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DaveUK's Avatar
Keep going! Could do with scoring a couple more on the cheap!
Old 18th September 2011
  #173
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recordinghopkins's Avatar
oh no, it's one of only twenty one mics I own, and I use it for VO, kick drum, or electric guitar quite often. It's a different beast with the cloudlifter I mentioned buying.

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