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What $300-under Mic Pre Amp will compliment a Shure SM7B mic?
Old 9th February 2009 | Show parent
  #31
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kidvybes's Avatar
 
🎧 15 years
Quote:
Originally Posted by moon_unit ➡️
Or you just need to learn how to use the volume slider on whatever DAW you're using.

Generally, it's the one that says: "Volume" on it. And you want to slide it either upwards or to the right, depending on whether your layout is horizontal or vertical.
...generally speaking, if you max out the gain on whatever mic pre, the noise ratio is likely to increase as well...boosting the volume in the digital domain will only increase the noise factor while adding volume to the track...will it work?...yes...will it be desireable?...less than likely...user results may vary...
Old 9th February 2009 | Show parent
  #32
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jaz49's Avatar
 
🎧 10 years
Depends upon how loud the singer is. I find that with a low output dynamic(and the SM7b is as low as they go) and a preamp with only 60db of gain, I need to boost over 12db in my DAW and Acid will only give me 12dB...no more...so I have to add more gain with my compressor. Better to use a pre with lots of clean gain or a higher output mic, IMO.
Old 9th February 2009 | Show parent
  #33
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awakened's Avatar
 
🎧 10 years
well, yes. it depends on the loudness of the singer. but how hot are you guys recording? you should only "peak out" at around -12dbfs to keep from clipping the converters.

I've never had trouble getting clean gain from an SM7 on almost any pre.
Old 9th February 2009 | Show parent
  #34
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moon_unit's Avatar
 
🎧 15 years
Talking

Quote:
Originally Posted by kidvybes ➡️
...generally speaking, if you max out the gain on whatever mic pre, the noise ratio is likely to increase as well...boosting the volume in the digital domain will only increase the noise factor while adding volume to the track...will it work?...yes...will it be desireable?...less than likely...user results may vary...
Any source quiet enough to where noise would present a problem ... isn't something you'd ever want to use an SM-7 on anyway. It's not a classical guitar, cricket chirp or pan flute mic (or Oboe from Club level Mezzanine). The SM7 is for close mic'ing louder to medium-loud sources. Think assertive vocals, voiceovers, guitar amps, etc. That's why you buy it.
Old 9th February 2009 | Show parent
  #35
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kidvybes's Avatar
 
🎧 15 years
Quote:
Originally Posted by moon_unit ➡️
The SM7 is for close mic'ing louder to medium-loud sources. Think assertive vocals, voiceovers, guitar amps, etc. That's why you buy it.
yes Chess...and that is what I am referring to...close vocal tracking, exactly...
Old 9th February 2009 | Show parent
  #36
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Rob C's Avatar
 
🎧 10 years
Quote:
Originally Posted by moon_unit ➡️
Generally, it's the one that says: "Volume" on it. And you want to slide it either upwards or to the right, depending on whether your layout is horizontal or vertical.
Tell me more about this "volume slider" you're talking about...
Old 9th February 2009 | Show parent
  #37
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firby's Avatar
 
🎧 15 years
You don't need a great preamp for the SM7. It sounds about the same on API as it does on my board preamps as it does connected to a Rane MS1a. SM57 is a different story.
Old 9th February 2009 | Show parent
  #38
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🎧 10 years
Will the new M-audio 2626 DAW pre's push the sm7!!!

Im thinking of getting both
Old 9th February 2009 | Show parent
  #39
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uncle duncan's Avatar
 
🎧 15 years
Quote:
Originally Posted by moon_unit ➡️
The SM7 is a good mic.

It will sound good no matter what you plug it in to. Unless it's broken.

Quit worrying about matching your mics to your pres. Any mic should work with any pre. The whole notion that you have to "match" a given mic to a given preamp is just a lot of mental masturbation for people who have too much time on their hands.

It's like asking what brand of motor oil goes well with AC Delco spark plugs.
You're right that any mic will work with any pre, but have you ever done a shootout file with a SM7b going into half a dozen different preamps? Say a transformerless pre, a grungy tube pre, a clean tube pre, a few different variations of 500 pres with transformers in them? If you have and you can't hear a difference, you need to get your ears cleaned out.

The whole thing with the SM7b is that it's a character mic. If you run it through a character preamp, you'll be dealing with two characters, who may or may not play well together.

The idea that it's "mental masturbation" to consider the different characteristics of mics and preamps may be true for an amateur, but for a professional, it's part of the job (depending on genre of music, I suppose, since sometimes the signal gets so mangled by the time the mix is done, it could have been recorded over a telephone.)
Old 9th February 2009 | Show parent
  #40
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moon_unit's Avatar
 
🎧 15 years
Quote:
Originally Posted by uncle duncan ➡️
The idea that it's "mental masturbation" to consider the different characteristics of mics and preamps may be true for an amateur, but for a professional, it's part of the job (depending on genre of music ...
A professional gets to work and does his job. Amateurs and Congress sit around worrying / obsessing over minute things.
Old 9th February 2009 | Show parent
  #41
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🎧 10 years
>>Hmmmm.... Tango Romeo Oscar Lima Lima?<<

No, if you're having that hard of a time with the mic, no matter what mic that is, it's time to try another one. And there's no doubt the SM7b is overrated. However, it CAN be a good-sounding mic, when used to it's advantage. In this particular instance, it's a matter of what's more practical, trying another preamp, or trying another mic. DenMark will have to make that call.

>>The whole notion that you have to "match" a given mic to a given preamp is just a lot of mental masturbation for people who have too much time on their hands...<<

...until you plug the mic into another preamp and it transforms it into another beast. I discovered that with my ribbon. Some pres allow you to change their input impedance as well to a certain degree (and impedance mismatches are typically at the core of any mic not sounding "right"), and sometimes that will help greatly.

The SM7b, due to it's design, doesn't have a lot of output. It's just a an SM58 with a different acoustic chamber and a lot of wind protection. It isn't used in radio for nothing. How close is the speaker to the foam of an SM7b in a studio? That's using it to it's advantage. A single, isolated voice. It's not going to be useful on a weak vocal, acoustic instruments, complex musical arrangements or ambient pickup unless you run it through something quiet with a lot of gain.

If the SM7b cost slightly more than an SM58 it's made from, then it would be a better deal, but for that kind of money there's better dynamics to be had, like the N/DYM EVs which have better output and still maintain dynamic characteristics.
Old 10th February 2009 | Show parent
  #42
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cavern's Avatar
 
🎧 10 years
Quote:
Originally Posted by awakened ➡️
well, yes. it depends on the loudness of the singer. but how hot are you guys recording? you should only "peak out" at around -12dbfs to keep from clipping the converters.

I've never had trouble getting clean gain from an SM7 on almost any pre.
ditto didit doitallthetime
Old 10th February 2009 | Show parent
  #43
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cavern's Avatar
 
🎧 10 years
Quote:
Originally Posted by dickiefunk ➡️
I had some great results with the SM7b and an M-Audio Tampa.
that's a very underrated little transparent amp. 75 db gain with the switch on. cool little compressor too.
Old 10th February 2009 | Show parent
  #44
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Newcleardaze's Avatar
 
🎧 10 years
Quote:
Originally Posted by videoracer ➡️
The SM7b, due to it's design, doesn't have a lot of output. It's just a an SM58 with a different acoustic chamber and a lot of wind protection. It isn't used in radio for nothing.

Like it or don't like it, but at least know what you're talking about first. The elctronics are different, it uses a different transformer and they have different capsules.
Old 10th February 2009 | Show parent
  #45
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popmann's Avatar
 
1 Review written
🎧 15 years
Honestly...I have an old school ART TubeMP hooked up to my computer/demo rig...it does fine with the Sm7b. I personally prefer the mic with a tube pre--even if it's a "sorta toob" pre. Softens it in a nice way for vox. My main rig, I use an LA610.

Personally, I'd have a look at the ART ProChannel in that range. Nice opto compressor...better, cleaner version of the MP design pre...EQ, if needed (and sometimes I do like a little high lift on the way in for the Sm7b on vox.

The Brick wasn't enough gain--only pre I've run into that didn't have enough. I got good sounds running it's output into my La3a for extra boost, but...not enough on it's own.
Old 10th February 2009 | Show parent
  #46
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dickiefunk's Avatar
 
🎧 10 years
Quote:
Originally Posted by cavern ➡️
that's a very underrated little transparent amp. 75 db gain with the switch on. cool little compressor too.
75dB of gain!!??

I thought it was 66dB?
Old 10th February 2009 | Show parent
  #47
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cavern's Avatar
 
🎧 10 years
Quote:
Originally Posted by dickiefunk ➡️
75dB of gain!!??

I thought it was 66dB?
your right, i don't know why i had that figure in my head, i have one.
still very underrated though for clean gain imo.
Old 10th February 2009 | Show parent
  #48
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A LaMere's Avatar
 
🎧 15 years
Quote:
Originally Posted by moon_unit ➡️
Or you just need to learn how to use the volume slider on whatever DAW you're using.

Generally, it's the one that says: "Volume" on it. And you want to slide it either upwards or to the right, depending on whether your layout is horizontal or vertical.
Touche' !!!! hahahahah
Old 10th February 2009 | Show parent
  #49
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Heartfelt's Avatar
 
5 Reviews written
🎧 10 years
Quote:
Originally Posted by moon_unit ➡️
A professional gets to work and does his job. Amateurs and Congress sit around worrying / obsessing over minute things.
the more I learn, the more I see that it is the minute things that make an engineer or producer a great or poor engineer or producer.
Old 11th February 2009 | Show parent
  #50
Lives for gear
 
🎧 15 years
i have a theory. ..
why some people feel they need lots of mic pre gain.
ive found with some situations its cos of how ones monitoring for phones is set up.
follow me here , before flaming..lol.
cos ive found this with friends in the past.
they were often haveing to push up pre gain cos the sound device they used
had a wimpy output to drive phones.
thus my recommendation is instead of jacking up the gain in the pre...
look at the other end. phones monitoring eg for a vocallist doing vocals.
use a PROPER POWERFULL headphone amp , and youll proly find you dont need to push up mic
pre gain as much. a trik i do when traking vocals is in the daw lower the stereo mix
playback level and jack up the headphone output being fed the stereo mix plus my vocs i'm laying down. so i can hear in my phones my vocs clearly.
in sumary i mention the foregoing cos ive seen many peoples phone monitoring set up incorrectly thus makeing them crank mic pre gain.
if your input level to the daw is peaking -8 to -6db and your haveing trouble hearing yourself..
look to your phone monitoring side.
if you have no money and cant afford good phone monitoring...feed the stereo out of the daw to (a free..)cassette dek line in , and crank the phone level.
(without hurting your ears o' course.)or press into service an old used hi receiver to plug your phones into.
Old 11th February 2009 | Show parent
  #51
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🎧 10 years
definitely +1 for this

Quote:
Originally Posted by Raygun ➡️
I can highly recommend the Golden Age Project Pre-73.
It is a clone of the classic Neve 1073 Mic Pre and it is roughly within your budget, or maybe a tiny tiny bit more. It sounds really good and has a ridiculous price tag for the quality of the unit. I think what it does is what you're after!

Golden Age Music index

update: I checked the price, as of today it would be about $320.
Yeah I'll +1 for the pre 73, its an amazing little unit full stop! I'd also strongly recommend the Electro Harmonix 12ay7 tube pre. As the pre 73 is a neve 1073 clone, the eh17ay7 is essentially a clone of the old RCA pres but without a tranny. An all class A valve pre + the tubes are hot-swappable. I'd recommend changing the stock tubes to NOS or cryo tubes though, as this is the only way to really get the full benefits of the pre. The pre 73, EHX 12ay7 and the DAV BG1 / 7 are the only pres that I would consider using professionally in the sub £600 category. They all sound lovely! Hope this helps mate,

Toby Anderson
Old 11th February 2009 | Show parent
  #52
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Rob C's Avatar
 
🎧 10 years
Quote:
Originally Posted by Heartfelt ➡️
the more I learn, the more I see that it is the minute things that make an engineer or producer a great or poor engineer or producer.
Agreed. But, like in any job, there are people who do it because they love it, which means that the small details are just as important as the large details, and there are those who do it just to get a paycheque. I take great pride in my work, so matching pres isn't just stalling for more billable time, and it's definitely not unimportant.

The proof here is going to be in the pudding, so to speak. An engineer that properly matches an SM7 to a pre, or any mic to any pre for that matter, with regard to the character it brings to the mix, will probably end up with better raw tracks than someone who is going around miking sources willy-nilly.
Old 11th February 2009 | Show parent
  #53
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asap audio's Avatar
 
🎧 10 years
Please. Everybody just buy a DBX286A and move along, Burr-Brown chip pre, Robert Orban designed compression, very functional and natural expander and de-esser. High pass filter and frequency tailoring. If this thing were $1000 it would be all the rage on Gearslutz. It's $200 and it's a great piece of gear. It's perfectly set up for vocals. DBX is a big company. It can sell high quality gear at a reasonable price. Volume. These boutique companies are way over-rated.
Old 12th February 2009 | Show parent
  #54
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GordZilla's Avatar
 
🎧 10 years
Quote:
Originally Posted by kidvybes ➡️
...generally speaking, if you max out the gain on whatever mic pre, the noise ratio is likely to increase as well...boosting the volume in the digital domain will only increase the noise factor while adding volume to the track...will it work?...yes...will it be desireable?...less than likely...user results may vary...
+101
Old 12th February 2009 | Show parent
  #55
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GordZilla's Avatar
 
🎧 10 years
Quote:
Originally Posted by Heartfelt ➡️
the more I learn, the more I see that it is the minute things that make an engineer or producer a great or poor engineer or producer.
I'm with this too
Old 13th February 2009 | Show parent
  #56
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moon_unit's Avatar
 
🎧 15 years
Quote:
Originally Posted by Heartfelt ➡️
the more I learn, the more I see that it is the minute things that make an engineer or producer a great or poor engineer or producer.
I'm sure great ones learn fast where to choose their battles .... and which ones are worth choosing in the first place. The clock is ticking, time is money, and the obsessive-compulsive engineer is very replaceable.

Now, if you are you're own client, then all bets are off. Be as picky, and experiment with as much as you want. Just remember that eventually, you're going to want to get your record done. Don't be "that guy" who spends the whole year on "minute things" when you could have already finished your Master Piece a long time ago -- while you were busy being a "great engineer / producer."
Old 17th July 2009 | Show parent
  #57
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Robert King's Avatar
 
🎧 15 years
Quote:
Originally Posted by George Necola ➡️
secondhand ebay symetrix SX202

not the 302.. 202.

its the ****.. it's about 100 dollars..
[email protected]
Why not the 302, is the 202 better and if why do you think so?
Cheers
Old 17th July 2009 | Show parent
  #58
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Speeddemon's Avatar
 
🎧 10 years
Quote:
Originally Posted by kidvybes ➡️
...the GAP Pre73 exhibits some "wooliness" when pushed beyond 50dB, so I'm not sure I would recommend it as the best choice for combination with the SM7B...I have been using mine as a front-end for my Safe Sound P1 (which allows me to keep the Pre73 under 50dB while taking advantage of the P1's wonderful compressor/limiter)...the Pre73 alone with the SM7B was not desireable when tracking vocals due to the "wooly" distortion (which might work well on guitar cab or such)...I hesitate to classify "wooliness" as "colour"...
How does the P1's pre itself sound/combine with the SM7b then?
Old 18th July 2009 | Show parent
  #59
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ohmicide's Avatar
how many db of gain does the sm7b need?

i've been thinking about getting one. my main preamp is the universal audio dcs which has 69db and i could also use my duet which has 75db.
Old 18th July 2009 | Show parent
  #60
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aclarson's Avatar
Quote:
Originally Posted by alehoe ➡️
how many db of gain does the sm7b need?

i've been thinking about getting one. my main preamp is the universal audio dcs which has 69db and i could also use my duet which has 75db.
I was concerned, most people said 60 dB minimum, but I haven't had any problem getting clean tracks from my Presonus Digimax FS, and that only has 55 dB of gain. I usually hit about -20 for vocals at one notch below max (~49 dB), which is loud enough for 24 bit DAWs. The FS gets a little noisy on the top setting, so I keep it one back, works fine.

You're way good with your pres dude, pick it up.
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