thanks cj7.
I own a sm58 and an audix cx111 condenser which is not ideal for my voice for all styles of singing (it works for jazz like crooning), like it on acustic guitar.
So I just want another option with just a bit more sound and range then the sm58 (which will be used for some songs).
When it comes to singing in a James Taylor kind of style I want just a bit more timbre.
I like what I hear from the babybottle on shootouts and also the shure ksm 32 sounded good but a dynamic might be the best in the room I record.
So a mic to capture male mid timbre, James Taylor alike, not loud rock singing.

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Record from 1998 (russian)

Well some of us are looking at the title of this thread and scratching our heads a little. The SM7b sounds good but personally it never "wowed" me. Of course this is only relative to what one has experienced in the past. If I never had the chance to use a mic much better than the SM7b then maybe I would say wow.

Now what if you don't have a SM7b? What other options are out there that could get the job done in a similar fashion? I recently got my hands on a M201 but have yet to compare it with the SM7b. I can tell you that I love its tone and even if it doesn't necessarily sound better than the SM7b it's going to give me a tasteful flavor. It's like an acquired taste for german beer for example. I'm not going to say the M201 has wowed me either but it has something in its sound that makes me want to keep it around. IMO, the SM7b is kept around not so much because of its sound but more so because of its usefulness.

Also, I live in an average-size modest apartment and most of the times a condenser like the NT2A works very well. I prefer it's sound to the SM7b and because you can purchase it used below the cost of a SM7b it's a better overall value IMO. But the SM7b is probably going to outlast most other condenser mics in terms of long-run reliability and it holds its value as well. These are just some of the trade-offs you have to think about. Do I want something rock-solid and reliable, sounds its best with a more costly preamp, holds its value a little better, takes processing eq/compression a little better but sacrifices a little in terms of detail, openness, accuracy and clarity in its sound quality? or do I want something high and flattering that doesn't hold its value quite as good that will pick up a little extra ambience, require a little less processing but requires more carefulness?

Then, if you're like me, you have to consider how the talent is most comfortable performing. Hand-held, in the control room, standing in front of the mic in a booth, etc. Only you can decide what will best fit your situation. Ideally if you can comfortably afford a good condenser and a good dynamic then why not get both? They both have their advantages and disadvantages. Personally, I prefer a good condenser especially for vocals. Most of the time I want accuracy with a top end that blends smoothly with the midrange. But then again there are times when I want the width and robustness of a dynamic. Choose your weapon.

Depends on where I'm working. For my own little project studio I just have an mBox 2 Pro. The other studio I use had an 003 for the longest time, but now we have a Metric Halo. We honestly don't bother with interface preamps for the most part (although I have used the stock Digidesign preamps quite a bit, and on most things find them perfectly usable). Re: the SM7/digi preamp combo - I can get away with it on a loud source like a guitar cab, but I'd rather not run the risk. A mic with hotter output is usually paired with a digi pre while the Sm7b is paired with the ISA One - this solves the problem.

Great points. Personally, I like having a decent condenser like a Studio Projects CS1 laying around as well. It's nice to have both options. Sometimes a good budget condenser is just the ticket for a mix. Often condenser mics work for me really well in a sparse mix, while my SM7b really comes through in a dense mix when you don't necessarily need all that extra detail.

I agree wholeheartedly. But I also agree with Patrick's observation that it takes EQ & Compression better than just about any other mic. SM7B is really like a lump of clay, and can be shaped into whatever form the artist (or engineer) intends; it doesn't have much of its own character with just the average amount of gain going into a clean pre. Potentially a little warmth from proximity effect, and smoother than most across the spectrum, but on the whole, the exact opposite of a 'character mic.' It wouldn't be the first mic I reach for in much any scenario, if I'm looking to get 90% there upfront. But it can get there (or close enough) in just about every scenario.

Yes, SM7b is definitely a really clean sounding mic. I find that mine responds REALLY well in a Neve type preamp. I find that it goes a better job of sucking in that sweet, Neve character better than my condensers do. I run my SM7 through a fully modded Pre73 and it REALLY adds some nice weight and character to the mic. SM7 can sound really good through a wire and gain preamp, but I do agree that it also can sound pretty vanilla and hard that way.

I don't know that I prefer it to my condensers, but I agree with the basic observation: it definitely sounds lots better through a MA5 (1073-style) than the AEA (clean) or Classic API pres I have laying around, especially with the presence boost switch engaged. I didn't care for the SM7/CAPI combo at all. Oddly enough, I'd never found any use for 421 in vocal duties, but found it almost perfect paired with a CAPI v28.

I guess the moral of the story is, you can't really just judge a mic without knowing the rest of the signal chain, from start to finish, and even then it will vary considerably across singers. But it's still fun to share impressions and learn about new tools this way. Even if it's no substitute for extensively using a mic in one's own studio.

Maybe the preamp has something to do with my not liking the SM7b as much as others. I use it with a Dav BG1 but then again I totally love the sm57 with it??? Kind of odd being as they are almost the same mics, no? Also wondering if anyone has had the opportunity to compare the rejection properties of the SM7 against a super or hyper-cardiod? I'm gonna end up trying it first-hand for myself but it won't be until next week....

Most likely the pre, the gain staging, & the eq (or lack thereof) all combined. It's really more of a blank slate/lump of clay than any other mic I know of, so just changing the pre still won't provide the detail on the highs that you'll get from a condenser. I wouldn't say a 57 is quite the same because it lacks the lower end and doesn't sound as smooth when pushed hard. Alone they're pretty similar, but they don't handle gain the same way.

I think the ideal setup with a SM7b is a mic--> 1073 style pre--> transparent FET compressor --> Vitalizer or BBE maximizer, to bring out the highs. It has smooth and relatively convincing capture of the mid-highs for a dynamic, so it can succeed as a condenser substitute when pushed hard, where so many others become gritty, abrasive, or low-fi sounding. But it takes some kinds of saturation much better than others. Definitely better with a Neve style than an API or clean pre.

HELL YEAHHHHH .. I just purchased this mic 2 weeks ago and from the moment I plugged it up I was like WOAHHHHH .. love it

I have to agree with some that it's not a wow mic. Sometimes it's a "just right" mic for a particular track. I recently recorded a vocalist that used the sm7 when tracking with the band but when we went to overdub the lead vocal with a m149 and compared it to the sm7, that was a wow moment. It was no contest that the Neumann was miles above it sonically. But there are still times when I feel the sm7 would be just right for a track. A couple of years ago, before I had an sm7, I had a vocalist where I was sure that would have been the right mic for his voice. He had a kind of Tom Waits thing happening and nothing was working. I wished I had an sm7 handy but the closest I had was an older dark md421 and it turned out to be perfect.

[QUOTE= Definitely better with a Neve style than an API or clean pre.[/QUOTE]

Yup. Definitely agree. Case in point, I sampled a Warm WA12 against a fully modded Pre73 with my Sm7. Hands down, the Pre73 added that special character/weight in the low-mids that the Warm lacks. Isn't the Warm supposed to be API'ish? Honestly, I couldn't hear a whole lot going on with the Warm in comparison with the Gap.

I don't know, what you all seem to love about Condensers "high end frequency content" I personally seem to not like all that much. Maybe if I were doing boy band music or something. I feel like the SM7b nails what really counts on a vocal, and that's the mids. I purchased Michael Cleary's AT4047 about a month ago and AB'd it against my SM7b. Honestly, the SM7b sounded better to my ears. There's some edgy frequencies going on with the 5-7K range on the 4047 that irritate me. The mic doesn't take EQ nearly as well as my SM7b. The 4047 is kind of a mic that's jagged where it shouldn't be and too dark where it needs to be brighter. Hence, Michael's 4047 is right back in the classifieds again! Nice mic, just not right for my voice. Just goes to show how important it is to match your voice with the right mic.

Hi Patrick, sorry the 4047 didn't work out. Did you try with other pres? Either way you should have no problem moving as I still have people asking if it's available. Mc

yea i can agree that which ever pre amp you use will make this mic attractable to your ears , and as far as a wow mic for everything idk, but on vocalist ive worked with yes it sounds great for the price that is what gives its wow factor to me, it may not sound good with every sound source im sure it doesnt, but with a good pre, it does sound great, its not like "oh im running to this mic everytime for everything" but if i sample a few great expensive mics i will pic the sm7b if it does sound better then another mic for the application (ig picking it over the u87 for a small recording booth) on top of that hearing the u87 in a huge live room ive prob still wouldnt like it too much every recording ive heard or recorded myself i just have not liked it too much again personal opinion..

Yes, tried with several preamps. Really nice mic, but it doesn't make sense for me to keep it when my SM7b seems to be fitting my particular vocals better. Agree. I shouldn't have any problems selling it.

I'm thinking of trying a Telefunken m80 or M81. Dynamic still, for room rejection but supposed to have a little more sheen on top.

Thanks for posting this. I also never found a use for mine, and after two or three years, I finally just sold it. But I don't do that kind of music and am typically looking for a more intimate sound with more detail. I can see that it works great for that kind of vocals.

Yes, a 312 clone I believe. I've tried both the CAPI 312 and V28 and for whatever reason, they make an SM7 sound like crap when driven hard. Whereas they work perfectly with a PR40 or 421 with the same settings, even better than my MA5s for tracking guitars. Go figure.

Definitely a double-edge sword. Too much brightness and sizzle can make for a thin-sounding vocal track, add sibilance, and doesn't layer as well on instruments. Probably why it's so often said that SM7 rules the roost at its price point, since most cheaper condensers tend to be on the bright side.

Still, I think the price argument only goes so far. It takes a really good pre to make a SM7 come to life, and if all you can afford are cheaper ones, a comparably-priced Rode or Kel or will probably yield more impressive results for most singers.

But that's just my take. It's all subjective of course, not to mention highly dependent on the rest of the signal chain.

I guess it all boils down to what you are going for. I'm a big fan of condensers as I like detail in the higher frequencies. You've mentioned before that you think condensers work better in sparse arrangements, but prefer your SM7 in denser arrangements. Obviously it all depends on the arrangement, but I can see the logic in this (esp. if you have a elements in the mix that are occupying the higher frequencies with which your vocal may end up competing).

so my buddy bought this mic along with a warm audio wa12 and i say it sounds pretty good, said he put his other mics to the side for now(which include a tlm 103) he said it works for what he is trnya achieve hes on the road alot, sometimes being in hotels next to a busy road so hes no longer plus he says he loved how it sounds cuz its works for him

it seems to capture a little more low end then a 58 although only go as low as 50hz but i wouldn't say its super noticeable dey both have the almost the same rolloff at about 100hz, but the 58s is more steeper and rolls off lower but i actually took a sm57 and did a recording with it but i did'nt have a preamp with me that day so i didn't sound its best, but what im been reading lately is like if someone took a sm57 or 58 with a really good pre and see how it sounded compared to a sm7b and if it just fits pretty well in the mix like a sm7b does, the sm7b is one of the those mics i feel you just got to have in your mic locker, but im done buying mics until that Slate Microphone system comes out looks promising, a lil off topic but the thing looks impressive. May Just pick one of those up. i know this is a sm7b thread but does anyone have anymore info on the slate microphone system? i seen it comes with a either dynamic mic similar to the sm57 or a small diaphragm condenser mic i forgot? and will either mic that slate is offering be able to emulate a sm7b? will it be a option?

Take the windscreen off, if you havent already. No way this mic should sound boxy..

yeah, boxy it is absolutely not.

maybe 'subdued' or 'blanketed' even, but i see those as the positives about the mic. but 'boxy' no way.
it's a great one for screamers.

In comparison to the other mics on hand it was. The windscreen would not change my mind because the boxiness wasn't significant enough to make or break anything anyway. I just did not prefer the sound of the mic over a decent condenser on the application for which it would primarily be used. I am not saying it's a bad mic. It's just not for me. YMMV.

You know, I find that the rejection on the SM7b is really not that great. Maybe the boxiness was room sound?

I can agree with that. While it has OK rejection, that's not why I like it. I have noticed that for some singers if they make a lot of hard 'FFFFFFFFFFF' sounds it can sound weird.

A mic with better isolation is the Beyer Dynamic M88

Well, yeah, there are like dozens better in that regard. Completely different sound too! Although M88 is a nice mic, no offense meant or implied, just made me chuckle, that's all.

Side-Rejection is no laughing matter! And neither are top-flight dynamic microphones!