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Should I go Dynamic?
Old 13th March 2014
  #1
Gear Nut
 
🎧 5 years
Should I go Dynamic?

I treat my rooms the best I can on a budget (you know it's just never the same as the studio tho...) so I'm selling my AT4040 for the RE320 because my voice is soft/smooth and deep and I heard it can make the highs more pronounced.

Attached is a mix of me on a Shure sm7b (EQ'd of course)

I'm looking to get the best dynamic mic I can, so is the RE320 it?

Maybe I should keep the dynamic in the home studio and go to the real studio for condensers because I can never seem to enjoy the full benefits of a condenser due to my bad rooms.
Attached Files

smpl.wav (8.86 MB, 138 views)

Old 13th March 2014
  #2
Lives for gear
 
edva's Avatar
 
26 Reviews written
🎧 10 years
"Best" depends on how it suits your voice. SM7b is good. RE-20 is very good. 441 is the "best" dynamic overall, IMHO. And has a tighter pattern/better rejection than the others. Good luck.
Old 13th March 2014
  #3
Lives for gear
 
guitarboy94's Avatar
 
🎧 5 years
OP,

There's no right answer. Some folks get a great vocal sound from a measly SM57. Personally, I've tried most of the "good" dynamic mics (those listed above amongst others) and I keep coming back to the SM7b. The RE20 happens to be my least favorite, as I found it to have an obnoxious, spitty "essy" sound going on with my ess's. I found the SM7b to have a much more rounded tonality with zero sibilance. But the RE20 worked for Stevie Wonder, so go figure. The bad news is that you're going to have to buy or audition a batch of mics and figure out which ones works best for you. I hope you have a wad of cash handy. IF not, book some time at a studio and play around with some mics.
Old 13th March 2014 | Show parent
  #4
Gear Nut
 
🎧 5 years
Quote:
Originally Posted by guitarboy94 ➑️
OP,

There's no right answer. Some folks get a great vocal sound from a measly SM57. Personally, I've tried most of the "good" dynamic mics (those listed above amongst others) and I keep coming back to the SM7b. The RE20 happens to be my least favorite, as I found it to have an obnoxious, spitty "essy" sound going on with my ess's. I found the SM7b to have a much more rounded tonality with zero sibilance. But the RE20 worked for Stevie Wonder, so go figure. The bad news is that you're going to have to buy or audition a batch of mics and figure out which ones works best for you. I hope you have a wad of cash handy. IF not, book some time at a studio and play around with some mics.
But by "great" is it a subjective thing or objective? Because I'm not an experienced engineer or anything, so I don't know how good my vocal quality can get, if that makes sense.
Old 13th March 2014 | Show parent
  #5
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guitarboy94's Avatar
 
🎧 5 years
Quote:
Originally Posted by Altermax ➑️
But by "great" is it a subjective thing or objective? Because I'm not an experienced engineer or anything, so I don't know how good my vocal quality can get, if that makes sense.
Well, honestly, if you're doing this on your own as a home recordist you really need to learn how to listen to a track and gauge whether or not it's pleasing to YOUR ears. I propose that you're not ready to make a choice just yet. Perhaps compare your tracks to a commercial release and see how it stacks up? Everybody, including pro studio engineers, is going to give you a subjective opinion based on his or her experiences. That's just human nature. The mics mentioned in the thread above have all been used successfully on many commercial releases. Just as the poster above happens to love the RE20, I happen to hate it on vocals. I happen to find the lowly SM57 more pleasing on vocals to my ears. But that's based solely on my experience and my voice. I love the colored tone of Shure dynamic mics, preferably the SM7. But some do not. And that's okay. See how subjective that is?
Old 13th March 2014 | Show parent
  #6
Gear Nut
 
🎧 5 years
Quote:
Originally Posted by guitarboy94 ➑️
Well, honestly, if you're doing this on your own as a home recordist you really need to learn how to listen to a track and gauge whether or not it's pleasing to YOUR ears. Perhaps compare your tracks to a commercial release and see how it stacks up? Everybody, including engineers, is going to give you a subjective opinion based on his or her experiences. That's just human nature. The mics mentioned in the thread above have all been used successfully on many commercial releases. Just as the poster above happens to love the RE20, I happen to hate it on vocals. I happen to find the lowly SM57 more pleasing on vocals to my ears. But that's based solely on my experience and my voice. I love the colored tone of Shure dynamic mics, preferably the SM7. But some do not. And that's okay. See how subjective that is?
Ah..I understand what you're saying. In the end though, me going dynamic is a better idea because the worst a dynamic mic would do to my voice (let's say sibilant issues for example) is much better than the damage a condenser mic can do on an unoptimized room on my voice I guess.
Old 13th March 2014 | Show parent
  #7
Lives for gear
 
guitarboy94's Avatar
 
🎧 5 years
Possibly. But be careful about thinking that a condenser can never work in an untreated room. I've used condensers many times in untreated rooms with great success. If you find a condenser you can work closely without massive proximity effect it's very possible to get great sounding tracks with a condenser in a less than stellar space.

Quote:
Originally Posted by Altermax ➑️
Ah..I understand what you're saying. In the end though, me going dynamic is a better idea because the worst a dynamic mic would do to my voice (let's say sibilant issues for example) is much better than the damage a condenser mic can do on an unoptimized room on my voice I guess.
Old 13th March 2014 | Show parent
  #8
Gear Nut
 
🎧 5 years
Quote:
Originally Posted by guitarboy94 ➑️
Possibly. But be careful about thinking that a condenser can never work in an untreated room. I've used condensers many times in untreated rooms with great success. If you find a condenser you can work closely without massive proximity effect it's very possible to get great sounding tracks with a condenser in a less than stellar space.
Ok. Now I'm complete confused lol ...

I guess I should just get a buttload of mics now.
Old 13th March 2014 | Show parent
  #9
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guitarboy94's Avatar
 
🎧 5 years
Quote:
Originally Posted by Altermax ➑️
Ok. Now I'm complete confused lol ...

I guess I should just get a buttload of mics now.
I'd say that if you have a decent grasp on EQ'ing, it's safer to stick with good dynamic mics in an untreated room. What is it that you don't like about your Sm7?
Old 13th March 2014
  #10
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MarkF48's Avatar
 
🎧 5 years
I have both the RE20, RE320, SM7B as well as a fair collection of somewhat budget condenser mics including an AT4040. Lately I've been using the RE320 quite a bit for vocals and I find I am liking the sound for my voice which is deep toned and needs a tad of brightening on the top end. The RE320 does have a bit more high end to it than the RE20 and also a bit hotter output which doesn't need as much preamp gain as the RE20 or SM7B. As guitarboy94 mentioned the RE20 is sensitive to esses and the RE320 maybe a bit more so since it has a more pronounced high end. The RE320 also has some proximity effect and can be a benefit if you need a little push on the low end on certain material. If your room isn't treated well, such as mine isn't, a dynamic like the RE320 does not pick up as much ambient room like a condenser. Both the RE320 and RE20 I bought used at bargain prices, so I knew if I didn't like the mics I could sell at not much loss. I got the SM7B new on a retailers 18% off deal after some sweet talking to the sales rep (Shure mics were supposedly exempt from the sale ). A new RE320 is pretty affordable.
Not easy finding a mic that fits and you end up with a bunch that you conclude all sound good for certain purposes.

The SM57 has a similar frequency curve to the RE320, sounds close, but the RE320 is much smoother in it's sound.
Attached Thumbnails
Should I go Dynamic?-re320-sm57.jpg  
Old 13th March 2014 | Show parent
  #11
Gear Nut
 
🎧 5 years
Quote:
Originally Posted by guitarboy94 ➑️
I'd say that if you have a decent grasp on EQ'ing, it's safer to stick with good dynamic mics in an untreated room. What is it that you don't like about your Sm7?
I had the AT4040 and I recently used the SM7B with someone who helped mix it for me, and I just find that the SM7B did a better job of giving my voice more power and presence somehow that easily cut though the mix - something I need for rap.

AT4040 samples:Altermax – Lies of Old ft. John Piper | New H2O

https://www.youtube.com/watch?v=3TRu4vqlvRE

I bearly EQ'd it too. I also did an entire mixtape with it and generally found the samething, granted, I only have a focusrite scarelette 2i2 interface, but with the SM7B I used the beastly Audient id22.
Old 13th March 2014 | Show parent
  #12
Gear Nut
 
🎧 5 years
Quote:
Originally Posted by MarkF48 ➑️
I have both the RE20, RE320, SM7B as well as a fair collection of somewhat budget condenser mics including an AT4040. Lately I've been using the RE320 quite a bit for vocals and I find I am liking the sound for my voice which is deep toned and needs a tad of brightening on the top end. The RE320 does have a bit more high end to it than the RE20 and also a bit hotter output which doesn't need as much preamp gain as the RE20 or SM7B. As guitarboy94 mentioned the RE20 is sensitive to esses and the RE320 maybe a bit more so since it has a more pronounced high end. The RE320 also has some proximity effect and can be a benefit if you need a little push on the low end on certain material. If your room isn't treated well, such as mine isn't, a dynamic like the RE320 does not pick up as much ambient room like a condenser. Both the RE320 and RE20 I bought used at bargain prices, so I knew if I didn't like the mics I could sell at not much loss. I got the SM7B new on a retailers 18% off deal after some sweet talking to the sales rep (Shure mics were supposedly exempt from the sale ). A new RE320 is pretty affordable.
Not easy finding a mic that fits and you end up with a bunch that you conclude all sound good for certain purposes.

The SM57 has a similar frequency curve to the RE320, sounds close, but the RE320 is much smoother in it's sound.
Thanks a lot! How sibilant did you find the SM7B compared to the RE320? When I tried the SM7B I didn't get ANY sibilance
Old 13th March 2014 | Show parent
  #13
Lives for gear
 
MarkF48's Avatar
 
🎧 5 years
Quote:
Originally Posted by Altermax ➑️
Thanks a lot! How sibilant did you find the SM7B compared to the RE320? When I tried the SM7B I didn't get ANY sibilance
I can't recall much if any sibilance with the SM7B. I do get some on occasion with the RE320, but being aware that it can happen, maybe I'm a bit more careful about esses.
Old 13th March 2014 | Show parent
  #14
Lives for gear
 
1 Review written
🎧 15 years
Quote:
Originally Posted by guitarboy94 ➑️
Possibly. But be careful about thinking that a condenser can never work in an untreated room. I've used condensers many times in untreated rooms with great success. If you find a condenser you can work closely without massive proximity effect it's very possible to get great sounding tracks with a condenser in a less than stellar space.
Yes, but it depends on how much the singer "triggers" the room of course.
Old 13th March 2014
  #15
Gear Head
 
🎧 5 years
Polar patterns matter. I learn that more every day.

If you have a long-ish room, a figure-8 pattern mic will really reject the reflections from the sides and give you a bit of isolation if you can absorb the back side of the figure-8 (with something like a mic stand with heavy blankets on it), you can get a pretty tight sound. You DO have to worry about proximity effect, though. Figure-8 tends to exaggerate proximity a little bit.
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