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just got my SM7... WOW
Old 25th January 2010 | Show parent
  #61
Gear Head
 
🎧 10 years
Is the hm-2d as forgiving of a bad/untreated room as the sm7b? how about the c03? Thanks.

Quote:
Originally Posted by Kelly Dueck ➡️
I'm glad you like the microphone. Thanks for the Kind words. I've been a little shy about participating on boards like this so I've only recently started participating here at GS but sometimes there are misconceptions around the HM2D and I want to clarify a few things. (but I also don't want to turn this into an HM2D thread so I'll just get in and get out!)

The HM2D has advantages and disadvantages compared to the SM7 and they relate to some of the topics Michael has been touching on -- things like diaphragm mass, time domain versus frequency domain, polar pattern, sensitivity, etc. These are all hugely important factors and hardly anyone thinks about them. (But that's what I like about this board ... folks here ARE thinking about them)

The HM-2D sounds like a whole bunch of different mics, depending on where you position it. Most of the time, folks record vocals on an SM7 fairly close to the mic .. say 6 inches, give or take. At this distance the HM2D is similar in flavour to the SM7, but from 12 inches, 24 inches or more, the mics are completely different because the off-axis frequency response is different. The HM2D continues to deliver useful bottom end at more of a distance. On the other hand, one of the STRENGTHS of the SM7 is that is helps eliminate unwanted room tone if that's what you need and it sounds so amazing when you are right on top of it. The HM2D has more proximity effect and is more suscpetible to popping up close so you don't want to work it quite as close and you should use a pop filter.

Because of the completely different capsules and operating modes, transient response is different, so the mics sound different on percussion, while they are more similar on sources like vocals, saxes, bass, etc. Depending on placement they are similar on amps, but the SM7 handles loud sounds in a more practical way. It is not a hot mic so you often don't have to pad it down on loud sources. The HM2D is waaaaay hotter and you may need a pad. It was actually designed to be more of a vocal mic, as well as a mic that you could use to record quieter sources and still get some SM7 flavour even if you don't have access to a high end pre with lots of clean gain. (For example Grammy winning Nashville legend Bil VornDick uses the 2D on things like mountain dulcimer where it sounds huge. The SM7 is not really sensitive enough to capture the duclimer easily and the diaphragm is too heavy to handle the transients as accurately.)

Of course the 2D has no pad, no low cut, etc. which can be a big disadvantage in some cases but it helps keep the cost reasonable. Then again it's transformerless so it behaves better around loud low frequency information than many low cost transformer balanced mics. On the other hand the SM7 with it's output transformer sounds like a bunch of different mics depending on the input impedance of the pre. If you have a variable impedance preamp you have a bunch of mics in the SM7, with the 2D it hardly sounds different at all.

So what is my long, rambling point? Just that lots of decisions go into a mic design and you can tailor the response in so many ways -- through physical methods (mass and materias) and electronic methods and acoustical methods. The SM7 is a classic. I don't personally see any need to clone it. And with that ... enough about the HM2D. This thread is about the SM7!
Old 25th January 2010 | Show parent
  #62
Gear Maniac
 
My Tiny Circus's Avatar
 
2 Reviews written
🎧 10 years
SM7b on Upright

Quote:
Originally Posted by Razorfish ➡️
Been hearing that the SM7 is good for acoustic bass as well. Anyone used it for that?
I've used it on one f-hole and put a Pearlman TM-1 on the other and both sounded great through a Great River MP-2NV. I gave both files to the mixer and I don't know which he used but predictably the SM7 had more body and the TM-1 had more air and detail.
Old 25th January 2010 | Show parent
  #63
Gear Maniac
 
🎧 10 years
you guys are killing me

I am waiting on my sm7b, GR me-1nv, and chameleon labs 7802. I can't sleep this is a very very very bad addiction way worse than any I have had
Old 25th January 2010 | Show parent
  #64
Gear Maniac
 
GoVeganDude's Avatar
 
🎧 10 years
do most of you take off the cover and boost the presence when using the sm7b on vocals?
Old 25th January 2010 | Show parent
  #65
Lives for gear
 
rty5150's Avatar
 
🎧 10 years
Quote:
Originally Posted by GoVeganDude ➡️
do most of you take off the cover and boost the presence when using the sm7b on vocals?
cover off, but i leave mine flat. i use a metal pop filter as well. sounds great. i have "never really tried" the pesence boost on it. i have plenty of brighter mics to choose from if that's what i am looking for. i love the sm7b as is. i have an re-20 as well for a slightly different flavor, too.
Old 31st January 2010 | Show parent
  #66
Lives for gear
 
Michael_Joly's Avatar
 
🎧 15 years
Does anyone here have both an SM7 and EV RE-15? That's a shoot out I'd like to hear.

For most shoot outs I do I like to hear the competing mics used on the same source - one take. But for the purpose of showing what a great and overlooked vocal mic the EV RE-15 is I would suggest the following - do separate takes for each mic, same singer, but EQ them individually for best sound. My contention is the flatter-response RE-15 is going to be more versatile and take less EQ to make a killer vocal track. Oh, same thing for guitar cab as well.
Old 3rd February 2010 | Show parent
  #67
Registered User
 
🎧 10 years
Quote:
Originally Posted by rcm ➡️
Getting to see how it sits in a mix is where you really see how this mic shines.
I am an average to good singer, an average to good guitar player, and a total amateur at mixing. I am mainly a songwriter / composer doing my own stuff for fun at home. Totally untreated room. SM7B into Duet for vocals, ESP guitars into Duet DI for guitars. That's all apart from samples. Working with headphones (ok, AKG K271 Mk2, they are decent) or an old hi-fi set (still saving up for monitors) for mixing.

When I got my SM7B and made my first few vocal tracks with it, I noticed two things:
1. Early demo stage. Scratch tracks for orientation while programming samples and soft synths. I was sitting in front of my working desk, close to the computer (fan noise), in a room with bad acoustics (attic, one wall under the roof, ceiling low etc.). The recorded vocal sound is so dry, all these acoustic setbacks are (almost) completely inaudible.
2. Again, i am an amateur at mixing - totally. But this take, with just the URS CSP loaded, Fet12 compressor model and a slight Boost at 8kHz with the 1951 EQ model, sits so perfectly between all the other elements - it is not so loud as to cover anything else, actually it is not sticking out from the mix volume wise, but it is always perfectly cutting through, every word very understandable - even ME got it to sit well. And that means something! Listened to it on my laptop speakers, the stereo (good consumer sound) and my AKG headphones (which I consider to really be on the flat / analytical side). Worked very well on all three systems.
It sound svery beefy, has a full body, pushes the voice forward. At the same time it lacks detail and depth / dimension / whatever you call it. I can fully see how this and a good LDC - maybe something on the brighter / airier side - make a perfect vocal mic locker combination for a home recordist.

Not wanting to hijack this thread, but a question to Ronan Chris Murphy...
I saw your recording Show episode about starting up your mic collection. You mention the MXL V67 as one of the few good cheap condensers there are. I have seen that there are various models of the V67, like the V67G, the V67i, the V67 tube... which one were you actually referring to? Or is your recommendation valid for the whole V67 series?
Because I am still in need of mentioned LDC to combine with my SM7B...
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