Shure SM7B's gain requirements

C

CoverMan

New member
Hey Folks! I'm looking to upgrade my mic to the Shure SM7B for vocal recording (singing vocals of a gritty, rock sounding nature ). All the reviews I've read for this mic mention how it often times needs a gain push (anywhere from 40-70dbs) from an audio interface. I'm currently setup with a Behringer XENYX QX1202 usb mixer. This has a phantom power (+48v) option, though I don't know if this is what's needed. The mic input channel gain knobs say -10 (+10) to +40 (+60)...I assume this is in dbs???....if this is true, it SEEMS there might be enough to push the mic....right?? I'm fairly new to the home recording thing, so please bear with me and my ignorance :S

I'm just wondering if my current setup w/the Behringer will work well w/the SM7B, or if a different, more robust pre-amp interface will be what I need.

Any helpful input is GREATLY appreciated!

Cheers!!

-CM
 
Thanks for the helpful reply, Mark!!! This is good news to hear, and as luck would have it, my current mic is a Shure Beta58A, so the output should be close to the SM7B? From your comments, you suggest using a FetHead for an extra push to the mic as it helps create a better quality sound. If this helps to improve quality of the end product, I'm all for it! So, if the majority of the vocals I do are a gritty/yelling type (see James Hetfield and Layne Stayley :D) this should require less gain to get to the 'sweet spot' on the levels for recording, right?...sorry, my newbness is again rearing its ugly head :S

Thanks again for your help!

-Scott
 
Hi,
Good advice from Mark here.
I just wanted to chime in to say think long and hard before you commit.
I've had my 7b for a long time. It's seen mbox 2 preamps and dig 003 preamps and with both of those I really didn't like the mic.
Level wise, it played fine with both of those preamps for singing but there was audible noise when I did voiceover work.

More than that, though, I didn't like the sound of it overall and considered selling it.
Luckily, a substantial preamp upgrade came first and I'm glad it did!

This is now a bit of a go-to mic for me and, in my case, it really took those decent preamps to make the difference.


I'm not saying it'll suck for you or that you shouldn't buy it, but just be aware. If you have any possible way of testing one out first on similar, or the same, gear, do that.
If you think you might upgrade your interface/preamps some day soon then you may as well go ahead and pick up the 7b,
but if you're looking for a one-off upgrade that'll definitely work out for you, be careful. :)

If you're stuck with low-end preamps and not sure how to proceed, I'd rather have an NT1A and a few absorption panels.
 
Hi Steenamaroo, thanks for your insight! I actually have the NT1A on my 'short-list' of mics I was considering with which to upgrade before I saw the SM7B. :D I currently am not setup w/a 'sound proof' type environment w/absorption panels and such, but that's on my to-do list! I think I was leaning towards the SM7B for the fact its not a condenser mic and my lack of paneling wouldn't adversely effect the recording outcome that might happen w/the NT1A. Definitely some things for me to think about... :S Do I: a) Stick w/my Behringer mixer and get the NT1A, and focus on the sound-proofing?...or b) Get the SM7B, see how it works w/my mixer's gain push and decide whether it needs an additional pre-amp, pushing out the 'sound-proofing' project since its a dynamic style mic? From a monetary view, it seems that sticking w/what I have, getting the NT1A, and taking a frugal approach for sound-proofing is going to be the quickest/cheapest route....???....I've some decisions to make...XD

Thanks again!!
-Scott
 
You've got it sussed. It really just comes down to what you'd prefer, and what you intend to do in future.

You're right about the whole dynamic/condenser room treatment thing.
You can get right up against a 7b (for example) without any plosive issues and, therefore, minimise the amount of room sound in the recording.
You can't really get away with the same approach with an NT1A or similar, which is why I mentioned absorption panels.

If you do consider that route, you don't need to go overboard. A couple of small (2'x2'x4") rockwool panels can make a huge difference! :)
You know the environment though, and I don't. You might even get away without treatment.
Not very common, but it happens.
 
Another +1 for the SM7B. Not only have I enjoyed it for vocals (and not just aggressive rock stuff), but I've loved it on acoustic guitar, electric guitar amps, and bass amps especially. That's all I've tried it on so far, but it's already one of the most versatile mics I own.

Heck, it's the mic that Michael Jackson used to record most of "Thriller," so the mic is obviously capable of the "pro-est" of sounds, what with that being the #1 selling album of all time and all. :) Of course, some mics just don't play nice with some people's voices, so your mileage may vary, obviously.
 
I use an SM7B for voice overs in training videos. I found that a Cloudlifter made a big difference when going into my Mackie Onyx Blackjack interface.
It's a great combination.
 
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