SM7 vs SM7A vs SM7B

Phosphene

Horse Diaper
Why do people pay $100+ more for the original SM7 than the SM7B. I know the technical differences between the models, and Harvey even said that he could not tell the difference between the SM7 and SM7B in sound. So is this a collectibility/elietist thing? Is it because the original was made in the USA?
 
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Beats me. I can't hear the difference either. The big question is- Do you like yours hanging down from above, or with the armiture reversed, on a straight mic stand? My best contribution to debates on SM7 A/D/whatever, is that it is an overlooked badass stage mic, because it's not hand-holdable, really, without modifications or accessories... Now there's a concept- I could put a short quick release attachment on it... Usually it doesn't matter, cause I'm playing (in my own limited way) guitar. Trust me on this- plug it into a good PA!!- Richie
 
I could be totally wrong here but doesn't the original need less gain than the B? Again I'm probably wrong but that still doesn't justify spending the extra $.
 
I guess some of the jury is still out, as there are those that claim there is an audible difference. Shure claims the only substantive difference is the change in the armiture. I am not enough of a techno-geek to clam there is *no* difference. My experience suggests they are basically the same, and both of them need a lot of clean gain, as much as +60db for some recording applications. It is a *great* voiceover mic. On stage, it's one feedback resistant sumbitch, and very forgiving in terms of its proximity field. Don't leave home without it!-Richie
 
Richard Monroe said:
Trust me on this- plug it into a good PA!!- Richie

I figured the SM7 would be problematic as a live mic due to the large amount of gain it requires. Wouldn't all the extra gain contribute to additional feedback?
 
nuemes said:
I figured the SM7 would be problematic as a live mic due to the large amount of gain it requires. Wouldn't all the extra gain contribute to additional feedback?


I'm not a live sound guy, but it seems to me the more gain a mic needs, the less problems it has with feedback.......
 
i have an 'a' that i thought was a 'b'...it sounded better once I knew it was an 'a' :D

i've used both and they are both the same. i think the b has a different humbucking circuit or something? i borrowed a newer one for a job and used them interchangeably.

agreed on the vintage $ thing. i hate to talk like an old timer but old gear used to be cool cuz it was better than new gear...this was back when new gear sort of sucked in the 80's and early 90s... nowadays? yikes what a crazy amount of cool gear.
 
Originally Posted by nuemes
"I figured the SM7 would be problematic as a live mic due to the large amount of gain it requires. Wouldn't all the extra gain contribute to additional feedback?"

Just the opposite. The mic was designed to isolate voices from background noise for broadcast applications. So it's not that sensitive, which doesn't mean it lacks detail or texture. Total gain causes feedback, heavily affected by the room, component positioning, and relative phase of the speakers and mics. It doesn't matter that much whether the gain comes from the mic, the pre, or the power amp, or the instrument itself. The cool part about the SM7 (and RE20) is that the proximity effect is gradual and subtle, without a clearly defined proximity field. That makes it forgiving. Using the midrange boost switch on the mic (I do, it suits my voice) increases feedback *a little*. I regret to say I haven't had a KMS105 or similar to use, but SM7B is flat out the best live vocal mic I've ever used.-Richie
 
I didn't get a manual with the mic, but is it a midrange boost or presence boost?

I have used a 737 and a Great River Me-1Nv with the mic, and I've got them both maxed out and I have to yell pretty loud to get them to clip. What pres have you guys had the most luck with?
 
I take presence to be a more specific range of frequencies (4kHz-6kHz) between the upper mid and high frequency ranges.

The switch on the SM7B boosts over quite a broad range (around 1kHz-8kHz) so I'd call it a mid boost. Confusingly Shure call it a mid boost and a presence boost.

I guess these terms can mean different things to different people. :confused:
 
Phosphene said:
I have used a 737 and a Great River Me-1Nv with the mic, and I've got them both maxed out and I have to yell pretty loud to get them to clip. What pres have you guys had the most luck with?

i think the John Hardy M-1 is a perfect fit with the sm7 for a lot of stuff...next best i have is the 312...in which case if i need more gain i add it from a compressor in the chain...

Mike
 
Thanks for the link, RAK! I was wrong. The SM7A is when they changed the armiture, and SM7B added an additional, heavier windscreen (which I never use). As far as pres- in the studio, I plug the SM7B into Avalon AD2022 or Joemeek twinQ. In my micro/remote setup, I use a DMP-3. It doesn't have to have a kickass pre (although that sure as hell doesn't hurt. You just need a lot of gain without a lot of preamp self-noise. I've tried it with a DBX386 -not enough gain. The DMP-3 works fine. About 60db will do it.-Richie
 
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