Considering a purchase of a Shure SM7B for my first XLR setup

Parin

New member
Hello!

I've been using a Blue Yeti microphone for the past year or two, and I'd like to purchase a Shure SM7B for use in an untreated room. With it, for my complete audio chain I'd like to purchase the dbx286s preamp/processor and the Focusrite Scarlett Solo (2nd Gen) USB Audio Interface with Pro Tools for use as my audio interface. I'm interested in the Shure SM7B because it is said to do will with deeper voices while effectively masking background noise to a better degree than is possible with a condenser microphone.

Here is a sample of my voice recorded with a Blue Yeti microphone sometime ago: Vocaroo | Voice message

This will be connected to a PC running Windows 10 Professional for use in applications such as Skype, Discord, and Audacity. I'm following advice that I found on this Youtube video:
https://www.youtube.com/watch?v=FEaivtPrBe0


What do you think of my audio chain? Is the Shure SM7B the right fit for me? Here it is again, one more time:

-Microphone: Shure SM7B
-Preamp/Processor: dbx286s
-Interface: Focusrite Scarlett Solo (2nd Gen) USB Audio Interface with Pro Tools


Thank you!
 
Others here will no doubt have an opinion on the suitability of the SM7b for your voice but I would just like to mention the very low gain, by modern standards, of the Solo's pre amp at a stated 50dB and you might struggle for level.

You can rescue the situation with a Cloudlifter or Fethead pre amp but beware! The reason dynamic mics 'appear' less room sensitive is because the ARE much less sensitive than capacitor types. At least 10dB lower and many cap' mics are over 20dB hotter than the warhorse 57/58. The Cloudlifters et al will potentially put you on a par with a capacitor mic.

Maybe time to go for a better featured interface? Stay with Fr'ite if you like but the Zoom UAC-2 is gaining great rep.

Dave.
 
Ya, the Dynamic doesn't pick up the flea sneeze. I think Dynamics benefit from a real preamp, though. Most people are frustrated trying to get a SM7b level with a budget preamp. On the bargain side, sometimes you can stage one side of a Stereo Pre into the other side
 
Also take a look at the EV RE-20 or RE-320. Comparison of the SM7b and RE-20 in this Youtube vid...
https://www.youtube.com/watch?v=HZDnzW2EY0Y

I have the SM7b, RE-20 and RE-320 (all bought used) and I prefer the sound of the RE-320 for most basic voice type stuff. The RE-320 has a hot enough output you may not even need an extra boost from a preamp or a Cloudlifter or Fethead.
SM7b - 1.15 mv/PA
RE-20 - 1.5 mv/PA
RE-320 - 2.5 mv/PA
SM57 - 1.6 mv/PA

I also have a DBX286s and it's a decent budget channel strip for the money and gives some options in tweaking the audio. If I'm not using the 286s, I use a Fethead behind the SM7b or RE-20. The Fethead does alter the sound of a dynamic mic in a good way, giving a slight bit more clarity. Not sure if the Cloudlifter does similar.

If you do go with the 286s, use a 1/4" TRS to TRS cable to connect to the interface.
 
I was under that the impression that I could use the gain provided by the DBX286s and forgo the Cloudlifter entirely, then output that into the focusrite, which would then output to my PC. I've been reading things about the RE20 versus the SM7B, and the general consensus that I've found tends to be that the RE20 is better suited for those with a slightly higher (mid-high) voice. I think, anyway? It's all rather confusing! But that's why I'm here, though.
 
I was under that the impression that I could use the gain provided by the DBX286s and forgo the Cloudlifter entirely, then output that into the focusrite, which would then output to my PC....................
Yup, mic into the DBX286s or other outboard preamp into the interface will work fine. If you didn't want to use a channel strip or outboard preamp the Cloudlifter or a Fethead would be the way to go to get the boost an SM7b or RE-20 would need.
 
"I was under that the impression that I could use the gain provided by the DBX286s and forgo the Cloudlifter entirely"

Oooops! Missed that DBX! Yes, if the noise specc' is to be believed that will work.

Dave.
 
I only bought my 320 a couple of years ago, and at first I hated it. Bland, boring and far far too big! However, it now sits in my studio as a permanent fixture and I can plonk it in front of anything almost and get a usable sound. I guess the SM7 will be the same, but only on loud or close sources.
 
I use a 7b on VO stuff (pretty quiet by most standards) and a zillion vocal recordings back in my studio rat days with relatively humble preamps, with no issues on getting a decent level... One of the greatest vocal mics of all time.
 
Is it okay for the included pop filter to be removed from the Shure SM7B entirely? It seems a bit more exposed than other mics do, with the giant holes and everything:

28tuot2.jpg


I've been reading that leaving the filter on negatively impacts sound quality.


I was also looking at the Warm Audio WA12 preamp to pair with the SM7B, but I don't want to lose the realtime processing features of the dbx286s to reduce background noise. Will using the focusrite as an interface negatively impact my sound quality? I don't plan to use the gain on the focusrite; I only want to use it for analog-to-digital conversion so that I can get the audio onto my PC.

I'm trying to keep my budget somewhere in the ~$700 range or so, total.
 
People regularly remove some, if not all, of the stuff around the capsule. Up to you.

I would just start with the new MIC.
 
Downside to 'pop filters in general;
You loose a bit of top end.

Downside to not having [adequate for the use] pop filtering;
Crappy breath noises polluting your tracks.

I'll take a bit of clarity' loss I can make up with a touch of eq every time.
 
Will using the focusrite as an interface negatively impact my sound quality? I don't plan to use the gain on the focusrite; I only want to use it for analog-to-digital conversion so that I can get the audio onto my PC.

You will be OK with the Scarlett It's quiet. Latency is it's big struggle.. but that's not an issue with this signal chain.
 
The pop gag does not just reduce plosives, it also keeps spit off the diaphragm (and other unmentionables!) . A conventional frame shield could be used which perhaps has less HF loss than a foam gag? There are some very low loss but very effective shields on the market that cost 2 or 3 times the price of conventional ones but are said to be worth the extra. Name escapes this old, med addled brain but I shall track them down. (I would not let ANYONE gob into ANY of my mics and if they did it to an SM7b I would brain them with a counterweight!)

The issue with running a pre amp through an attenuated mic pre is a common worry but I have never thought it a problem. Even a workaday mic pre, at minimum gain and with a 20dB pad is going to be pretty transparent and the F'rite pres are rather better than 'workaday' by all accounts!

'Oil be beck!'
Dave.
 
You will be OK with the Scarlett It's quiet. Latency is it's big struggle.. but that's not an issue with this signal chain.

Can you ellaborate on this a bit? Does this mean that, when monitoring the recording in realtime through headphones connected to the Scarlett, that there will be a noticeable delay between my speech and when I hear that speech played back through the headphones?
 
Can you ellaborate on this a bit? Does this mean that, when monitoring the recording in realtime through headphones connected to the Scarlett, that there will be a noticeable delay between my speech and when I hear that speech played back through the headphones?

Not at all- there is a hard monitoring loop that doesn't go through the computer.
If you were playing a VSTi, though.. there would be a little delay.
 
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