SM7B Question

[tvolhein]

I just purchased a Shure SM7B. The mount sort of baffles me. I have turned over the mic in the bracket. That was a challenge, what with the little brass fittings. Once mounted on the stand, the mic swivels easily. Is this normal, or should I tighten the screw that runs down the center of the "stem?"

I don't want to take the mic out of the bracket again if I don't have to.

I am used to shock mounts or more stable mounts. But if this is the way that the Shure is supposed to work, I am ok with it. I just don't know.

Thanks,

Tom

Tom Volhein
http://www.tomvolhein.com

[antichef]

yes - just tighten it until it's tight enough to hold the mic in place

[thajeremy]

I had a similar problem when I got mine. If yours is like mine, you cant tighten it down that much or it will break. we make rubber seals and gasketts where I work so I just traced one on paper and went to work and got a couple of rubber washers to fit and they worked like a charm....

[Richard Monroe]

I understand your problem. The threaded locking ring at the bottom of what you call the "stem" can't seat without using a lot of thread. If it can't seat, the mic will swivel. Remove any adjustment ring, lock washers, or whatever from the mic stand itself , leaving only bare thread. Then the threaded ring will seat, and the mic will become quite secure with simple thumb and finger pressure. If you don't have enough available thread on the mic stand, no amount of force will help. You'll just break the mic locking ring. This has nothing to do with turning the mic over, and remains true either way. Hope that helps.-Richie

[tvolhein]

Originally Posted by Richard Monroe

I understand your problem. The threaded locking ring at the bottom of what you call the "stem" can't seat without using a lot of thread. If it can't seat, the mic will swivel. Remove any adjustment ring, lock washers, or whatever from the mic stand itself , leaving only bare thread. Then the threaded ring will seat, and the mic will become quite secure with simple thumb and finger pressure. If you don't have enough available thread on the mic stand, no amount of force will help. You'll just break the mic locking ring. This has nothing to do with turning the mic over, and remains true either way. Hope that helps.-Richie

Perfect, thank you Richard and thajeremy

t

[tvolhein]

I have the mic set up and am testing it.

It seems to need quite a bit of gain from my pre's. That part is fine, I have plenty.

My question is: Is it common to use an additional pop filter or just the "big" foam one that comes with the mic?

Although sometimes powerful, none of the vocalists I am currently recording are screamers.

Thanks

tom

Tom Volhein
http://www.tomvolhein.com

[WhiteStrat]

Originally Posted by tvolhein

I have the mic set up and am testing it.

It seems to need quite a bit of gain from my pre's. That part is fine, I have plenty.

My question is: Is it common to use an additional pop filter or just the "big" foam one that comes with the mic?

Although sometimes powerful, none of the vocalists I am currently recording are screamers.

Thanks

tom

Tom Volhein
http://www.tomvolhein.com

Yep, needing lots of gain is normal for the SM7b. I don't use a pop filter. I don't even use the big round foam windscreen that came with it (but not on it); I use the smaller "flattop" windscreen that should've been on it in the box.

My last project had two male vocalists, and while neither were screamers, they projected a bit now and again. We did just fine with the mic like I described it.

[tvolhein]

thanks whitestrat

I have been using the big wind screen, I will try the small wind screen. It is pretty amazing how the mic doesn't pop.

I am used to condensers, and I like the sm7, because the vocal is right up front due to getting so close to the capsule.

tom

[WhiteStrat]

You may like it even better with the smaller windscreen. The large one is large enough to actually muffle it a bit, so you may notice a touch more clarity with the smaller one.

Yep, the SM7b has become my "first try" mic for male vocals, and it's more often than not the one I go with.

[NL5]

SM7 is a great vocal mic. Really shines thru a great pre and smashed with an 1176.

[tvolhein]

Originally Posted by tvolhein

thanks whitestrat

I have been using the big wind screen, I will try the small wind screen. It is pretty amazing how the mic doesn't pop.

I am used to condensers, and I like the sm7, because the vocal is right up front due to getting so close to the capsule.

tom

In my tests, I am singing straight into the mic (mic is horizontal) capsule. It is my understanding, and from reading the user's guide, that this is the way the mic is designed. Is that the way others use it?

Thanks

Tom

Tom Volhein
http://www.tomvolhein.com

[WhiteStrat]

Yep, you've got it. Though it's bigger and shaped like a condenser (which would lead one to think he should come at it sideways) the capsule is pointing straight up--just like in a handheld dynamic. So you sing right into the top.

[tvolhein]

Thanks again

[Richard Monroe]

I find the bigger foam screen is only useful outside on a very windy day. For most studio uses the smaller screen is all you need, and you can add a steel pop filter for a vocalist whose mic technique sucks. Here's a tip- most people have no use for the midrange presence boost switch (the one with the bump), but- try turning the presence boost on and plugging the sucker into a PA. It's a truly great live mic, often overlooked for that application. Turn off the presence boost and try it on, say, a sax or trumpet. And yes, it needs a ton of gain. It's the nature of the beast. Enjoy your new mic.-Richie

[tvolhein]

Originally Posted by Richard Monroe

I find the bigger foam screen is only useful outside on a very windy day. For most studio uses the smaller screen is all you need, and you can add a steel pop filter for a vocalist whose mic technique sucks. Here's a tip- most people have no use for the midrange presence boost switch (the one with the bump), but- try turning the presence boost on and plugging the sucker into a PA. It's a truly great live mic, often overlooked for that application. Turn off the presence boost and try it on, say, a sax or trumpet. And yes, it needs a ton of gain. It's the nature of the beast. Enjoy your new mic.-Richie

Richard,

Low (suck) mic technique is exactly what I am dealing with. I did just what you said (small wind screen/metal pop filter).

I tested the mic in all the switch positions, and am choosing neither, just run the thing totally flat. And is it ever flat. I am used to using a tube mic. But what I love is the control that it gives me to go into the box totally flat.

I played with using a little CamelCrusher tube settings to warm it up, and I can get whatever sounds I like.

Tom

Tom Volhein
http://www.tomvolhein.com

[Richard Monroe]

Like I said- no one uses the presence boost in the studio (including me)- but it works through a PA. A lot of live vocal mics have that midrange bump. The cool thing about the SM7 is when you're recording, you can turn it off. Also when you have a real good board and front-of-house guy, you can turn it off in the live setting and use whatever EQ is built into the PA. After the first time I used the SM7 live, I never used another live vocal mic again.-Richie