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Thread: a second time- SM7B

  1. #11
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    Quote Originally Posted by CoolCat View Post
    does anyone set the switches on the back?
    no ones mentioned doing that yet.
    I dont have good luck setting eq;s with the closed back headphones on so left it as Flat setting.

    appreciate the inputs, the impedance is something I'll play with more.
    I have always had mine set flat. I am not actually sure why you would need the cut-off switch unless you didn't have control after...

    Maybe I am missing something, but I don't get the rolloff switch use if not a condenser mic.

    Calling Dave!

    Or anyone who gets why that would be useful unless there was a deep voice guy and no sound engineer in a speech recording environment.
    PC Win7-64-24G i7-4790k/Cubase 9 Pro 64-bit/2-Steinberg UR824's/ADAM A7x/Event TR8/SS Trigger Plat Deluxe/Melodyne 4 Studio/Other things that don't mean anything if a client shows up not knowing what it wants.

  2. #12
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    Quote Originally Posted by jimmys69 View Post
    I have always had mine set flat. I am not actually sure why you would need the cut-off switch unless you didn't have control after...

    Maybe I am missing something, but I don't get the rolloff switch use if not a condenser mic.

    Calling Dave!

    Or anyone who gets why that would be useful unless there was a deep voice guy and no sound engineer in a speech recording environment.
    I figured it was mostly there for live use. Don't think I've ever seen them handled but I've seen them used in live settings plenty of times where bass roll-off might be handy.
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  3. #13
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    I did the Cloudlifter and it was more clarity, so I assume its the impedance ...arcaxis..thanks for that pdf too.

    Being skeptical of the Cloudlifter type units, it was pretty good, better than I thought.
    My interface preamp was to the 60-70% etc...very good spot.

    recently had the Sm7 through about all I have around here at the moment and Im leaning to the impedance being a substantial effect on this because theres a tone to the Cloudlifter all gains being equal, but nothing some light eq couldnt match, just a clarity boost. I like it.

    my interface says 60db, but it doesnt sound near as clean as the DMP3 or 610, or any of my outboard preamps with the 7b. The CLoud really works and improves the SM7b compared to just the interface.

    I can see why the Cloud is so popular, no settings , no knobs, no walwarts, metal tough build,... just plug it in. Im really late to the party on this CL but impressed. GC didnt have a Fethead those are $50 cheaper, sounds like they work really well too.

    if it's not happening in the room, it ain't gonna happen on tape.-H.Gerst

  4. #14
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    Quote Originally Posted by Steenamaroo View Post
    I figured it was mostly there for live use. Don't think I've ever seen them handled but I've seen them used in live settings plenty of times where bass roll-off might be handy.
    The bass rolloff is about 8dB down at 100Hz ref 1khZ and since the mic was introduced in the '70s a very handy feature I would have thought? Mixers and pre amps were not as well equipped in those days perhaps? I would also aver that bass cut is almost always desirable since little goes on with most instruments and voices below 100Hz.

    The 7b was, according my readings, designed for use where stand/ground borne vibration was a likely problem and the mic is also very well proofed against induced hum. BIG Mother transformers in valve gear and cine cameras!
    That humbucking coil plus the inductor/transformer and capacitor makes the output impedance of the mic quite complex and I am not in the least surprised it is impedance sensitive. (and AM radio stopped at 4kHz or so anyway and how many tellies had tweeters? )

    However! The spec says "Load impedance 19 to 600 Ohms!

    Dave.

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    Quote Originally Posted by jimmys69 View Post
    . My preamp has a impedance selector switch. 300 is dull. 1.2k sounds really good.
    Yeah...same here.
    I tried it with a couple of pres, it doesn't work well with everything...but on my variable impedance pre, 1200 was really good, and you have to kick up the gain a bit, and you have to get up to the mic to really get the sound out of it.
    When I tried it with my Langevin DVC pre...it didn't work well at all, and I had to crank the DVC input to max.

    That said...is a welcome option to always going with condensers, etc.
    Lately I've been adding more dynamic mics to my stable...including ribbon mics....just to have that variety, but you have to approach them differently than you would typical LDC mics...but the results can be quite good.

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    "Murky and cloudy"

  7. #17
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    DMP3 3k ...reminded me of the ISA ...solid, clean, plenty of volume and flat sounding, flat in a good way.
    LA610 more clarity, more volume, more gain and eq things to mess with...impedance 500 or 2k
    Interface kind of blah sounding and 1.3k but with plugins anything is possible really.
    ART TPS has 150 knob, to 3k plenty of room for tuning in....
    DAVBG1 is coming 20k impedance...

    Cloudlifter 3k is really good, I preferred it over the DMP3 not as better but just in ease and simplicity too, however the DMP3 wouldn't be the reason my recording sucks and it wins with having 2 channels...its a great piece imo, and the LA610 doesn't make me sound like EMI or Capital records but apparently it works in those environments...

    SM7b does cleanup with higher Z, and the flavor of pre is another thing, right? But I like it best for what Steenamaroo mentioned "build and pattern, noise rejection, best tank tough etc... it is what is

    if it's not happening in the room, it ain't gonna happen on tape.-H.Gerst

  8. #18
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    Assuming you have an SM57 (who doesn't), put it through the Cloudlifter and see how it sounds
    Mark.......

  9. #19
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    SM7Bs are just a little dull compared to other mics, that's all - it's their particular flavour. It can be EQ'd to sound nice, so it's fine.

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