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Thread: Shure SM-7 - EV RE320 mics for voice - maybe helpful comments

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    Shure SM-7 - EV RE320 mics for voice - maybe helpful comments

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    We get a lot of questions about which mics in the radio DJ, narration questions and I finally got around to getting an SM-7. Frankly I was quite happy with the RE320, which is a great mic, with no proximity effect, so I didn't expect to change my opinion. The Shure, as most people know, is quite a low output mic, but my Tascam rack mount interface didn't need the gain cranked to the danger zone to cope with it. There are differences in the tone/sound of the mics. The Shure is warmer and lacks a little crispness up the top that the EV has, but the practical upshot is preference, and I like the Shure sound better. People often say the capsule in the Shure SM7 is the same or similar to the SM57, but they don't sound the same at all - the SM57 is thinner unless your lips touch the mic, and then it gets a bit poppy. So next time I'm recording a voice, it'll be the SM-7, and I think I might use it on the next female voice jazz project that hopefully is happening shortly. I have a feeling it could also be good for double bass and bass guitar. The EV is OK on those, so I suspect the Shure will have the edge there too.

    I've not tried it on a boom, like many suggest it's good for because it's not a light mic! It also comes with an extra foam windshield that I've never heard anyone mention. Not tried it yet, but could be useful on the boom, I guess, outside on a windy day.

    It is not, however, a mic for distant pickup - so unless you can get in close with the boom, I'll stick to the AKG 416 for video stuff.

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    Interesting comparison.
    Ive had the SM7b, not the RE.

    Stevie Wonder, McCartneys RAM has pictures of the RE.
    SM7b of course has many studio creds too, as MJ Thriller... Metallica..Los Lobos..Sheryl Crow...etc...

    When I plugged a LDC next to the SM7b though it sounded really whacked.

    My comparisons to a SM58 /57 to the SM7b was they were very similar if distance and all that was accounted for.

    However, I think the SM7b was worth every penny because of the design, the pro-level build, the foam that came included etc..


    I still have a urge to try the RE and the Heil PR40 too.

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

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    McCartney was probably using the RE-20, not the newer RE-320.

    I had a different opinion of the RE-320 when I tried one about a year ago. I was hoping for something to use primarily on voice, with the bass capability a plus. Unfortunately that "crispness" on my voice really exacerbated sibilance so it went back. Never got around to trying the 20 or SM7b because I ended up with another LDC.
    "... I know in the mornin' that it's gonna be good
    when I stick out my elbows and they don't bump wood." - Bill Kirchen

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    yep re20.... I agree mics you can tell pretty fast if its the Mic you want. take it right back...


    screamer, whisperer, SShhhsss or p-power pops...nasal cave hertz....ideally you dont have to put a bunch of make up on it to sound good, thats a red flag.

    i was listening to Ram tracks today nd compared to some of mine recorded in the closet....McCartneys sounds a lot better. lol

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

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    As a novice recordist, something I forget to do is play with the mic's switches. You can get a frequency bump and/or a low end roll off on the SM7b. These can make quite a difference. Same kind of thing with another favorite, the Sennheiser 421. The first 421 I ever had, I bought used and then sold it after a while without ever adjusting the low end presence to see how that sounded.

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    I had a 421 too, came with a TEAC /TASCAM 8-channel rack cassette recorder, and a large Teac mixing console on a rolling rack "special" package thing. Very cool....

    listening to old tracks there was a nice sound with the 421 and TEAC mixer. 1988 or so?
    I sold all of it for something else or a move, I don't recall.
    fond memorys of the 421. Well built, funny holder, but the mixing console was really nice too, so maybe it was a combo thing.

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

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