I want an SM7 because everyone is doing it... input?

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DYBE

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Currently onsite at my studio we are running an NT1A - and an AT4033 for vocal tracks.

Everyone seems to be doing the Shure sm7. Is it really that sweet?

How is it on the highs? the lows ?


What the advantages/disadvantages ?

I want input from open minded people with entire arsenals of mics.
Not just an sm7.

GIVE ME FEEDBACK PEOPLES!
 
EDIT: I need to learn to read.
 
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AudioGeekOnline said:
The 57 has gained its rep for being reliable and pretty decent in most applications rather than being particularly great in any application. Also - its been around for yonks. Personally, I've always found it to be incredibly dull sounding - not enough in the 2-6k range for my liking.

These days there's a bunch of great dynamics that will perform a lot better all round for around the same price - I would suggest checking out Audio Technica dynamics as I feel they give the best bang for your buck - the ATM650 in particular is very sweet.
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That's an interesting assessment of the SM57, but I'm afraid the original poster was asking about the SM7.
 
AudioGeekOnline said:
The 57 has gained its rep for being reliable and pretty decent in most applications rather than being particularly great in any application. Also - its been around for yonks. Personally, I've always found it to be incredibly dull sounding - not enough in the 2-6k range for my liking.

These days there's a bunch of great dynamics that will perform a lot better all round for around the same price - I would suggest checking out Audio Technica dynamics as I feel they give the best bang for your buck - the ATM650 in particular is very sweet.
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The OP asked about the SM7, not the SM57.

All mics seem to work better with some voices than with others. IME, the SM7 seems to be at least good, if not excellent, with more voices more of the time. As a dynamic mic, it is more forgiving for those of us who have less than perfect recording environments. The lower sensitivity, compared to a condenser, means that you are less likely to be picking up extraneous noises when recording.

I find it a well balanced mic that sits well in a mix without a lot of EQ. And you do need to try it in a mix, rather than just soloing it, to see how it sounds. It does not have a particularly hyped high end like many of the modern condensers, although it does have a presence boost switch if you want it. I always leave mine flat.

I started off with one SM7 that I bought used. It kept getting selected for vocals instead of my other more expensive mics (GT MD1a, GT MD3, AT-4050, Beyer MC834, Neumann Gefell M582h, Audix VX-10, Sennheiser MD-441, Beyer M-500, AEA R84). It also got used for guitars, cabs and toms. In fact it got used so much that I now own three of them.

Now, I certainly don't have every mic out there (I have some friends currently using one of my SM7s and my vintage U87 - we'll see what they think - last I heard they were still going with the SM7 for vocals), and this is not to say that there isn't some other mic that might be better on a particular voice, but it has seemed, in most cases, that the SM7 has been the talent's choice. I would note that we like the AEA R84 for BG vocals where we can do them as an ensemble and back off of the mic.
 
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I have an entire arsenal of mid ($) range mics. The Sm7 is invaluable for voices and cabs. Even if it doesn't get used on the lead (Sometimes my Brauner just fits better, or T3, or a ribbon), it will be used for harmonies and backing vocals.
It would be a wonderful compliment to the mics you already have and will do a bunch of things that they can't.
 
pohaku said:
the SM7 seems to be at least good, if not excellent, with more voices more of the time. As a dynamic mic, it is more forgiving for those of us who have less than perfect recording environments. The lower sensitivity, compared to a condenser, means that you are less likely to be picking up extraneous noises when recording.

I find it a well balanced mic that sits well in a mix without a lot of EQ. And you do need to try it in a mix, rather than just soloing it, to see how it sounds. It does not have a particularly hyped high end like many of the modern condensers, although it does have a presence boost switch if you want it. I always leave mine flat.
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Spot on assessment.

I would say the SM7 is the most affordable honest mic out there. Even the condensors I have tried in the same price range dont seem to be as neutral as the SM7. However, I still use both the SM7 and the 4033 when I record vocs, in case the listener wants the extra color. But the SM7 is the one most likely to playback exactly what you heard going in, me thinks.
 
+1

pohaku said:
The OP asked about the SM7, not the SM57.

All mics seem to work better with some voices than with others. IME, the SM7 seems to be at least good, if not excellent, with more voices more of the time. As a dynamic mic, it is more forgiving for those of us who have less than perfect recording environments. The lower sensitivity, compared to a condenser, means that you are less likely to be picking up extraneous noises when recording.

I find it a well balanced mic that sits well in a mix without a lot of EQ. And you do need to try it in a mix, rather than just soloing it, to see how it sounds. It does not have a particularly hyped high end like many of the modern condensers, although it does have a presence boost switch if you want it. I always leave mine flat.

I started off with one SM7 that I bought used. It kept getting selected for vocals instead of my other more expensive mics (GT MD1a, GT MD3, AT-4050, Beyer MC834, Neumann Gefell M582h, Audix VX-10, Sennheiser MD-441, Beyer M-500, AEA R84). It also got used for guitars, cabs and toms. In fact it got used so much that I now own three of them.

Now, I certainly don't have every mic out there (I have some friends currently using one of my SM7s and my vintage U87 - we'll see what they think - last I heard they were still going with the SM7 for vocals), and this is not to say that there isn't some other mic that might be better on a particular voice, but it has seemed, in most cases, that the SM7 has been the talent's choice. I would note that we like the AEA R84 for BG vocals where we can do them as an ensemble and back off of the mic.
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Good post on this mic - I find that this microphone is "money" in the mix. Like others on this thread, I also find it very useful on cabinets and other sources vice simply a vocal application.

Jay
 
Half the country is smoking crack...is it that good...should I try it..

Stupid post's...:D
 
jarrydee said:
Half the country is smoking crack...is it that good...should I try it..

Stupid post's...:D
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so you think the people who gave their opinions in this thread are stupid? I think they gave very valid advice and I hope to save up and buy me an SM7.
Anybody ever used it on a bass cab?
 
joeym said:
so you think the people who gave their opinions in this thread are stupid? I think they gave very valid advice and I hope to save up and buy me an SM7.
Anybody ever used it on a bass cab?
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Actually, Joe, it's my favorite bass cab mic too. Here's a tune where the bass was tracked with the SM7 (vocals too).

 
DYBE said:
Currently onsite at my studio we are running an NT1A - and an AT4033 for vocal tracks.

Everyone seems to be doing the Shure sm7. Is it really that sweet?

How is it on the highs? the lows ?


What the advantages/disadvantages ?

I want input from open minded people with entire arsenals of mics.
Not just an sm7.

GIVE ME FEEDBACK PEOPLES!
Click to expand...

If everyone is doing it, you have no choice. Buy it. It is certainly no worse than a dozen mics I can think of.
 
The SM7 is a fantastic mic. One of the only purchases one can confidently make without ever having heard the mic. You'll use it all the time. Just buy it.

Frank
 
BudgetMC said:
WhiteStrat,

Great job on that song!

:D
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Thanks! (For the record, it's not me playing or singing. That's way too high school pop to be me! That was a band I recorded last summer.)
 
i have the nt1a and the sm7 and i really like the sm7 if you're fitting it in a mix with lets say distorted guitars on either side. it just fits in a rock mix very well. the nt1a has way too much high end and mid range boost.
not that i don't like the nt1a, but i really hardly use it. its a designated room mic nowa days.
 
WhiteStrat said:
Actually, Joe, it's my favorite bass cab mic too. Here's a tune where the bass was tracked with the SM7 (vocals too).

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holy shit whitestrat this song is sick. did you make this? is it your band? i really like it the production. Pretty strong stuff.

How did you get such a nice stereo sound on the acoustic guitar? Its really spread out and I've been searching for that bright sound. what mics?

nice! (sorry to hijack the thead)
 
tojo said:
holy shit whitestrat this song is sick. did you make this? is it your band? i really like it the production. Pretty strong stuff.

How did you get such a nice stereo sound on the acoustic guitar? Its really spread out and I've been searching for that bright sound. what mics?

nice! (sorry to hijack the thead)
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Thanks tojo. I'll take credit for the sound & production, but not the music. This was a bunch of 16 & 17 year olds I recorded last year. They had a cool sound going, but had never recorded before, and I worked with 'em to make a 5 song demo. Since they had never recorded before, and since they're younger than my kids, I very much assumed the dad/producer role, and they really let me shape their sound.

The acoustic guitar is my Seagull Artist Mosaic, recorded with a Rode NT5 about a foot away from the 12th fret. I had 'em play it twice, and panned the tracks hard left and right. (The whole double tracking thing was new to them, and they thought I was crazy. But after hearing a rough mix, they were convinced! They recorded all the guitar parts 2-4 times for all the songs so I had lots of tracks to work with.)
 
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