S
spoonie g
New member
what are the characteristics of an sm7? My vocalist recently found out that The Mars Volta vocalist used one when they recorded with Rick Rubin and is now quite interested in it......
wheelema
Boner-obo
First impressions of an SM7
Well, I just bought one and I can tell you two things. It NEEDS good preamps, for example the preamps on the Mackie board that I am using don't even come CLOSE to doing it justice. And, two, it's built like a tank.
Well, I just bought one and I can tell you two things. It NEEDS good preamps, for example the preamps on the Mackie board that I am using don't even come CLOSE to doing it justice. And, two, it's built like a tank.
B
baekgaard
New member
Wow, that was an old thread...
Mark7, I think Harvey may have covered everything already... his promise is more than 3 years old.
Not sure why this thread was revived, but I guess the content is still quite valid.
-- Per.
Mark7, I think Harvey may have covered everything already... his promise is more than 3 years old.
Not sure why this thread was revived, but I guess the content is still quite valid.
-- Per.
C
chessrock
Banned
I'm a big fan of the Electrovoice mics on vocals and/or guitar, and I like the Beyers (M-88, M-69, M-201) a great deal on drums.
Dynamic mics tend to work really well when you're close-mic'ing. Espcecially if it's a somewhat loud source. Which is probably why you see them all over drum kits and guitar amps (and the more aggressive vocalist).
They tend to be somewhat more musical and forgiving; helping to smooth over (or ignore?) some of the minor imperfections present at the source. In a subtle way. Things tend to have a more compressed quality to them, with a slightly limited bandwidth. This can help something to sit and gel a little better in the context of a mix, if used properly. The midrange is where they typically excel, and this is where most of all music resides anyway.
Dynamic mics tend to work really well when you're close-mic'ing. Espcecially if it's a somewhat loud source. Which is probably why you see them all over drum kits and guitar amps (and the more aggressive vocalist).
They tend to be somewhat more musical and forgiving; helping to smooth over (or ignore?) some of the minor imperfections present at the source. In a subtle way. Things tend to have a more compressed quality to them, with a slightly limited bandwidth. This can help something to sit and gel a little better in the context of a mix, if used properly. The midrange is where they typically excel, and this is where most of all music resides anyway.
cominginsecond
Decentralized Media Mogul
The SM7 is amazing. So so good. I use it with a DMP3 and a Summit Audio 2BA-221, so it's not like you need a Great River. It's my favorite on snare, guitar amp, and great on loud vocals as well. Find one used. Don't worry if the windscreen is in bad condition. I never use the windscreen anyway.
Warhead
Jai guru deva om
Wow, talk about a bump! 3 years +...! 
I really dig the E/V ND468's (I own 4 of them) on toms, cabs, some vocals...I even tried one on a ride once and liked the sound! For a dynamic it's got a fairly "sharp" high end in comparison to most. I like the proximity effect, you can get in real close without too much low end in most cases. Remember, we're in digital land and having a huge low end sound on a tom-tom isn't the same considering tape used to EAT THE LOW END and what was there we could slam and alter the sound.
With digital we get what we give.
The mic is a good one to reach for when you need a cutting guitar cab sound but a small amount of sonic space to work with (when you don't need a big huge fat low end image sound).
The Audix VX10 is a sweet vocal mic. The I-5 is cool as well, sort of SM57 like without the upper mid hump sound.
War
I really dig the E/V ND468's (I own 4 of them) on toms, cabs, some vocals...I even tried one on a ride once and liked the sound! For a dynamic it's got a fairly "sharp" high end in comparison to most. I like the proximity effect, you can get in real close without too much low end in most cases. Remember, we're in digital land and having a huge low end sound on a tom-tom isn't the same considering tape used to EAT THE LOW END and what was there we could slam and alter the sound.
With digital we get what we give.
The mic is a good one to reach for when you need a cutting guitar cab sound but a small amount of sonic space to work with (when you don't need a big huge fat low end image sound).
The Audix VX10 is a sweet vocal mic. The I-5 is cool as well, sort of SM57 like without the upper mid hump sound.
War
D
davide
New member
freshmattyp
New member
EV666 and Shure SM7. The 666's do great on cabs and vocals, the SM7 will make anyone sound like James Earl Jones.