How about the Shure SM7 as an alternative to the condensers

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Jim Soloway

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After sorting through all of the $100-$300 condenser mics and not making a decision. I started to give the SM7 some thought. Is an inexpensive condenser really better than a first rate dynamic mic for vocals? I realize that the SM7 was used for Thriller, but I sound about as different from Michael Jackson as a human being possibly could and my interest is making my voice sound good not Michael Jackson's.

In case anyone wonders what that means, here are links to a couple of short samples.

 
The two SM7s that I own stay on mic stands, ready for use anytime, in both studios. They are an amazing mic that will often beat out a condenser mic for many singers.
 
THanks Harvey. I was hoping you'd respond. Another dynamic that's bee suggested is the EV RE20. any thoughts on that?
 
Whatever mic you used on those clips sounds fine. I have a feeling you could make just about anything sound good. Nice stuff. I think you'd like the 7. It wouldn't have that "sparkle" on the top end that I noticed on your clips. It's proximity effect would flatter your voice, though.
 
Jim,

My RE-20 just arrived today (courtesy of Mark Linnet), so I'll try it as soon as I can; maybe this weekend.
 
I just hooked up with a pair of SM7's. Supposed to be delivered today. Can't wait to play with them.
 
One point of view to consider is that you will probably not outgrow the higher end dynamic mic and decide to replace or even sell it down the road. This may not be true of the low-end condensor.
-kent
 
knownuttin said:
One point of view to consider is that you will probably not outgrow the higher end dynamic mic and decide to replace or even sell it down the road. This may not be true of the low-end condensor.
-kent
Click to expand...
That was exactly my logic. I'm only going to buy one mic right now so the question was do I want a high end dynamic or a low end condenser. I ended up ordering the SM7 when someone directed me to a really great price.

What finally made the decision for me was the extreme differences in reports on specific models of low end condensers that I was reading. One person would love theirs and the next person would describe it as harsh or brittle. The only answer that made sense to me was inconsistent quality control. Quality control often seems to be the weakness when western manufacturers have contract fabrication done for then in China or Korea. I believe that if I line up 100 Shure SM7's they're probably all going to sound exactly the same. I suspect that the same can't be said for any model of Asian-made condenser mic selling for $300 or less.
 
I haven't really thought of that, but you make a good point.

Still, a lot of it is going to be in the eye of the beholder. One man's harsh is another man's bright. :) You're still going to want a condenser or two for accoustic guitar or as drum overheads. I wouldn't touch a dynamic for either of those chores. And if quality controll is a concern, there's always the sm-81, or for less cash there's always the Sound Room Oktava mc012.
 
At least for the short term, I have no plans of recording drums or acoustic guitar, so that's a bridge I don't have to cross for a while. Right now my only interest is in recording myself and that means vocals and electric 7 sting guitar only. I figured that starting with a very narrow objective would make the initial setup a lot easier. On the other hand. with the speed that things are changing for condenser mics these days, who knows what will be available by the fall?
 
So Harvey,

How did you like the re-20?

lol - I think this is from 2 years ago. :D
 
theassfatlives said:
So Harvey,

How did you like the re-20?

lol - I think this is from 2 years ago. :D
Click to expand...
It wound up in Studio A with my son Alex, so I never have had the chance to listen to it. He likes it though.
 
I was talking to a studio owner yesterday, and he did a session recently where he used an interview microphone on the singer (an old EV omnidirectional) that he got at a pawn shop for 15.00. It had a little scoop at around 2K that was perfect for her voice. Here's a studio with vintage U67's, and he's using a mike from a pawn shop.

I guess my point in bringing that up is that you never know what will work on your voice, so try out lots of mikes if you can, and don't rule out cheapie's; oh, and check the pawn shops!
 
As Lance said, you never know. I picked up an SM7B just because my studio's options in dynamics were pretty weak, and I figured, "What the hell? Where else am I going to get an arguably top-of-the-line vocal mic for under $400?"
Initially, I wasn't particularly impressed with it on my voice, and I certainly had a perfectly good pre to run it into(Avalon AD2022). It did, however, prove quite useful on cabs, snare, and hand drums. Then one day I decided to play with the switches on the back and turned on the midrange presence boost. Well golly, the results were a hell of a lot better, and it's become one of my go-to vocal mics. It has also proven to be far and away the best stage mic I've ever used, which I wasn't expecting. When you flip that switch, it becomes a different animal altogether.
It is interesting to note that when Littledog mixed my first album, he used a midrange EQ boost that mirrors the one on the SM7. I guess that's just something that benefits my voice. Sometimes the little things can make a huge difference.-Richie
 
good to hear that you all like this much...i was going to sell mine for a cheaper condenser for recording collegiate acappella vocal bands.....where we need ot track the vocalists one at a time on a track.
 
Bet the "15.00" mic was the EV 635a, my "go to" for Blues or 50's style rock 'n' roll vocals. Supposedly it was used on a few of Elvis' early RCA hits FWIW.

Also on many 60's/70's classical albums as a paired set...

Chris
 
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