Large dynamics

  • Thread starter Thread starter Englebert
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Englebert

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Haya there! Mic mania has struck me again and as you know, resistance is futile...

As it says in the subject, my mind is set on a large dynamic. There seems to be three major players in this field: Sennheiser MD421, Shure SM7 and E-V RE20. I don´t have any experience on these beasts (Actually I have used a MD421 once, but it was years ago) so I would like to hear some comments: how would you describe their sound, how do they differ from each other and what would be their best uses. And are there perhaps other makes and models that I should consider.

I know, I know: I should try them out myself and nobody can make my decisions for me etc. I will try them before I buy, but any info would still be helpful. My main uses for them would be drums (toms, maybe kick) and miking my Hartke bass cab. Brass could be one candidate too (trombone, sax - jazz/soul, not classical).
 
Englebert said:
how would you describe their sound
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They tend to be less accurate and less detailed than their condenser and small-diaph. counterparts. This usually translates to a warmer sound. At times they can sound more aggressive, powerful, etc. depending on the source.

how do they differ from each other and what would be their best uses.
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Well, the SM7 isn't technically a large-diaphragm, but it tends to behave like one. The best way I can describe it is smooth ; silky, pleasing, warm (there's that word again) etc. A very professional sounding mic. Popular in the Radio Broadcasting industry, and for voiceovers.

I think of it as a great vocal mic; one of the best, when teamed with a good preamp. It has some versatility; When you engage the bass rolloff and presence boost, it basically turns in to an sm57, so in that instance it's good for micing electric guitar, etc.

For drums, I would say it is EXCELLENT on toms. I wouldn't use it for kick -- Harvey advises against it, as the air pressure will put some wear and tear on the capsule. Besides, I've heard much better on kick.

It's only drawback is that it has a very low output, so you need to team it with a good preamp in order to truly reap the benefits of this thing.

The RE20 is a true large diapghragm. It's kind of similar to the SM7, in that it is popular for voiceovers (probably the most popular for that application, along with Radio), has a lot of warmth to it, etc. It tends to be more versatile than the SM7, I would add.

Compared to the SM7, I would have to say it has more of an aggressive sound (a little more bite -- a little less silk), and is more responsive to bass frequencies. There's greater proximity effect to it, I believe, so you can work that for voiceover work.

It's probably one of the most (if not the most) widely-used mics for kick-drum in the history of recording. Ditto for voice-over. It also gets a lot of use for horns -- this is something you mentioned was important to you. Lots of famous artists have used it for that.

My experience with the Senheiser is very limited (used to use one at a student radio station about 10 yrs ago). If memory serves it was a very nic mic. Probably the most versatile of the bunch. It's one of the most popular drum mics I can think of . . . GREAT for toms, kick, etc. Basically a jack-of-all mics.

You could probably record a decent album with nothing but the MD421, I imagine.

For more info and ideas, I would have a look at this article:

http://www.prorec.com/prorec/articles.nsf/files/62600CDE2A2ED769862566880015FFC5
 
I love the 421. Made my guitars and bass sound awesome! It was the mic I had been looking for. Not to mention, I've never been to a studio that didn't have one. RE20 Yeah, I've seen them in broadcast alot. Radio, voiceovers, and the like.
SM 57 are good too also a studio favorite. But overall, I'd suggest the 421.
 
Not too many people have SM-7's and they are one of the few true dynamics that are EXCELLENT vocal mics. Also great snare mics, if you dont mind loosing some vocal quality.

421's and 441's are jack of all trades, and actually good at most of them

RE-20's are probably the world's most unreliable dynamic mic, as they will up and croak for no reason whatsoever....The similar PL-20 doesnt seem to do this, but who knows...you can get killer kick drums out of an RE-20, and crunchy vocals
 
pipelineaudio said:
RE-20's are probably the world's most unreliable dynamic mic, as they will up and croak for no reason whatsoever....
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Huh? Very interesting. Will take note of that.
 
"Huh? Very interesting. Will take note of that."

doesnt matter tho, you still have to have one :)
 
Thank you very much for all the replies, especially chessrock; you have been very helpful. I´ll try them all if I can get hold of them (I haven´t been able to find the SM7 anywhere here) but at the time the MD421 seems to be the most interesting. It is considerably cheaper than the RE20 (at least on this side of the pond) and since my budget is limited, versatility is very important.

BTW, someone mentioned Sennheiser MD441. Isn´t that the long stick with leather-like covering? I always thought it was condenser (our high school used to have a few of them), but it is really a dynamic? Would it have anything to say in my "competition"?
 
Yes it would. It'll blow the other three out of the water except for the RE-20 on kick.

It really is a dynamic, but it thinks it's a condensor. It is a big long leather-like and stainless covered stick about 14" long with the cable plugged in to it.

It's great on everything except kick, though some here have used it. It's awesome on snare and HH and great on toms if you can shoe-horn one in on the kit. You've never heard a finer snare or HH sound until you've heard it through a 441. That is, as long as the snare is good.

The 421 is a bit better on toms, I think it captures the fullness better.

Then when you are finished with the drum tracks, you can use it to mic the guitar cab, then the vocal.

I swear by this mic.
 
Actually I have 2 SM7's.
This mic never fails to impress me. There is so much to like about it. For me, it's main application is vocals, I haven't tried it on drums yet. It is indeed important to drive it with a good pre-amp. In doing so, you'll find it's true color. It's smooth as silk!

8th street has the SM7-B mic. The modern counterpart to the classic SM7. It runs about $350 -$390, I believe.
Mine are both SM7's and I'm not sure what the difference is between the 2.

So many people here recommend the Sennheiser MD 441 that it has certianly peaked my interest, and will probably be MY next mic purchase. If I'm not mistaken though, the one to have is the MD 441-U? Isn't the MD 441 a modern knock-off of that classic mic? At any rate, either of these mics would be a very useful addition to any mic locker.
 
Sennheiser said:
Yes it would. It'll blow the other three out of the water except for the RE-20 on kick.

It really is a dynamic, but it thinks it's a condensor. It is a big long leather-like and stainless covered stick about 14" long with the cable plugged in to it.

It's great on everything except kick, though some here have used it. It's awesome on snare and HH and great on toms if you can shoe-horn one in on the kit. You've never heard a finer snare or HH sound until you've heard it through a 441. That is, as long as the snare is good.

The 421 is a bit better on toms, I think it captures the fullness better.

Then when you are finished with the drum tracks, you can use it to mic the guitar cab, then the vocal.

I swear by this mic.
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As you can tell by his screen name, Sennheiser has NO bias...:D
 
It most certainly is a magic wand.
Few people here have a better mic, mainly becuase "better", in all its subjectivity, will run you about $1000 more.
 
Michael Jones said:
Actually I have 2 SM7's.
This mic never fails to impress me. There is so much to like about it. For me, it's main application is vocals, I haven't tried it on drums yet. It is indeed important to drive it with a good pre-amp. In doing so, you'll find it's true color. It's smooth as silk!
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Michael, or anybody, have you heard the SM-7 through a Meek VC1Q? If so, how did it sound? The Meek has a lot of gain, so it seems it might be a good match.

Is the SM-7 mainly a male vocal mic?
 
tdukex said:
Is the SM-7 mainly a male vocal mic?
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I've used our SM-7s for vocals, horns, hihats, and a wide variety of other instruments. While there may be some better choices around, it doesn't suck on anything.

The "B" has improved hum shielding, and a cover plate over the tone switches on the back. I borrowed a B and I could not hear any difference in tone when I compared it to my original SM-7s.
 
tdukex said:
Michael, or anybody, have you heard the SM-7 through a Meek VC1Q? If so, how did it sound? The Meek has a lot of gain, so it seems it might be a good match.
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I've used it through a VC1Q and a VC6Q. It's okay, but not a terribly impressive combo. I'd really like to hear it through a real pre. Dan Kennedy once mentioned to me that the SM7 needs to see a really low impedence, and that's supposedly the deal with it.

Similarly, Jim Williams (Audio Upgrades) recently told me "the higher (impedence) the better."

Yet another trusted source told me you need a good input trannie (ala Jensen) in order to make the sm7 sing.

So I don't know what to believe anymore. :D High? Low? Trannie? No trannie? Either way, there's something about a good pre that brings out the qualities of a 57, for example, and I'm wondering if it isn't the same idea with the 7.

Any ideas, Harvey?

Either way, it's a beautiful-sounding mic . . . just a tad dull-sounding at times.
 
I gotta second third and fourth on the 441 comments...if you check my website, a certain well known female singer on the credits page nearly ALWAYS uses that 441 for the majority of her vocals...

www.studiozpro.com
 
Pipe, your site wouldn't load. All I got was a black screen and an image icon,
 
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