Mic for rock vocals: Condenser or Dynamic?

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DarkCide

Member
Other than the need for phantom power to power condenser mics, how different are they from dynamic mics?

Are condensers suitable for loud metal vocals?
 
DarkCide said:
Other than the need for phantom power to power condenser mics, how different are they from dynamic mics?

Are condensers suitable for loud metal vocals?
Click to expand...

Read the sticky at the top of the mic forum.
 
It's going to depend on the vocalist's tone. I prefer condensers on all my vocals, mainly because I have a whiny midrange and need more of a presence in the higher frequencies.
 
It mostly depends on the recording environment. You got a good room, with some bass traps and wall crap and NOT SQUARE, use a condenser, better detail and sensitivity. Not so good a room or such, SM7!
 
I've read in other threads on here where the SM7b needs a lot of clean gain.
I am considering getting one, but right now I only have the pre's on my Emu 1616M interface. Here are the specs:

Two E-MU XTC™ studio-grade, ultra-low noise preamps (-127dBu EIN) with analog soft limiter - Mic/Line and true Hi-Z inputs via Neutrik connectors, 48V phantom power and 60dB of gain

Would that be enough for the SM7 or would I need a separate pre like the DMP3? I currently use an MXL992 condenser for mainly acappella recording.

Thanks for any help.
 
an interface preamp w/ 60db would probably be pushing it for vox on an SM7...if you're talking about 100db guitar amps you'd probably be good, but i would estimate that another preamp would be needed
 
DarkCide said:
Other than the need for phantom power to power condenser mics, how different are they from dynamic mics?

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Click to expand...
 
Ironklad Audio said:
an interface preamp w/ 60db would probably be pushing it for vox on an SM7...if you're talking about 100db guitar amps you'd probably be good, but i would estimate that another preamp would be needed
Click to expand...

Agreed. That pre would need to be very quiet running full open. I sometimes use an RNP with an SM7 and it has 66db of gain. I often use it at 60db for vocals.
 
Clint3200 said:
I've read in other threads on here where the SM7b needs a lot of clean gain.
I am considering getting one, but right now I only have the pre's on my Emu 1616M interface. Here are the specs:

Two E-MU XTC™ studio-grade, ultra-low noise preamps (-127dBu EIN) with analog soft limiter - Mic/Line and true Hi-Z inputs via Neutrik connectors, 48V phantom power and 60dB of gain

Would that be enough for the SM7 or would I need a separate pre like the DMP3? I currently use an MXL992 condenser for mainly acappella recording.

Thanks for any help.
Click to expand...

...if you want a great dynamic mic that doesn't require the gain needed to drive an SM7, then give a look at the Heil Proline PR40...it sounds to me like a cross between the classic RE20/SM7 broadcaster dynamic and a good quality condenser mic...more bottom and more top-end than the SM7...
...and like Big Kenny said, if you haven't got a well treated recording space, a good dynamic will definately eliminate unwanted ambient noise...you may not have heard of the Heil mics yet, but you will soon...here's a review from EQ magazine last year:

Heil Proline PR 40

"New microphones get me excited to try things a different way. Whether it’s a snare mic placement in the studio or flexibility during a live performance, different microphones will make me think about new ways to do familiar tasks. I was pleased to experiment with the range of new sounds I could get from the PR40 from Heil’s proline division. It’s a valuable entry into the field of high-performance dynamic mics. Everything about it seems reminiscent of the EV RE20 and I was excited to compare its performance on a few standard RE20 tasks.
The first sound source I could test this on was a kick drum. The PR40 packs quite a low punch in this task and also has a nice attack. It had a great fullness when combined with an attacky inside kick mic. It sounded even and punchy on a bass amp - excellent.
Next I tried the mic on some vocals. Compared to the other dynamic I use often for scratch vox – the Sennheiser 421 – the PR40 had a kind of 2 to 3k peak, which gave it extra sibilance. It didn’t seem as neutral to me as the 421 or some of the other condensers I tried. When I checked later it did have much more level at the same gain than the RE20 or SM7 did. Compared to the RE20 the PR40 seemed hyped to me – especially in the lows. It had more presence than an SM7, which was nice. In general it sounds huge, like a condenser. It is also almost half the price of an RE20, which makes it very attractive.
The gently hyped upper mid might make it harsh on a saxophone—another favorite RE20 application – though I would choose it over most cheaper condensers. The literature on the web site will make you think that it outperforms the RE20 in almost every facet. Though this may not be true it is very flexible and worthwhile for the dollar and includes nice touches like a fresh finish and a beautiful case and polishing cloth."

Heil link here: http://www.heilsound.com/amateur/pr-40.htm
 
Thanks for the replies. I'll read up on the Heil. If I decide to go with the SM7B what is the least expensive pre that would be worth getting for it?
Thanks again.
 
Clint, A preamp upgrade will probably be almost as benefical as a new mic if you're still using the pre's in the EMU. The DMP3 is probably the best choice until you want to put your SM7 through something more expensive then the mic itself!
 
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