SM-7B users, I could use some advice on this mic

W

werewolf831

New member
Would the mic position of an SM7 be much different than when using a condenser mic , ie. distance from the mic, placing the mic above the mouth, below the mouth, etc. I'm using this mic for my own vocals, kinda strident male rock vocal.

Also, anyone use the big windscreen that comes with mic? the manual seems pretty vague on how to apply it, could someone explain how to put this windscreen on? Does it go on over the thin windscreen?

I just recently bought this mic and have only played around with it a couple times. Sounds good so far, but I'm so used to seeing a condensor in front of me.

Thanks,
werewolf
 
werewolf831 said:
Would the mic position of an SM7 be much different than when using a condenser mic , ie. distance from the mic, placing the mic above the mouth, below the mouth, etc. I'm using this mic for my own vocals, kinda strident male rock vocal.

Also, anyone use the big windscreen that comes with mic? the manual seems pretty vague on how to apply it, could someone explain how to put this windscreen on? Does it go on over the thin windscreen?

I just recently bought this mic and have only played around with it a couple times. Sounds good so far, but I'm so used to seeing a condensor in front of me.

Thanks,
werewolf
Click to expand...
Yeah, it's pretty much the same except you can get on the SM7 without fear of trashing it like a condenser... the big windscreen cuts down some of the highs, and is mostly worthless IMO... the thin windscreen also cuts down the highs but not as much as the big one and is also pretty much worthless IMO... normally you'd use one or the other if you had to use a windscreen at all. An example of when you might have to use the windscreen would be when your an announcer at a ball game or somewhere wind noise might be a problem.

But...
freshmattyp said:
Bottom line for me is Harvey has hard earned credibility. DJL has none. No one has any idea of what DJL has done. Not a clue. There's no web link, no posted work, no real name, nada, bupkus. DJL, you are just an opinionated asshole with no credibilty to back up anything you say. Your 3000+ posts of nonsense speak volumes about your "experience". Your lack of even basic conversational skills or the ability to form a coherent thought continue to amaze me. I have met some flaky bass players in my day, but you take the prize. Congratulations. And for God's sake, learn the difference between your and you're and their, there and they're. Repeat the 4th grade if necessary.

Oh, yeah, it's "damn" you moron. You can't even cuss right.
Click to expand...
So don't expect too much.
 
Last edited:
Since we're on the topic of the sm-7...

This has probably been asked before, and in fact I've probably asked it,and if so I apologize all over the place. I have the short term memory of the average housefly.

What quality level of mic pre would be required to see the benefits of this mic? If it were paired with a DMP-3 would you might as well be using a 57? Does it need something at the level of an RNP or Grace 101 or higher? Does it work exceptionally well paired with a particular pre, like they were made for each other?

I realize this is a pre question, but since I'm asking specifically in relation to one mic, I thought this would be the appropriate place.

Thanks. And I promise to print the response out so I don't have to ask again. :o
 
Re: Since we're on the topic of the sm-7...

Cardioidpotent said:
This has probably been asked before, and in fact I've probably asked it,and if so I apologize all over the place. I have the short term memory of the average housefly.

What quality level of mic pre would be required to see the benefits of this mic? If it were paired with a DMP-3 would you might as well be using a 57? Does it need something at the level of an RNP or Grace 101 or higher? Does it work exceptionally well paired with a particular pre, like they were made for each other?

I realize this is a pre question, but since I'm asking specifically in relation to one mic, I thought this would be the appropriate place.

Thanks. And I promise to print the response out so I don't have to ask again. :o
Click to expand...
I think all mics need a good preamp to really beneffit from them, and especially dynamic mics.

But...
freshmattyp said:
Bottom line for me is Harvey has hard earned credibility. DJL has none. No one has any idea of what DJL has done. Not a clue. There's no web link, no posted work, no real name, nada, bupkus. DJL, you are just an opinionated asshole with no credibilty to back up anything you say. Your 3000+ posts of nonsense speak volumes about your "experience". Your lack of even basic conversational skills or the ability to form a coherent thought continue to amaze me. I have met some flaky bass players in my day, but you take the prize. Congratulations. And for God's sake, learn the difference between your and you're and their, there and they're. Repeat the 4th grade if necessary.

Oh, yeah, it's "damn" you moron. You can't even cuss right.
Click to expand...
So don't expect too much.
 
Re: Since we're on the topic of the sm-7...

Cardioidpotent said:
What quality level of mic pre would be required to see the benefits of this mic? If it were paired with a DMP-3 would you might as well be using a 57? Does it need something at the level of an RNP or Grace 101 or higher? Does it work exceptionally well paired with a particular pre, like they were made for each other?
Click to expand...

I know this probably isn't the kind of answer you're looking for . . .

But it depends a lot on what you're using it for, the source, etc. Using it with something like a dmp3 should net you fine results, since the dmp3's basically a good pre, price tag aside.

However, from my personal experience, there is a subtle improvement in it's richness when paired with something with a good transformer front end. Somehow, the loading just seems to work better or something. If you're really particular about this kind of thing, you could get something like a Presonus MP-20 or Bellari RP-220 and have a Jensen installed in one of the channels.

The transformer makes it sound "warmer" and "more analogy," by the way. :D :D He he.
 
Hey, I'm looking for any answers I can get!

As far as source goes, I'm specifically (you don't know how many times it just took me to type that word correctly) interested in the type of male vocal werewolf is referring to. I'm not sure I know what 'strident means in this context. For anyone who's old enought to remember, I'm thinking early Bad Co., Robin Trower, Bob Seeger, Michael MacDonald, etc.

I would be interested in hearing your recommendations for different sources though.

And DJL, what is your definition of 'good' in this particular case?

Thanks guys.
 
Re: Hey, I'm looking for any answers I can get!

Cardioidpotent said:
interested in the type of male vocal werewolf is referring to. I'm not sure I know what 'strident means in this context. For anyone who's old enought to remember, I'm thinking early Bad Co., Robin Trower, Bob Seeger, Michael MacDonald, etc.
Click to expand...


I wish more people would be so descriptive.

But yea, you should definitely be able to get that general kind of tone with an SM-7. I'd also throw in Eagles or Joe Jackson. I'm not saying it's going to sound just like that, but that's generally the idea; sorta' mellow but rich-sounding.
 
but about the pre...

Would a DMP-3 work for that kind of sound when paired with the sm-7? I've already got the picture as far as the sm-7 being what I'm looking for, I just need to know what kind of pre is necessary to go with that particular mic. I understand that the 'better' the pre, the better the sound. But, if I'm not using a $600 pre, will I not be able to tell much difference between an sm-7 and an sm-57? I guess what I'm getting at is would I be wasting my money on an sm-7 if I can't afford a higher-end pre than the DMP-3 in the near future?

Thanks again.
 
If you are asking if the SM-7 will sound better than an SM57 through a DMP3 I would say yes. Will it sound it's very best? Probably not, but the DMP3 has plent of gain to bring out good qualities in the SM-7. By the way, the SM-7 has the same diaphram as the SM57, just different electronics.

Blessings, Terry
 
I know they're supposed to have the same capsule and all, but in terms of overall sound qulity, fidelity, etc. the SM-7 runs laps around the 57 in almost every application; at least to me. A better pre would be nice, but not totally necessary, depending on how serious/fussy you are in the recording process.

Still something I like, though, about plugging it in to something with a decent transformer input; which doesn't necessarily have to be expensive.
 
Not to start a different debate, but...

I'm trying not to restart that whole mic vs. pre thing, but in this given situation, knowing roughly the sound I'm trying to achieve, which would get me closer: an sm-7 with a DMP-3, or a 57 with a higher-end (well, to me anyway) pre like an RNP, Grace, or some equivalent?

Also, how difficult and expensive would the mod be to swap the transformers out in an MP-20 like you suggested? I HATE soldering. It's right up there with ironing and doing dishes for me.
 
You'd have to try it out yourself in order to know more precicely what kind of results to expect. We can only point you in a few possible directions and give very general type ideas and advice.

Might cost you $50 or so for a good transformer, then whatever it would set you back to get someone to install it. It might or might not be worth it; depends on how serious you are about recording . . . whether you're trying to make Gold records or just some good-sounding demos, etc.
 
Re: Hey, I'm looking for any answers I can get!

Cardioidpotent said:
And DJL, what is your definition of 'good' in this particular case?
Click to expand...
I think the Ghost has pretty good preamps, I'd most likely use the MP-2NV... but in this particular case I think you should use whatever you have, and have fun. :)

But...
freshmattyp said:
Bottom line for me is Harvey has hard earned credibility. DJL has none. No one has any idea of what DJL has done. Not a clue. There's no web link, no posted work, no real name, nada, bupkus. DJL, you are just an opinionated asshole with no credibilty to back up anything you say. Your 3000+ posts of nonsense speak volumes about your "experience". Your lack of even basic conversational skills or the ability to form a coherent thought continue to amaze me. I have met some flaky bass players in my day, but you take the prize. Congratulations. And for God's sake, learn the difference between your and you're and their, there and they're. Repeat the 4th grade if necessary.

Oh, yeah, it's "damn" you moron. You can't even cuss right.
Click to expand...
So don't expect too much.
 
Richard Monroe said:
Just pull off the wind screen and use a pop filter. Don't use the wind screen unless you have- wind.-Richie
Click to expand...

I need someone to hold my hand through this windscreen removal process. I'm trying to take off the thin windscreen and it feels like it's going to rip. There's a plastic ring at the base of the mic, I've tried turning and twisting from there and still nothing. Do I need to remove the mounting bracket screws to take the windscreen off?

Thanks for all the advice.

DJL, I've always found your posts pretty helpful, keep 'em comin'!

werewolf
 
werewolf831 said:
There's a plastic ring at the base of the mic, I've tried turning and twisting from there and still nothing.
Click to expand...

You're getting warm. Just grab a knife or something and try prying it off.

Or don't.

It sounds fine with it on. Who the hell told you to go do that, anyway?
 
origially posted by DJL
Yeah, it's pretty much the same except you can get on the SM7 without fear of trashing it like a condenser... the big windscreen cuts down some of the highs, and is mostly worthless IMO... the thin windscreen also cuts down the highs but not as much as the big one and is also pretty much worthless IMO...
Click to expand...
 
Harvey Gerst said:
origially posted by DJL
Click to expand...
Yeah, that's what I said.

But...
freshmattyp said:
Bottom line for me is Harvey has hard earned credibility. DJL has none. No one has any idea of what DJL has done. Not a clue. There's no web link, no posted work, no real name, nada, bupkus. DJL, you are just an opinionated asshole with no credibilty to back up anything you say. Your 3000+ posts of nonsense speak volumes about your "experience". Your lack of even basic conversational skills or the ability to form a coherent thought continue to amaze me. I have met some flaky bass players in my day, but you take the prize. Congratulations. And for God's sake, learn the difference between your and you're and their, there and they're. Repeat the 4th grade if necessary.

Oh, yeah, it's "damn" you moron. You can't even cuss right.
Click to expand...
So don't expect too much.
 
werewolf831 said:
DJL, I've always found your posts pretty helpful, keep 'em comin'!

werewolf
Click to expand...
Thanks, and maybe Harvey can help walk you through the process, if he's not too busy having fun playing with me. :)

But...
freshmattyp said:
Bottom line for me is Harvey has hard earned credibility. DJL has none. No one has any idea of what DJL has done. Not a clue. There's no web link, no posted work, no real name, nada, bupkus. DJL, you are just an opinionated asshole with no credibilty to back up anything you say. Your 3000+ posts of nonsense speak volumes about your "experience". Your lack of even basic conversational skills or the ability to form a coherent thought continue to amaze me. I have met some flaky bass players in my day, but you take the prize. Congratulations. And for God's sake, learn the difference between your and you're and their, there and they're. Repeat the 4th grade if necessary.

Oh, yeah, it's "damn" you moron. You can't even cuss right.
Click to expand...
So don't expect too much.
 
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