Shure SM7B - high amount of gain

[bigmouthmedia]

I have just purchased a Shure SM7B, and have noticed that you really need to pump up the gain to get anything decent out of it, and if i leave the gain down, there's still a lot of noise when I boost it within Cubase.

By putting something like a DBX 286A mic pre/processor into the chain, will that likely give me the boost akin to a condenser microphone without a lot of noise ? Some clients are saying it's sounding a bit muddy compare d to my sE "mini" (called something else in the US)

[chucktaylor]

According to the description on Musician's Friend...."The SM7B is a low output mic, so plugging direct into an audio interface may not offer enough gain. In such a case you need a preamp with a decent amount of gain. Due to its smooth sound and thickening characteristics, a transparent-sounding preamp will be a preferred choice."
So you definately need a clean pre.

[Mike Sommer]

Yes a preamp is needed for that mic.

The SM7B is a dynamic mic and compared to a condenser it can tend sound a little muddy - a better term might be "thick" around the mids. Try engaging the presence boost, and see if that helps. If you have a Parametric EQ plug with Cubase try a 3dB boost at or around 1.5KHz

Preamps that might a good match: Presonus Eureka, FMR's RNP-8380, and the Speck 5.0. (You want a preamp that is clean transparent and has lots of clean gain)



Shure Model SM7B

[Emorgan_Voiceovers]

You should be able to get by with a 286a, I would think. If the mic is sounding muddy as well, you can add some HF Enhancement on the Dbx also to get what you are looking for. It would at least be worth a try.

[Greg Houser]

A 286 can do the job, but with a dynamic, I'd look at other preamps instead. Clean (generally speaking) and with copious amounts of gain. Hardy and Great River come to mind are good choices for most dynamics. With the 286, the RE-20 and SM7 (and SM7b) sounded alright, but not nearly as good as with an RE-27, or most condensors. BTW: you should expect this issue with most any dynamic or ribbon mic. It's the nature of the engineering behind how they work.

[lanceblair]

My voice loves the SM7b, and it's great on most voices...but the gain factor is a factor.

Newer dynamics with (correct me here...) neodyne magnets? are more sensitive and require less gain. I believe the RE27 is such a mic, and I've owned the Heil mics that only need 50db gain...but they sound unnatural and grainy. I now own a $170 new Sennheiser e935 and it's great for quiet and very loud reads, podcasting, e-learning...and it only needs about 50db gain. The worst dynamic I've owned is the Sennheiser MD421 mkII. Needs so much gain and is just yucky on spoken word. Works on drums, though.

Yeah, it's a vocal mic...for singing. It also works for some VO. But again, I'm running it through a Speck 5.0. It's the "cheap dynamic mic through a 800-$1000 preamp" syndrome. Pic your poison. For a good chain you have to spend a grand one way or another...in most cases.

[Greg Houser]

Originally Posted by lanceblair

Newer dynamics with (correct me here...) neodyne magnets? are more sensitive and require less gain. I believe the RE27 is such a mic

Depends on the manufacturer. N/DYM® is EV's version.

As for the cost comment, it's not far off. Way too many people buy cheap... and get cheap in return.

And they often sound it in return. Don't get me wrong, you don't need Don LaFontaine's recording chain to sound good, but if you're seriously trying to do paid spots from your house, you need to invest in your gear (and yeah, that's going to cost you more than the average bar tab... unless you're drinking with me ).

And on that note... back to work for me.

[Mike Sommer]

Lance
The Sennheiser MD421 mkII is a crudy mic. They are voiced differently than the originals. Seek out a MD421 U-5, 421 U-4 , or a 421 N you might be happier. If you like a smoother sound try a 441.

And may I add Greg the quality equipment needs a good sounding room too.

[lanceblair]

Agreed Mike, the 441 is awseome, and I've heard good clips of the old 421. The new one is garbaggio. That's why I'm surprised that Senny's new E Range dynamics are actually good.

Responding to Greg, I'd say people should look at three things:

1.) room acoustics
2.) microphone
3.) preamp
4.) soundcard/AD conversion

Avoid a weak link in any area.

Want to go with a KSM27? Great! Nice mic...get a good preamp then. Want to go with a U87? Better treat that room and stop plugging it into a $100 mixer.

A $500 mic, a $500 preamp, $500 room treatment, and a $500 converter? That the most sane quality approach if you're not sure what you need most. A $2000 mic and a bunch of junk is a bunch of junk.

Even a quality dynamic is going to be affected by acoustics. It's not a magic bullet. It's a tool.

I've had weak links and tried to over compensate in other areas. It doesn't work.

[Greg Houser]

Originally Posted by Mike Sommer

And may I add Greg the quality equipment needs a good sounding room too.

If you don't have that, or can't figure out what that means you probably shouldn't be building a recording area in your house... it'd be a waste of money.

But you've already heard my proclivities on blindly treating rooms. There's a reason I own a few measurement mics (besides the fact that they can be used for various string instruments and the occasional vocal).


BTW: Lance you forgot one thing which ought to be #1 or 2 on the list (depending on how you look at things). That would be the talent in front of the mic :)