Shure SM7dB Dynamic Vocal Microphone—A Mix Real-World Review

New York, NY (January 22, 2024)—Initially launched in 1973, the Shure SM7 Vocal Microphone (up to date within the early 2000s to the SM7B) joined the SM57 and SM58 as one of many firm’s three moving-coil, cardioid, dynamic fashions based mostly on the Shure SM5 Sequence Increase Microphone, which was launched in 1964.

All three—57, 58 and SM7B—now make use of a variation of the Shure Unidyne III factor, although the SM7B’s diaphragm design, together with extra acoustic house behind it in comparison with the opposite two, permits for extra low-frequency extension and an general flatter response. Different major variations are the SM7B’s “yoke,” or gimbal mount, an inside “air suspension” shock-mount, and a big foam windscreen. The SM7B additionally featured two frequency response switches on the rear of the mic physique.

The brand new SM7dB is the primary improve or variant of the SM7B in 20 years, and for the primary time, Rodger Cloud has licensed a customized Shure-designed, built-in preamp tuned by Shure engineers particularly for the brand new mic.

The SM7dB has three working modes: Bypass and two Preamp modes, with both +18 dB or +28 dB of extra acquire. These are set with slide switches on the again of the mic and change the unique’s (with out preamp) flush-mounted filter switches. The preamp requires +48-volt phantom energy, however you’ll be able to depart it at all times on and freely change backwards and forwards between the unique SM7B in Bypass mode after which the SM7dB with the extra acquire in the event you prefer it.

In Bypass mode, the mic’s XLR connector is instantly linked to the mic factor’s coil, and no phantom energy is required. When sending the mic for evaluation, Shure assured me that Bypass mode sounds precisely like a SM7B in each approach, with the identical output impedance of 150 ohms and the identical sensitivity of -59dBV Pa.

Nonetheless, with phantom energy switched on and in both Preamp mode, the output impedance drops to 27 ohms and the rated sensitivity will increase to -41dBV/Pa for the +18dB increase place, and -31dBV/Pa for the +28dB increase. Only for reference, a Shure SM57 has an output impedance of 310 ohms and a sensitivity of -56dBV/Pa, whereas the everyday Neumann U87 Ai condenser is rated at -28dBV/Pa sensitivity.

The +48-volt phantom energy is required for the SM7dB’s lively modes, and you may freely change between them whereas phantom is utilized with out issues. As a typical process, nonetheless, it is best to at all times mute the channel/mic preamp inputs linked to the SM7dB’s output earlier than initially switching on/off phantom energy.

A MAJOR UPDATE

It’s been about 20 years, so the updates are substantial, together with 4 easy-to-adjust slide switches to exchange the recessed switches used within the SM7B. These switches change between Bypass, +18dB or +28dB of increase, and each the high-pass filter and presence increase on/off.

In keeping with the included chart, the highpass filter, or bass roll-off, begins at about 350 Hz and continues right down to 50 Hz. The Presence increase begins at 900 Hz and continues as much as about 7 kHz, with a most increase by no means greater than about 4 dB. Actually, the microphone is “ruler-flat” in response from 1 kHz to over 4 kHz.

The consequences of those filters are the identical in both Bypass or Lively modes, and the identical as the unique SM7B microphone. Nonetheless, the brand new slide switches are simpler to make use of however protrude barely, precluding the usage of the rear safety cowl plate that was equipped with the SM7B.

The SM7B’s reputation stems from its wide selection of makes use of—every little thing from radio station DJs going out over the air to recording engineers monitoring loud singers, guitar amps and drum kits. It’s a full-range, rugged, dynamic microphone, although for very quiet sources— whisper vocals, fingerpicking guitar elements, or sure percussion devices—acquiring a correct recording stage requires about 60 to 75 dB of mic acquire.

For the skilled recording engineer utilizing correct gear, this low output shouldn’t be a problem, however it may be problematic for the inexperienced or starting artist/producer/engineer utilizing a cheap USB interface and anticipating condenser microphone-like efficiency and sensitivity.

Just lately, main USB audio interface producers have acknowledged this and have upgraded and launched new fashions/variations of their preamps, with extra acquire for any microphone.

IN THE STUDIO

For a few of my exams, I turned to a Millennia HV-37 stereo preamp, which accommodates two HV-35 microphone preamp circuit boards, with as much as 70 dB of acquire with the ribbon mic change in. That is the proverbial “wire with acquire,” a instantly coupled amplifier design that makes use of no transformers within the audio path. The true sound of the supply is revealed with no analog colour added.

I work in Professional Instruments HDX Final, and all listening and recording exams have been completed at 24-bit/96 kHz. The outputs of the HV-37 have been instantly linked to my Crane Track Interstellar analog-digital converter and grasp clock, and all playbacks handed by way of the DAC inside my Avocet 2 Monitor controller.

With the SM7dB in hand, I made a decision to strive a microphone “shootout” as a part of a quest to seek out one of the best mic for an upcoming vocal session. I positioned my singer about an inch away from the tip of the SM7dB, and about the identical distance from a metallic windscreen I sometimes use in entrance of a Soundelux/Bock U195—a condenser mic with a 1-inch dual-backplate K67 capsule in a fixed-cardioid polar sample.

Each mics had no roll-off switched on, and I used the +28dB place on the SM7dB with its inventory foam windscreen. The mic comes with two foam screens that mainly enable a singer to “eat the microphone” with out a lot “p” popping. Plosives are historical historical past now. Plus, the SM7B and now the SM7dB have inside metallic “cages” that present about three extra inches from the mic’s entrance to the precise factor inside.

Again to the shootout. The outputs of the 2 channels of the HV-37 have been instantly linked to the 2 line inputs of the A/D converter by way of VoVox Sonorus audio cables. These high-end cables have been additionally used for connecting every mic to the HV- 37’s mic inputs—no patch bays or patch cables. I ended up utilizing solely barely extra preamp acquire for the U195 to match recording ranges.

The variations have been beautiful! The SM7dB is a drier-sounding mic, that means it appears to solely choose up what’s instantly in entrance of it, with little or no of the encircling room included. It offered a heat sound with minimal proximity impact, and it didn’t herald an excessive amount of “air” or minimize the higher midrange frequencies. (The condenser had extra air and upper-midrange readability and extra deep bass pickup). For a really loud singer, the SM7dB is the one, and having the ability to change in extra acquire proper on the mic is unquestionably advantageous for smooth, spoken-word podcasts or whisper-quiet singers.

In my exams, I attempted the SM7dB on many various sources and in contrast it on to an unique SM7B within the studio. There are actually no variations however I did have an issue re-orienting the gimbal—the U-shaped mount that you must utterly take aside to vary its orientation.

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The SM7dB comes able to go for an overhead increase, as seen in radio stations and podcast movies, however I needed to apply it to a mic ground stand or brief stand and increase. Flipping the mic over inverts all of the lettering, and in the event you’re okay with that, you should utilize it proper out of the field.

For drums, I discovered the SM7dB wonderful when each near snare drums and contained in the entrance gap of a bass drum aimed on the beater head. The Bypass mode, together with the Presence increase place, labored nice for recording a kick drum, giving me a very good however not extreme “level,” or edge, with out EQ or compression.

On snare, it jogged my memory of utilizing the world’s greatest—a brand-new Shure SM57, one other standard snare drum mic, although the SM7dB introduced out an even bigger low-frequency “measurement.” Loud electrical guitar amps had comparable outcomes.

One other advantageous addition to the mic locker, the SM7dB is able to present an upfront, clear sound irrespective of how loud or how smooth it’s and utilizing any mic preamp. It’s a massive winner!