@@CenterThePendulum Rolls Royce don't make an affordable family 5 door. It's probably the same thing. A Ford will get you to the supermarket, a Rode will record your vocals. Or if you don't like Fords or Rodes, insert your affordable brand of choice.
I paid 99 for a 57 back in 1987. I still have it, and it still sounds great. I was a sound engineer for live bands for 30 years. That mic got used for live shows, had beer spilled on it, stepped on, thrown, dropped, spit on, and hit with drum sticks. It took it all and still works like it did when I got it. Don't know the longevity of the 7b but the 57 is a tank.
Lol…same experiences…I have no memory how or when I got it…might be the mid seventies. Still works fine. Great hihat mic. Never seems to get overpowered
I bought two 57's for a band i was in in the 90's. We thought we were the shit bring our 57's instead of using the house mics for vocal. They got stolen.
@@zackmatthews235 Yes I did pick the NT1 over the SM7b in that versus series. If you listen to the conclusion/explanation, I stand by everything that I said.
Good video. For voice, you can add a windscreen and isolating shockmount to the SM57 for about $50 and it requires less preamp gain than the SM7B. If you position the 57 so the capsule is about 4” from your mouth and you’re at a slight angle you won’t have proximity problems or plosives with the 57. It does take practice to learn how to work the mic. The SM7B is more forgiving of all these things. But you need a very quiet mic pre with lots of gain available.
I have 57’s that are 30 years old that still work great. I’ve used them for just about everything including overhead drums and choirs. Always tell folks give me a box of 57’s and 58’s and I can mic up anything.
I bought my first SM 57 in 1975. Lost it during our move to Florida in 90 and bought another. It’s all I ever needed. You pooch looks like my mini Labradoodle, just bigger of course. Same exact coloring. She’s super smart.
One huge pro for the SM57 over the SM7B is that non-pro audio interfaces can drive them well enough that the noise floor stays low. You hear of a lot of people using the SM7B who also invest in a preamp or a gain boost like the Cloudlifter, which adds to the complication and the cost.
@@JeffPelletierBabaJonan Why even think like that? Its not like the SM7 is some magical unicorn, its just a over-hyped youtuber mic. There are literally hundreds of fantastic mics available that don't require the broadcast level preamp gain that the SM7 does, and a lot of them are cheaper too!
I use my SM7b for almost EVERYTHING. I dont have a huge mic locker. 9 mics. But my other dynamics and condensors almost never come out of the case. And I have some nice ones. But the SM7b is so practical. It also absolutely shines in areas where the room isn't ideal. The off-axis rejection is really good.
I\ve been working as a monitor/live sound engineer for close to 40 years and I can not give enough praise to the SM 57! For livesound I always go for the SM57 for atleast snare and guitar if I want a decent sound! Or aleast a sound I can easely control and make it work in a band configuration! And you said that the SM7B has been used on 100:eths of top chart recordings I dare to say that the SM 57 has been used on ALL top chart recordings since it's release!
I have a 57 for many years now. Its casing is broken and fixed with duct tape, of course. I can do everything with it. Maybe not the best for everything, but if I want to be quick and flexible, the SM 57 can do everything reasonably good.
57 & 58 are work horses on the road, but in the studio I use 421s more. All good to have. SM7B is unique IMO. Not right for everything, but SO good for certain things.
Don't forget the SM7b also has the bass roll off and and mid presence boost that adds some versatility as well. Also, if $400 is a bit steep, it's pretty safe to buy a used one for quite a bit cheaper. That's what I did and it works perfectly. However, the SM57 is a great workhorse mic as well.
Personally I'm not a fan of those switches. The bass roll off at 300Hz is a bit too aggressive for me and the presence boost has quite the large frequency range for my taste and use case. Quite destructive for recording in my experience. Naturally I EQ stuff in my DAW when I record and for communication purposes I just route an EQ through a virtual output with a high pass @ around 60-80Hz to kill the rumble and any unwanted handling noises.
I bought an Electrovoice RE20 because it had a flat sound and I used it extensively as a broadcast professional. With its shock mount, I could have bought all three of the Shure microphones. When broadcasting from home, I use a Shure SM58. After five microphones, it was the one I finally landed on. I already had it as a backup but never thought to try it as my radio mic. Best I have sounded on the air outside of an actual broadcast studio.
Thanks. I have multiple 57s and 58s and a Beta 58...mostly perfomance . And a Blue Spark. Would have been nice to cover the roll off and boost switches on the back of the 7B to highlight its flexibility...which helps rationalize the additional cost
The "B" isnt for Broadcast, its the version of it , as there is also a plain SM-7 (the original that MJ used) , also I happen to own an SM-7A (late 90s), and the current version of teh sm-7B, which has different filters.
If you're looking for a budget vocal mic don't forget the SM58. Just as the 57 was the standard for live micing things like guitars and drums so too was the 58 found on stage for vocals. Same price as the 57 and both are rugged, reliable and responsible for the sound that people have been hearing on stage and recordings for decades.
In 1978 I bought 2-SM57's and 2-SM58's, both used, for $75. No idea what they were new then but I remember I was happy with the price, and they both had 25 foot cables. 1- SM58 got run over by my pickup, very flat. LOL The other 3, with new wind screen's several times, are still being used today, and work fine. For $99 today, you get your $$ worth!! 8) --gary
Thank you for the info! This also makes me realize that chasing or trying to emulate someone’s tone is kinda pointless. If I’m listening to something it means it’s been recorded and therefore the mics used and everything else done in post influences it and makes it so so difficult to match straight from my amp
the Telefunken U47 & Neumann U87 are the most iconic mic's of all time. SM7B's only come into popularity since the pandemic and everyone decided to become youtubers. @nicgundy
So subtle, the difference between the 57 and the 7 but on the bass, you can not only hear the low end clarity more, but also a more compressed tighter response. I am sold on that but haven't pulled the trigger yet on the 7 for financial reasons. If only Josh Scott would stop making me buy shit I don't need. Keep up the good content man. Love the channel.
Hey bro! I love the video, I want to buy the Sm7b for my video (I always use my voice for them) and I would like to know if I need something extra besides the mic like the Cloudlifter also which boom arm should I use? Thank you
Congrats on 600K, Rhett! There's also the SM58, the live mic of choice for a metric shitload of brilliant vocals over the years, and it's also about $99. If you want to record vocals in a live-band setting, it's probably the mic you should have. You can also unscrew the pop filter and you have a very close version of the SM57 for recording guitars, as they are based on the same cartridge design according to Shure.
As a 30 year veteran of live sound engineering , I can confirm. The 58 is also built like a tank. If you want a little more low end and higher sound pressure resilience, you can always try the 58beta and the 57beta
I like the 57 mostly for recording electric guitar, I own a Shure SM57 with TAB Funkenwerk mod and its a beast, more detailed, clean highs and great low end.
Sm7B is a fantastic rock male vocal mic! I love mine to death and use it for a multitude of things. If I mic a guitar cab I actually use both. My mixer likes blending them as it means he barely has to eq the guitars. For vocals I don’t fancy the SM57. It kinda works, but I don’t feel like it’s quite there. In the end, you’ll need both!
I picked up an SM7B, as well as one each SM57 and SM58. I plan on picking up another SM57 and SM58 in the future. Good mics, and plenty of versatility. Thanks Rhett and Phillip (and Penny!)
I remember being surprised at first when my ears told me that the SM7B, not the fancy tube condenser mic, was actually the better choice on acoustic guitar for a particular track. It gave the track a no nonsense, concise, meat and potatoes kind of sound that worked perfectly in that particular song. I've also tracked acoustic guitar with a Beta 57A on occasion and had surprisingly good results. Depends what you're going for.
My favorite mic of all time is the AT4050 (and you will never outgrow it) but if you told me I could only have one microphone for the rest of my life for live and recording use it would be a Beta58. The 57 and 58 are the same capsule but the 58 has the windscreen and can be more safely used as a hammer. I like the additional gain before feedback on the Beta series when used live (especially on a vocal).
And that’s a Rap!👈🏽😉 I’ve been hearing that for nearly 30 yrs. And I’ve used one exclusively for over 15…it was my only mic besides the 57’s and 58’s. Still have it too. Built like a tank, and a freakin’ work horse.😎
I would get an SM57 - which is much more flexible - and use an Eq to adjust the frequency response to the SM7Bs. This is a cheaper and more variable solution.
If you get one of those Soyuz Launchers it can give you another more RE-20, or almost condensor like flavour with an SM7B. Adds some presence, brightness and air. Which makes them even more versatile. Because there's some vocals the SM7B isn't open enough with. And also, on nylon acoustic, or even dreadnought, or piano, I don't love it stock.
Great video. It's a great point that these mics are good bets to buy because you'll never outgrow them, unlike a $500 condenser. One thign I would add is that the 7B has a humbucker, unlike the 57. Most of the time the difference is probably negligible but it can REALLY come in handy if you're unlucky enough to find yourself in a spot with bad EM fields. Also on vocals the 7B naturally regulates distance from capsule and proximity effect and plosives in a way that the 57 doesn't. It also has internal damping to eliminate handling noise. Basically that extra money goes into a whole lot of usability features that add a lot of value. I think of a 57 as more of a raw/basic version of the 7B.
I wanna get an SM57 for sure! Also off topic - footage is bit shaky in the last couple videos haha, some of the Sony cameras have a built it stabilizer that's pretty great! Thanks Rhett and Phil for the epic videos 💜
The SM7B is definitely the one mic that I will always keep. The frequency response is rather flat which makes it suitable for almost anything and I was never disappointed whenever I used it. Be it vocals, guitar amps even outside the kick drum or bass amps. It yields enough sonic information to leave you a lot of options in post production. Can't recommend this mic enough if you can afford it.
The 57 is such a great tool. Hammers nails, nice as a wedge for stone quarrying… I kid, I personally moved from the 57 to an audix i5 long ago. Still constantly rely on my 7/8th sm7b ( they’re just barely cheap enough to give to someone you believe in, replace later and not go broke) They are just simply reliable tools. They don’t sound awesome but they take beatings and they are reliably themselves, therefore easily “learnable”, which is all that really matters to achieving one’s artistic goals
One major criteria for using them over condenser mic is sound rejection from back and sides :) like if you don't have any treated room. These two will greatly get you a better clean sound too :)
Low end pickup will be affected profoundly by proximity effect. Both mics need a quiet pre-amp because they require a lot of gain to get them up to usable levels. But yes, all-purpose. It's said that for a while in the '80s, Rudy van Gelder used nothing but 57s with their windscreens.
For a single mic, a dynamic (both using the unidyne capsule) is GREAT for a few applications and limiting in others. You'll get too much noise in certain instances where you need to back-off a quieter instrument or even voice - then compress. Really, a flattish, quiet LDC will be more versatile. I'd say your SECOND mic should be the 57/58. Then a pair of SDCs for stereo capture.
The SM7B is rsuperb for voice-recording, but for a do-it-all mic i would consider the AKG C535EB (sadly discontinued). Although it was designed as a vocal-mic it does just about everything, except possibly kickdrums. It takes sound-pressure like no other vocal condenser, to the extent that you can stuff it up a trombone (115-120dB) and still have a clean tone. It may not be the best alternative for any particular purpose, certainly not for guitar, but great overall. Female vocal (live) is what it does best IMHO.
The first mic everyone should by is an SM57 with an A2WS wind screen. The 2nd mic you should buy is another SM57 in order to have a stereo pair. The SM7B is four times the price, is going to need a Cloudlifter, and really isn’t different enough that a windscreen and a touch of EQ can’t make up the difference. Especially if we’re talking about a mix. There may be very specific cases where a 7B is really worth the price, but you probably already know if you’re in that situation.
I actually just purchased the sm57 as my first microphone and I LOVE IT. I mainly use it for recording my guitar through my amp but it's super versatile
I don’t think I ever actually heard a side by side comparison of a 57 and 7B on a guitar amp, they sound drastically different. The 57 is so present, but the 7B is so good for vocals
Okay, who was the dog? Yes, I like both. My son (who has a Sound Production Engineering degree) got me something else that does super. He now has a Masters in another related field. Thanks
Hiel pr 30 similar freq pattern to sm-7: $242, no need to boost signal. or pr40, (RE20 killer). slight rise 1.5 - 5k, plateau to 10k. no need to boost. $314
I’d love to see you go deeper into production. Tell us about interesting ways to do transitions or how you build energy in a song or what stylistic choices you make for vocal processing. Any of those kinds of topics would be really neat to see
I prefer an SM58 because it has the built-in windscreen to help with plosives while talking or singing. Then I unscrew and remove the windscreen to record drums and speaker cabinets. But I guess I could always just put a foam windscreen on a 57? 😏
You kept saying "low end" and I thought you'd mention the fact the SM7B has 2 switchs at the back: "Bass rolloff" and the "Presence Boost." 🤔 - When I use it for vocals I leave it in "Flat Response" but when I use it to mic my Guitar AMP I test changing those 2 switches...
My first microphone was an EV ND 457. When used beside other band members vocal microphones, mine was louder and clearer. At the time it was purchased it cost $10 more than an SM58. They aren't made anymore. I don't know why. Maybe something better exists from EV in that price range. It was sold long ago when I stopped working in the music business. Now that I'm dabbling in music again, I wish it were still with me.
when I had a bit of extra money I ended up upgrading from SM57's to TG88's - love the TG88. The SM7B is great although I like the RE20 most of the time (or TG88). As much as I like dynamics, there are a lot of interfaces that don't really have enough gain for dynamic mics. So be aware.
Man I love the re20… I record vocals with it constantly. Not everyone’s voice shines with every mic so you should try as many of their friends mics as possible…
for real. if I were starting a studio, an SM57 for instruments, amps, drums, etc & an SM7B for vocals, kick, bass, etc. Pretty sure they even use dual SM57s for the President and have for decades.
perfect thanks . starting from scratch again . Good timing on this video for me , I have some SM 57s but need something that will do speech for videos podcast type stuff.
Love SM57s to death:) I prefer the sound of the 57 with the foam filter to a 58 for (my) vocals. There a ton of really good mics available in that $100.00 to $500.00 range but none have shaped the collective perception of certain sounds the way that the 57 has. For example, I watched a mic shootout video recently where a snare drum was surrounded by mics reaching well above the $500 price point. They all sounded more or less really good but there was one mic that consistently sounded "right": the 57. My theory is that, for most of us, we've grown up hearing not the sound of a Ludwig, Slingerland, Gretsch, etc. snare drums but the sound of those drums + a 57. Same thing with Hi Hats
Both great mics, but if I could only have one I would choose the MD421. It's not great for vocals and a little muddy on guitar cabs, but it beats every other mic on everything else. Drums, bass, acoustics, wind, pianos... everything. With these mics you have very little bottom end (kinda like your girlfriend), but you can always EQ the high end. The magic is in the mids, and that's where it shines (Tell your girl I says hi, btw. She remembers what I like to do with my 57s...)
I'd always heard that the sm7 (and also the Celestion g12-65h speakers) was a big part of why the guitars sound the way they do on Metallica's Ride The Lightning, but i didn't believe it until you demo'd these side by side. Holy cow can you tell when it switches to the sm7!
Rhett, I HIGHLY recommend checking out the Lauten Audio LS-208 if you haven't. It's completely replaced my 7b. It can handle huge SPL levels but is actually a front address condenser microphone that solves essentially every problem people have with the 7b. Since you don't need a cloudlifter the price is essentially identical.
I came across an RE 20 first so no real need for the SM7B. I have two SM 57's with the Sure locking windscreens that work quite well, mics are fun to play with!
Both amazing and must haves for any mic locker. Buyer beware though - these are both counterfeited *extensively* so if a deal seems too good to be true.... don't get scammed.
The SM57 is such a standard when it comes to recording so many types of instruments, I definitely love it and every guitarist that records needs to have at least one, it's cheap enough for that. Now, for just having one mic for a lot of things including vocals, the SM7B wouldn't even be my main choice to be honest, I'd rather get a good condenser mic if my room is treated enough but the 7B is really good.
The 57 is simply the standard to beat. Ironically, I haven't touched any of my three 57's in a long time because every mic I own went through the process of "57 for amps but lower profile" (e906) or "57 for vocals but a little bit nicer EQ curve for my voice" (Beta 58) or "57 for drums but lower profile" (EV N/D468)... I do still keep two 57's in my production bag at all times, just in case.
The SM-57 is definitely brighter and SM-7B mellower on the guitar, and the difference is harder to discern on bass. If you have both it's easy enough to try them and pick which sound you like better, but for a budget I'd definitely pick the SM-57. This is recording heresy, but if the 57 is too bright on a track I'd just cut the treble a little bit.
I hope this question makes sense: With the SM7 having more bass-response, can you 'cheat' if you only have one mic or the other with placement in relation to the center of the speaker and to what degree can these mics mimic each other based on placement? Love to see you do one on that or point us in the direction of a good video on said subject.
Great review Rhett. Been using both mic's for 20+ years and completely concur on all points. Interesting price points, the SM7B used to be around $250 in my day.
Can also confirm this. My business partner passed away a few years ago and there are mics he had all his life that still work great. Almost all the 57s were over 40 years old when he passed away, and there were quite a few. Also a couple Sennheiser that survived the years very well.
If you don't want to shell out the dough for a SM7b, the SM57 with the giant "presidential" A81 windscreen gets you about 98% of the way there. Yes, it doesn't look as cool. But it performs amazingly, in my experience.
The SM7B is literally what happened when Shure asked their employees what they would do to improve their legendary SM57 if they had to and budget wasn't an option. I own both and love them both as studio tools and when I run FOH sound.
Its a good mic, no doubt and I own one. But my number one go to mic is the RE20. If I could only have one.. Its the RE20.. I have a SM7B and enjoy it. I have many I enjoy. Including the RE320 on guitar cabs. A 57 is like 50 bucks used so why not have one. But, if I can only have one bullet proof do everything mic.. RE20 is my choice. And its a good choice. I dont think anybody would argue with its a quality choice. It has the flavor I prefer.
It always amazes me how we can make so many advances yet mics like the 57 are still the standard for so many sources
Sometimes you don't need to make improvements when it's already perfect 😂
Same for the Sennheiser MD 441-U and other MD models.
Always amazes me how also, with all our efficiencies and automation, Neumann can’t produce a $1k u47 / u87 / m49 etc.
@@CenterThePendulum Rolls Royce don't make an affordable family 5 door. It's probably the same thing.
A Ford will get you to the supermarket, a Rode will record your vocals. Or if you don't like Fords or Rodes, insert your affordable brand of choice.
@@CenterThePendulum Neumann has its production still in Germany - not in Asia like nearly all the other brands. And it's partially handbuilt.
it looks like it would be more difficult to use the 7b as a hammer, so i'm gonna go 57 for the versatility
I destroyed two 57s. One by dropping it and the other by plugging in a poorly wired cable. They're not that tough
57, get 3 for the price of SM7. Get a foamy pop add on for the 57, eq to taste. No brainer.
I paid 99 for a 57 back in 1987. I still have it, and it still sounds great. I was a sound engineer for live bands for 30 years. That mic got used for live shows, had beer spilled on it, stepped on, thrown, dropped, spit on, and hit with drum sticks. It took it all and still works like it did when I got it. Don't know the longevity of the 7b but the 57 is a tank.
Lol…same experiences…I have no memory how or when I got it…might be the mid seventies.
Still works fine. Great hihat mic. Never seems to get overpowered
Hahaha I have a bunch as well that been thru it all. Sm7b sounds great on kick drum.
I bought two 57's for a band i was in in the 90's. We thought we were the shit bring our 57's instead of using the house mics for vocal. They got stolen.
Be still my heart, it’s always a great day when Rhett is talking mics (especially one of my favorites)!
PS: you probably have already, but if you haven’t you should try out the Beyerdynamic M201 and the m160. I bet you’d love them.
@Podcastage didn’t you pick the NT1 over this in one of your old vids? I’m considering selling it now for a sm7b
@@zackmatthews235 Yes I did pick the NT1 over the SM7b in that versus series. If you listen to the conclusion/explanation, I stand by everything that I said.
Good video. For voice, you can add a windscreen and isolating shockmount to the SM57 for about $50 and it requires less preamp gain than the SM7B. If you position the 57 so the capsule is about 4” from your mouth and you’re at a slight angle you won’t have proximity problems or plosives with the 57. It does take practice to learn how to work the mic.
The SM7B is more forgiving of all these things. But you need a very quiet mic pre with lots of gain available.
'sup, Lyle?
For sure if all you have is a 57 you can still get the job done!
I have 57’s that are 30 years old that still work great. I’ve used them for just about everything including overhead drums and choirs. Always tell folks give me a box of 57’s and 58’s and I can mic up anything.
I bought my first SM 57 in 1975. Lost it during our move to Florida in 90 and bought another. It’s all I ever needed.
You pooch looks like my mini Labradoodle, just bigger of course. Same exact coloring. She’s super smart.
One huge pro for the SM57 over the SM7B is that non-pro audio interfaces can drive them well enough that the noise floor stays low. You hear of a lot of people using the SM7B who also invest in a preamp or a gain boost like the Cloudlifter, which adds to the complication and the cost.
if only there would be a built in solution for this... hmm...
@@JeffPelletierBabaJonan Why even think like that? Its not like the SM7 is some magical unicorn, its just a over-hyped youtuber mic. There are literally hundreds of fantastic mics available that don't require the broadcast level preamp gain that the SM7 does, and a lot of them are cheaper too!
This. SM7B without a cloudlifter, it's a NO.
@@weschilton - yes, there are cheaper and different and "better" options. Just remember what I said... ;)
@@julienmarchand2499 - but maybe...
I use my SM7b for almost EVERYTHING. I dont have a huge mic locker. 9 mics. But my other dynamics and condensors almost never come out of the case. And I have some nice ones. But the SM7b is so practical. It also absolutely shines in areas where the room isn't ideal. The off-axis rejection is really good.
I\ve been working as a monitor/live sound engineer for close to 40 years and I can not give enough praise to the SM 57! For livesound I always go for the SM57 for atleast snare and guitar if I want a decent sound! Or aleast a sound I can easely control and make it work in a band configuration! And you said that the SM7B has been used on 100:eths of top chart recordings I dare to say that the SM 57 has been used on ALL top chart recordings since it's release!
I have a 57 for many years now. Its casing is broken and fixed with duct tape, of course. I can do everything with it. Maybe not the best for everything, but if I want to be quick and flexible, the SM 57 can do everything reasonably good.
57 & 58 are work horses on the road, but in the studio I use 421s more. All good to have. SM7B is unique IMO. Not right for everything, but SO good for certain things.
Don't forget the SM7b also has the bass roll off and and mid presence boost that adds some versatility as well. Also, if $400 is a bit steep, it's pretty safe to buy a used one for quite a bit cheaper. That's what I did and it works perfectly. However, the SM57 is a great workhorse mic as well.
Personally I'm not a fan of those switches. The bass roll off at 300Hz is a bit too aggressive for me and the presence boost has quite the large frequency range for my taste and use case. Quite destructive for recording in my experience. Naturally I EQ stuff in my DAW when I record and for communication purposes I just route an EQ through a virtual output with a high pass @ around 60-80Hz to kill the rumble and any unwanted handling noises.
I bought an Electrovoice RE20 because it had a flat sound and I used it extensively as a broadcast professional. With its shock mount, I could have bought all three of the Shure microphones. When broadcasting from home, I use a Shure SM58. After five microphones, it was the one I finally landed on. I already had it as a backup but never thought to try it as my radio mic. Best I have sounded on the air outside of an actual broadcast studio.
Rhett and Phillip have been killing it with these Tech Talk/Gear Talk vids....once again, great and useful info!!!
Thanks. I have multiple 57s and 58s and a Beta 58...mostly perfomance . And a Blue Spark. Would have been nice to cover the roll off and boost switches on the back of the 7B to highlight its flexibility...which helps rationalize the additional cost
With EQ, you can tone shape your Mic to vastly broaden its uses.
The "B" isnt for Broadcast, its the version of it , as there is also a plain SM-7 (the original that MJ used) , also I happen to own an SM-7A (late 90s), and the current version of teh sm-7B, which has different filters.
However, both were designed specifically for radio and tv broadcasting.
And it took only one day. Before someone think they know more the the content creator of the mic. And I think that is really funny.
The 57 (and 58) are brilliant on saxes, trumpet trombone, etc they are the unsung hero of the music industry
If you're looking for a budget vocal mic don't forget the SM58. Just as the 57 was the standard for live micing things like guitars and drums so too was the 58 found on stage for vocals. Same price as the 57 and both are rugged, reliable and responsible for the sound that people have been hearing on stage and recordings for decades.
In 1978 I bought 2-SM57's and 2-SM58's, both used, for $75. No idea what they were new then but I remember I was happy with the price, and they both had 25 foot cables. 1- SM58 got run over by my pickup, very flat. LOL The other 3, with new wind screen's several times, are still being used today, and work fine. For $99 today, you get your $$ worth!! 8) --gary
I have been singing through the SM7B for the last year and really love it.
Super cool finally seeing you make content in the studio space. Seeing the hard work on the construction series finally paid off!
Thank you for the info! This also makes me realize that chasing or trying to emulate someone’s tone is kinda pointless. If I’m listening to something it means it’s been recorded and therefore the mics used and everything else done in post influences it and makes it so so difficult to match straight from my amp
The most iconic 2 mics of all time! The SM7B I’ve worked with since college & finally got my own on my birthday at the start of 2023!
Iconic since youbers started using them, maybe... the SM58 is far more iconic.
the Telefunken U47 & Neumann U87 are the most iconic mic's of all time. SM7B's only come into popularity since the pandemic and everyone decided to become youtubers. @nicgundy
Thanks for the tip! I went and bought one of each. I find such great deals on used gear, no need to ever buy anything new again.
So subtle, the difference between the 57 and the 7 but on the bass, you can not only hear the low end clarity more, but also a more compressed tighter response. I am sold on that but haven't pulled the trigger yet on the 7 for financial reasons. If only Josh Scott would stop making me buy shit I don't need. Keep up the good content man. Love the channel.
Hey bro! I love the video, I want to buy the Sm7b for my video (I always use my voice for them) and I would like to know if I need something extra besides the mic like the Cloudlifter also which boom arm should I use? Thank you
Literally just got my frist SM7B a few days ago along with 'Triton' FetHead adapter absolute perfect match. Great Video Rhett covered alot!
Congrats on 600K, Rhett! There's also the SM58, the live mic of choice for a metric shitload of brilliant vocals over the years, and it's also about $99. If you want to record vocals in a live-band setting, it's probably the mic you should have. You can also unscrew the pop filter and you have a very close version of the SM57 for recording guitars, as they are based on the same cartridge design according to Shure.
As a 30 year veteran of live sound engineering , I can confirm. The 58 is also built like a tank. If you want a little more low end and higher sound pressure resilience, you can always try the 58beta and the 57beta
I like the 57 mostly for recording electric guitar, I own a Shure SM57 with TAB Funkenwerk mod and its a beast, more detailed, clean highs and great low end.
I used the SM7B on everything for years. Now I use the Townsend Labs Sphere as my primary, for obvi reasons, but love the Shure.
Sm7B is a fantastic rock male vocal mic! I love mine to death and use it for a multitude of things. If I mic a guitar cab I actually use both. My mixer likes blending them as it means he barely has to eq the guitars. For vocals I don’t fancy the SM57. It kinda works, but I don’t feel like it’s quite there. In the end, you’ll need both!
I picked up an SM7B, as well as one each SM57 and SM58.
I plan on picking up another SM57 and SM58 in the future.
Good mics, and plenty of versatility.
Thanks Rhett and Phillip (and Penny!)
I always liked the SM58. I think it sounds really good on cabinets.
I remember being surprised at first when my ears told me that the SM7B, not the fancy tube condenser mic, was actually the better choice on acoustic guitar for a particular track. It gave the track a no nonsense, concise, meat and potatoes kind of sound that worked perfectly in that particular song. I've also tracked acoustic guitar with a Beta 57A on occasion and had surprisingly good results. Depends what you're going for.
My favorite mic of all time is the AT4050 (and you will never outgrow it) but if you told me I could only have one microphone for the rest of my life for live and recording use it would be a Beta58. The 57 and 58 are the same capsule but the 58 has the windscreen and can be more safely used as a hammer. I like the additional gain before feedback on the Beta series when used live (especially on a vocal).
And that’s a Rap!👈🏽😉 I’ve been hearing that for nearly 30 yrs. And I’ve used one exclusively for over 15…it was my only mic besides the 57’s and 58’s. Still have it too. Built like a tank, and a freakin’ work horse.😎
I have an AT4050 I got 20 or more years ago new. Its still a workhorse for me.
Getting an SM7b was the best thing I ever did! 👍👍👍
I bought both 2nd hand (they were brand new for half the price!) And man I don't regret it!
I would get an SM57 - which is much more flexible - and use an Eq to adjust the frequency response to the SM7Bs. This is a cheaper and more variable solution.
If you get one of those Soyuz Launchers it can give you another more RE-20, or almost condensor like flavour with an SM7B. Adds some presence, brightness and air. Which makes them even more versatile. Because there's some vocals the SM7B isn't open enough with. And also, on nylon acoustic, or even dreadnought, or piano, I don't love it stock.
Great video. It's a great point that these mics are good bets to buy because you'll never outgrow them, unlike a $500 condenser. One thign I would add is that the 7B has a humbucker, unlike the 57. Most of the time the difference is probably negligible but it can REALLY come in handy if you're unlucky enough to find yourself in a spot with bad EM fields. Also on vocals the 7B naturally regulates distance from capsule and proximity effect and plosives in a way that the 57 doesn't. It also has internal damping to eliminate handling noise. Basically that extra money goes into a whole lot of usability features that add a lot of value. I think of a 57 as more of a raw/basic version of the 7B.
I wanna get an SM57 for sure! Also off topic - footage is bit shaky in the last couple videos haha, some of the Sony cameras have a built it stabilizer that's pretty great! Thanks Rhett and Phil for the epic videos 💜
The SM7B is definitely the one mic that I will always keep. The frequency response is rather flat which makes it suitable for almost anything and I was never disappointed whenever I used it. Be it vocals, guitar amps even outside the kick drum or bass amps. It yields enough sonic information to leave you a lot of options in post production. Can't recommend this mic enough if you can afford it.
The 57 is such a great tool. Hammers nails, nice as a wedge for stone quarrying…
I kid, I personally moved from the 57 to an audix i5 long ago. Still constantly rely on my 7/8th sm7b ( they’re just barely cheap enough to give to someone you believe in, replace later and not go broke)
They are just simply reliable tools. They don’t sound awesome but they take beatings and they are reliably themselves, therefore easily “learnable”, which is all that really matters to achieving one’s artistic goals
The sm57 was my first mic and is my most useful mic. I prefer condensers for vocals, but the sm7b is a great mic.
One major criteria for using them over condenser mic is sound rejection from back and sides :) like if you don't have any treated room. These two will greatly get you a better clean sound too :)
The difference in tone between the 57 and 7B on the soldano cab is insane
Low end pickup will be affected profoundly by proximity effect. Both mics need a quiet pre-amp because they require a lot of gain to get them up to usable levels. But yes, all-purpose. It's said that for a while in the '80s, Rudy van Gelder used nothing but 57s with their windscreens.
For a single mic, a dynamic (both using the unidyne capsule) is GREAT for a few applications and limiting in others. You'll get too much noise in certain instances where you need to back-off a quieter instrument or even voice - then compress. Really, a flattish, quiet LDC will be more versatile. I'd say your SECOND mic should be the 57/58. Then a pair of SDCs for stereo capture.
The SM7B is rsuperb for voice-recording, but for a do-it-all mic i would consider the AKG C535EB (sadly discontinued). Although it was designed as a vocal-mic it does just about everything, except possibly kickdrums. It takes sound-pressure like no other vocal condenser, to the extent that you can stuff it up a trombone (115-120dB) and still have a clean tone. It may not be the best alternative for any particular purpose, certainly not for guitar, but great overall. Female vocal (live) is what it does best IMHO.
The first mic everyone should by is an SM57 with an A2WS wind screen. The 2nd mic you should buy is another SM57 in order to have a stereo pair. The SM7B is four times the price, is going to need a Cloudlifter, and really isn’t different enough that a windscreen and a touch of EQ can’t make up the difference. Especially if we’re talking about a mix. There may be very specific cases where a 7B is really worth the price, but you probably already know if you’re in that situation.
I actually just purchased the sm57 as my first microphone and I LOVE IT. I mainly use it for recording my guitar through my amp but it's super versatile
I don’t think I ever actually heard a side by side comparison of a 57 and 7B on a guitar amp, they sound drastically different. The 57 is so present, but the 7B is so good for vocals
Okay, who was the dog? Yes, I like both. My son (who has a Sound Production Engineering degree) got me something else that does super. He now has a Masters in another related field. Thanks
can we just take a minute to talk ab how freaking cute that dog is
I love the SM 57. I have six of them
Wow,I didn't know you could get a good mic for around 99$ But also I'm just starting my mic journey... Thanks Rhett
Hiel pr 30 similar freq pattern to sm-7: $242, no need to boost signal. or pr40, (RE20 killer). slight rise 1.5 - 5k, plateau to 10k. no need to boost. $314
I’d love to see you go deeper into production. Tell us about interesting ways to do transitions or how you build energy in a song or what stylistic choices you make for vocal processing. Any of those kinds of topics would be really neat to see
We know you are Rhett, and it was good to meet Ben, but who was the star of the show you were interviewing at the beginning.
I prefer an SM58 because it has the built-in windscreen to help with plosives while talking or singing. Then I unscrew and remove the windscreen to record drums and speaker cabinets. But I guess I could always just put a foam windscreen on a 57? 😏
Thank you for doing a video on mics!
really enjoyed the dogs thoughts on this one. i agree for sure.😃
You kept saying "low end" and I thought you'd mention the fact the SM7B has 2 switchs at the back: "Bass rolloff" and the "Presence Boost." 🤔 - When I use it for vocals I leave it in "Flat Response" but when I use it to mic my Guitar AMP I test changing those 2 switches...
My first microphone was an EV ND 457. When used beside other band members vocal microphones, mine was louder and clearer. At the time it was purchased it cost $10 more than an SM58. They aren't made anymore. I don't know why. Maybe something better exists from EV in that price range. It was sold long ago when I stopped working in the music business. Now that I'm dabbling in music again, I wish it were still with me.
I would go with a SM58 because I could make it sound like either of those other two mics.
when I had a bit of extra money I ended up upgrading from SM57's to TG88's - love the TG88. The SM7B is great although I like the RE20 most of the time (or TG88). As much as I like dynamics, there are a lot of interfaces that don't really have enough gain for dynamic mics. So be aware.
Man I love the re20… I record vocals with it constantly. Not everyone’s voice shines with every mic so you should try as many of their friends mics as possible…
for real. if I were starting a studio, an SM57 for instruments, amps, drums, etc & an SM7B for vocals, kick, bass, etc. Pretty sure they even use dual SM57s for the President and have for decades.
Electro voice re-20 is my favorite, less color is added to the sound in my opinion
Looking forward to seeing how the studio finished turns out
perfect thanks . starting from scratch again . Good timing on this video for me , I have some SM 57s but need something that will do speech for videos podcast type stuff.
Love SM57s to death:) I prefer the sound of the 57 with the foam filter to a 58 for (my) vocals. There a ton of really good mics available in that $100.00 to $500.00 range but none have shaped the collective
perception of certain sounds the way that the 57 has. For example, I watched a mic shootout video recently where a snare drum was surrounded by mics reaching well above the $500 price point. They all sounded more or less really good but there was one mic that consistently sounded "right": the 57. My theory is that, for most of us, we've grown up hearing not the sound of a Ludwig, Slingerland, Gretsch, etc. snare drums but the sound of those drums + a 57. Same thing with Hi Hats
Wow the guitar sounds SO much better with the 57 I was blown away. Vocals def sound significantly better on 7B.
Both great mics, but if I could only have one I would choose the MD421. It's not great for vocals and a little muddy on guitar cabs, but it beats every other mic on everything else. Drums, bass, acoustics, wind, pianos... everything.
With these mics you have very little bottom end (kinda like your girlfriend), but you can always EQ the high end.
The magic is in the mids, and that's where it shines
(Tell your girl I says hi, btw. She remembers what I like to do with my 57s...)
I'd always heard that the sm7 (and also the Celestion g12-65h speakers) was a big part of why the guitars sound the way they do on Metallica's Ride The Lightning, but i didn't believe it until you demo'd these side by side. Holy cow can you tell when it switches to the sm7!
Rhett, I HIGHLY recommend checking out the Lauten Audio LS-208 if you haven't. It's completely replaced my 7b. It can handle huge SPL levels but is actually a front address condenser microphone that solves essentially every problem people have with the 7b. Since you don't need a cloudlifter the price is essentially identical.
Yep, I've had an SM 57 for a long time.
I came across an RE 20 first so no real need for the SM7B. I have two SM 57's with the Sure locking windscreens that work quite well, mics are fun to play with!
Both amazing and must haves for any mic locker. Buyer beware though - these are both counterfeited *extensively* so if a deal seems too good to be true.... don't get scammed.
why am I not surprised Rhett has a snicker doodle. ;-)
The SM57 is such a standard when it comes to recording so many types of instruments, I definitely love it and every guitarist that records needs to have at least one, it's cheap enough for that. Now, for just having one mic for a lot of things including vocals, the SM7B wouldn't even be my main choice to be honest, I'd rather get a good condenser mic if my room is treated enough but the 7B is really good.
This video is just in time! I'mcurrently considering my first miike purchase.
The 57 is simply the standard to beat. Ironically, I haven't touched any of my three 57's in a long time because every mic I own went through the process of "57 for amps but lower profile" (e906) or "57 for vocals but a little bit nicer EQ curve for my voice" (Beta 58) or "57 for drums but lower profile" (EV N/D468)...
I do still keep two 57's in my production bag at all times, just in case.
your dog is right... nice demo! Thank you for the education
i make screamo music/trap metal. which one would you recommend for that kind of vocal style?
The SM-57 is definitely brighter and SM-7B mellower on the guitar, and the difference is harder to discern on bass. If you have both it's easy enough to try them and pick which sound you like better, but for a budget I'd definitely pick the SM-57. This is recording heresy, but if the 57 is too bright on a track I'd just cut the treble a little bit.
Good stuff! I’m approaching my first mic purchase and this video provided lots of good information - thanks!
activating the presence boost on the back of the SM7B with basically turn it into a bigger version of the SM57
I hope this question makes sense:
With the SM7 having more bass-response, can you 'cheat' if you only have one mic or the other with placement in relation to the center of the speaker and to what degree can these mics mimic each other based on placement?
Love to see you do one on that or point us in the direction of a good video on said subject.
I have both… great mics, the SM7B is a great HH mic
Great review Rhett. Been using both mic's for 20+ years and completely concur on all points. Interesting price points, the SM7B used to be around $250 in my day.
Not only will you never outgrow a 57, the 57 you buy will be around far longer than you will be
Absolutely! I had mine for 40 years before I lost it and I'm positive it's still going strong.
Can also confirm this. My business partner passed away a few years ago and there are mics he had all his life that still work great. Almost all the 57s were over 40 years old when he passed away, and there were quite a few. Also a couple Sennheiser that survived the years very well.
If you don't want to shell out the dough for a SM7b, the SM57 with the giant "presidential" A81 windscreen gets you about 98% of the way there. Yes, it doesn't look as cool. But it performs amazingly, in my experience.
I would pick the 57 personally. Even for vocals
It would have been nice mention mic pre's in the cost of these things, the sm7b is 400 but another 100 for a pre generally.
The SM7B is literally what happened when Shure asked their employees what they would do to improve their legendary SM57 if they had to and budget wasn't an option.
I own both and love them both as studio tools and when I run FOH sound.
Its a good mic, no doubt and I own one. But my number one go to mic is the RE20. If I could only have one.. Its the RE20.. I have a SM7B and enjoy it. I have many I enjoy. Including the RE320 on guitar cabs. A 57 is like 50 bucks used so why not have one. But, if I can only have one bullet proof do everything mic.. RE20 is my choice. And its a good choice. I dont think anybody would argue with its a quality choice. It has the flavor I prefer.
Great video! Can you share what mixer/preamp do you recommend to use with SM7B?