Just wanted to see if anyone had some recommendation for the ideal microphone from Shure for everyday use. I'm looking to record mostly vocals and random sounds really but mostly vocals. If you have any insight it would be very much appreciated,
Thanks again,
johnnyjover
Shure Microphone help!
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- KVRist
- 35 posts since 28 Jul, 2011 from Vancouver/Barcelona
Go and check out www.jadorehousemusic.com
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- KVRAF
- 5139 posts since 27 Jun, 2004
KSM32. But if you have a less than ideal room, SM7, although it's not as good for instruments, but it won't pick up a lot of ambience and noise.
Why must it be a Shure mic?
Why must it be a Shure mic?
"Music is spiritual. The music business is not." - Claudio Monteverdi
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- KVRian
- 921 posts since 14 May, 2010 from Atlanta, GA
Good choice! I'd also recommend the KSM44A, the multi-pattern version. The omni and figure 8 patterns are well worth it if you're recording instruments or more than one vocalist.
I've seen Alison Krauss several rimes on Austin City Limits, and there were Shures all over the stage and the recordings sounded GREAT!
Around the same price, with the same kind of specs and pedigree is the Audio Technica 4050. Three patterns, ALL good!
KVR/eSoundz: Xenobt
I've seen Alison Krauss several rimes on Austin City Limits, and there were Shures all over the stage and the recordings sounded GREAT!
Around the same price, with the same kind of specs and pedigree is the Audio Technica 4050. Three patterns, ALL good!
KVR/eSoundz: Xenobt
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- KVRist
- Topic Starter
- 35 posts since 28 Jul, 2011 from Vancouver/Barcelona
I have a connection with Shure.. so it has to be from themShy wrote:KSM32. But if you have a less than ideal room, SM7, although it's not as good for instruments, but it won't pick up a lot of ambience and noise.
Why must it be a Shure mic?
Go and check out www.jadorehousemusic.com
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- KVRAF
- 5139 posts since 27 Jun, 2004
I see. Well, I can also say that I like KSM32 much more than 44A or 42. It's more accurate/neutral, just sounds nicer (regardless of frequency response) and doesn't have a sharp high frequency bump like the other two, which may be nice for some things but I just find it annoying and limiting.
Note that it -will- pick up a lot of the background, much more than a mic like SM7B. So even though it's supposed to sound better, if you're recording in a place that has a lot of unwanted ambience or noise, all its superiority doesn't matter at all, it could very well give you a worse result.
Note that it -will- pick up a lot of the background, much more than a mic like SM7B. So even though it's supposed to sound better, if you're recording in a place that has a lot of unwanted ambience or noise, all its superiority doesn't matter at all, it could very well give you a worse result.
"Music is spiritual. The music business is not." - Claudio Monteverdi
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- KVRian
- 921 posts since 14 May, 2010 from Atlanta, GA
Yeah, I'd say that about most large diaphragm mics, Shy.
If you don't have a treated space to record in, you can end up with STUNNING amounts of things you never heard before. The walls, ceiling and floor reflections, neighbors, the dog down the street, birds outside, the fridge, AC or heating units, your cpu/HD noise. We tune out SO much on a daily basis!
And I LIKE the slight hi bump in the 44A, plus it has low self noise, hardly needs eq in a mix and just sounds more "produced" to my ear. And as I mentioned the additional polar patterns can be lifesavers sometimes.
I recently had a string section in, and from overhead, the cardioid pattern was a bit edgy and not warm enough in lower mids. The omni pattern made it really gel nicely with a rich bottom end.
And I often set the mic to figure 8, turn it 90 degrees, put one singer on one side of mic and the second on another and balance them by distance to the mic. Stack that a few times and you're in background heaven without lots of mic bleed and the attendant phase issues. And having people sing toward each other REALLY helps the performance too!
But the SM7 is a lovely choice as well, (in a whole different way), and if money isn't an object, get both!
I worked with the late Mark Richardson, and he said that it was the only mic he used for Billy Corgan's vocals on Smashing Pumpkins Siamese Dream, and also read that Bruce Swedien used it for almost all of Thriller. Nuff' Said!
It will keep its business to whatever is dead in front of it, (and damn close!), and works great for singers (and voice over talent) with good mic technique.
KVR/eSoundz: Xenobt
If you don't have a treated space to record in, you can end up with STUNNING amounts of things you never heard before. The walls, ceiling and floor reflections, neighbors, the dog down the street, birds outside, the fridge, AC or heating units, your cpu/HD noise. We tune out SO much on a daily basis!
And I LIKE the slight hi bump in the 44A, plus it has low self noise, hardly needs eq in a mix and just sounds more "produced" to my ear. And as I mentioned the additional polar patterns can be lifesavers sometimes.
I recently had a string section in, and from overhead, the cardioid pattern was a bit edgy and not warm enough in lower mids. The omni pattern made it really gel nicely with a rich bottom end.
And I often set the mic to figure 8, turn it 90 degrees, put one singer on one side of mic and the second on another and balance them by distance to the mic. Stack that a few times and you're in background heaven without lots of mic bleed and the attendant phase issues. And having people sing toward each other REALLY helps the performance too!
But the SM7 is a lovely choice as well, (in a whole different way), and if money isn't an object, get both!
I worked with the late Mark Richardson, and he said that it was the only mic he used for Billy Corgan's vocals on Smashing Pumpkins Siamese Dream, and also read that Bruce Swedien used it for almost all of Thriller. Nuff' Said!
It will keep its business to whatever is dead in front of it, (and damn close!), and works great for singers (and voice over talent) with good mic technique.
KVR/eSoundz: Xenobt
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- KVRAF
- 7119 posts since 22 Jan, 2005 from Sweden
I agree on what is said about the SM7B - but check that you have an preamp with at least 60dB gain.
If not you might need this:
http://tritonaudio.com/index.php?option ... &Itemid=33
I checked, it also has balanced input, even if text say nothing.
For some strange reason Shure does not specify it as large membrane, but I talked to a guy that wrote an article in a studio magazine and he open one up and measured membrane and it was 25mm.
So SM7B might be underrated by many for vocals because they think it's not a large membrane. Some confusion about it's the same capsule as SM57.
This guy an the magazine even took all acoustic filters off and used it for acoustic guitar.
If not you might need this:
http://tritonaudio.com/index.php?option ... &Itemid=33
I checked, it also has balanced input, even if text say nothing.
For some strange reason Shure does not specify it as large membrane, but I talked to a guy that wrote an article in a studio magazine and he open one up and measured membrane and it was 25mm.
So SM7B might be underrated by many for vocals because they think it's not a large membrane. Some confusion about it's the same capsule as SM57.
This guy an the magazine even took all acoustic filters off and used it for acoustic guitar.
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Mister Natural Mister Natural https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=164174 - KVRAF
- 2893 posts since 28 Oct, 2007 from michigan
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