- Flat, wide-range frequency response for exceptionally clean and natural reproduction of both music and speech. Bass rolloff and mid-range emphasis (presence boost) controls with graphic display of response setting.
- Improved rejection of electromagnetic hum, optimized for shielding against broadband interference emitted by computer monitors. Highly effective pop filter eliminates need for any add-on protection against explosive breath sounds, even for close-up vocals.
- Now shipping with the A7WS detachable windscreen, designed to reduce plosive sounds and gives a warmer tone for close-talk vocals. Yoke mounting with captive stand nut for easy mounting and dismounting provides precise control of microphone position.
- Classic cardioid polar pattern, uniform with frequency and symmetrical about axis, to provide maximum rejection and minimum coloration of off-axis sound. Rugged construction and excellent cartridge protection for outstanding reliability.
- Includes foam winscreen, close-talk windscreen, and locking yoke mount.
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Product Description
The SM7B is a selectable frequency response microphone that delivers warm and smooth audio in close-proximity studio and vocal applications. Optimized shielding from external electromagnetic hum, along with internal shock mounting, external windscreens and adjustable bass roll-off and midrange emphasis response settings provide clean, consistent reproduction.
Customer Reviews
Most Helpful Customer Reviews
86 of 87 people found the following review helpful
By FOX
If you are looking for a microphone for voice-overs or broadcast use, THIS IS WHAT YOU NEED TO BUY.
The Shure SM-5 and SM-7 microphones are the best voice mics ever made. The large SM-5 is no longer made, so you can only find it used, but the SM-7 is just as good. Either one, you have the best.
Don't let the price fool you. I have brought this in to studios that have $3000 Neuman condenser mics and they laughed when I said I wanted to use my $300 Shure mic instead. I told them to put up both mics and do an A/B test while I spoke into each of them. The three other audio engineers in the studio had to agree, the Shure was better and it was a night and day difference, not hard at all to decide it was best.
This mic has a warmth and rich sound no other mic can give you.
Even industry publications like MIX MAGAZINE and RadioWorld have done reviews where they did the same tests and said the same things about this mic in comparison to the expensive condenser mics...
--------------------------------------------
from MIX MAGAZINE, March 1998, page 53:
Eric Paul has made a career out of recording country giants like Willie Nelson, Waylon Jennings, Johnny Cash and many others: "My favorite overall microphone for voices is the Shure SM-5. If they can't get a Shure SM-5, they can still get Shure SM-7s, which are still available. If you've tried out three very expensive tube mics and you aren't happy with any of them, then the next step should immediately be a Shure SM-7. I will almost always guarentee you that if the expensive mic doesn't work, an SM-7 will. For some reason, people sound better on them."
----------------------------------------------
from RADIO WORLD, February 18 1998, page 62:
Joe Stack, director of engineering for ABC radio said: "When I worked at WATH in Athens, Ohio, I had someone call and offer me ten RE-20s for the three SM-5s we had. I turned him down."
------------------------------------------
from EQ MAGAZINE, July 2006 issue:
The SM7 is perhaps most famous for being used as the vocal microphone on Michael Jackson's Thriller engineered by Bruce Swedien.
-----------------------------------------------
Some interesting facts about the SM-7...
"When we were doing "Off The Wall", "Thriller" and "Bad" I ended up with 6 Shure SM7's. That is a fantastic mike." - Bruce Swedien
The Red Hot Chili Peppers have used the SM 7 on vocals on every album they have done.
You can see James Hetfield from Metallica singing into a Shure SM 7 on the "Some Kind Of Monster" DVD.
----------------------------------------
Another thing I have noticed in the studio, is that some of my other mics require gating and downward expanders on the mics to get rid of room noise, but the SM-7 doesn't need it. It is quiet all by itself.
And to save many hours trying to edit out mouth noises, clicks and smacks from voice-over talent that use expensive CONDENSER microphones, just have them use the SM-7 next time, and no more wasted time editing out mouth noises anymore.
Throughout the years on the Howard Stern Show, they have replaced and tried all sorts of microphones, from the Electrovoice RE-20 to Neuman mics. But if you notice, the Co-host, Robin Quivers, STILL uses the Shure SM-7 and refuses to change to any of the other mics. You can see throughout the years on the TV show that although the mics are always changing for everyone else, Robin ALWAYS has the SM-7 to this day.
Since the Howard Stern Show has moved to Sirrius Sattelite, the show had to buy new microphones, (couldn't take them with from CBS) and everyone seems to be using the same mics they did before. Robin has another SM-7 so she really likes this mic! It looks different now, because she has the larger windscreen that now comes with the SM-7.
The Shure SM-5 and SM-7 microphones are the best voice mics ever made. The large SM-5 is no longer made, so you can only find it used, but the SM-7 is just as good. Either one, you have the best.
Don't let the price fool you. I have brought this in to studios that have $3000 Neuman condenser mics and they laughed when I said I wanted to use my $300 Shure mic instead. I told them to put up both mics and do an A/B test while I spoke into each of them. The three other audio engineers in the studio had to agree, the Shure was better and it was a night and day difference, not hard at all to decide it was best.
This mic has a warmth and rich sound no other mic can give you.
Even industry publications like MIX MAGAZINE and RadioWorld have done reviews where they did the same tests and said the same things about this mic in comparison to the expensive condenser mics...
--------------------------------------------
from MIX MAGAZINE, March 1998, page 53:
Eric Paul has made a career out of recording country giants like Willie Nelson, Waylon Jennings, Johnny Cash and many others: "My favorite overall microphone for voices is the Shure SM-5. If they can't get a Shure SM-5, they can still get Shure SM-7s, which are still available. If you've tried out three very expensive tube mics and you aren't happy with any of them, then the next step should immediately be a Shure SM-7. I will almost always guarentee you that if the expensive mic doesn't work, an SM-7 will. For some reason, people sound better on them."
----------------------------------------------
from RADIO WORLD, February 18 1998, page 62:
Joe Stack, director of engineering for ABC radio said: "When I worked at WATH in Athens, Ohio, I had someone call and offer me ten RE-20s for the three SM-5s we had. I turned him down."
------------------------------------------
from EQ MAGAZINE, July 2006 issue:
The SM7 is perhaps most famous for being used as the vocal microphone on Michael Jackson's Thriller engineered by Bruce Swedien.
-----------------------------------------------
Some interesting facts about the SM-7...
"When we were doing "Off The Wall", "Thriller" and "Bad" I ended up with 6 Shure SM7's. That is a fantastic mike." - Bruce Swedien
The Red Hot Chili Peppers have used the SM 7 on vocals on every album they have done.
You can see James Hetfield from Metallica singing into a Shure SM 7 on the "Some Kind Of Monster" DVD.
----------------------------------------
Another thing I have noticed in the studio, is that some of my other mics require gating and downward expanders on the mics to get rid of room noise, but the SM-7 doesn't need it. It is quiet all by itself.
And to save many hours trying to edit out mouth noises, clicks and smacks from voice-over talent that use expensive CONDENSER microphones, just have them use the SM-7 next time, and no more wasted time editing out mouth noises anymore.
Throughout the years on the Howard Stern Show, they have replaced and tried all sorts of microphones, from the Electrovoice RE-20 to Neuman mics. But if you notice, the Co-host, Robin Quivers, STILL uses the Shure SM-7 and refuses to change to any of the other mics. You can see throughout the years on the TV show that although the mics are always changing for everyone else, Robin ALWAYS has the SM-7 to this day.
Since the Howard Stern Show has moved to Sirrius Sattelite, the show had to buy new microphones, (couldn't take them with from CBS) and everyone seems to be using the same mics they did before. Robin has another SM-7 so she really likes this mic! It looks different now, because she has the larger windscreen that now comes with the SM-7.
50 of 50 people found the following review helpful
By W. Welch
Amazon Verified Purchase
You know how your singing/speaking voice always sounds richer in your head than it does on tape? This mic makes you sound on tape like you sound in your head.
The Good:
* Thick low-mids, a nice presence bump, and an agreeable proximity effect that has none of that "Help I'm trapped in a box" sound you get with an SM58 or other dynamic cardioid vocal mic.
* Off-axis noise rejection makes this a good choice for live room recording, where a condenser mic would get too much bleed.
* There's just something about the giant foam wind/pop screen that is fun to sing into. This is a friendly mic that sounds great.
You should know:
* You'll need a pre-amp with 60dB gain to get a proper level out of this mic. Most computer audio interfaces with built-in mic pre's have only 30-40db of gain. As a test, if an SM58 in your setup requires that you max the gain, you'll definitely need to pair this mic with an external pre-amp (you probably need one for your SM58 too!).
* This isn't intended as a hand-held live mic, though people have done it.
The Good:
* Thick low-mids, a nice presence bump, and an agreeable proximity effect that has none of that "Help I'm trapped in a box" sound you get with an SM58 or other dynamic cardioid vocal mic.
* Off-axis noise rejection makes this a good choice for live room recording, where a condenser mic would get too much bleed.
* There's just something about the giant foam wind/pop screen that is fun to sing into. This is a friendly mic that sounds great.
You should know:
* You'll need a pre-amp with 60dB gain to get a proper level out of this mic. Most computer audio interfaces with built-in mic pre's have only 30-40db of gain. As a test, if an SM58 in your setup requires that you max the gain, you'll definitely need to pair this mic with an external pre-amp (you probably need one for your SM58 too!).
* This isn't intended as a hand-held live mic, though people have done it.
16 of 16 people found the following review helpful
By T. Cox
What you need to know about this mic:
1) This mic is very directional. You must keep your mouth in the sweet spot at all times for best results. Pulling back an inch gets into tinny muddy territory, and an inch too close makes for a strong proximity effect. I found that 3-4 finger widths from the tip of the mic works best. As long as I keep my mouth there, the results are predictable and good regardless of the room I'm in. Also if the mic is aimed too low on your face (like at the lower lip or chin) you'll sound like you have a stuffy nose. Aimed too high (like at the bridge of the nose) sounds sneering and nasal. Right at the upper lip works well for me.
2) The bass cut and presence boost are convenient. Use a plastic thing like a guitar pick to switch them, as metal will scratch it. I've played around with the switches and in the end both set to flat was best. Initially I thought the presence boost was a good idea, but in a mix it made my vocals too ear-piercing in the upper mids. Flat's where it's at. Flat sounds most natural.
3) Being a dynamic, you will get an up-close intimate sound. It won't sound open and airy as a condenser might. You can approximate an epic open condenser with compression and a little high boost. But since it's so up-close and dry sounding, it takes reverb pretty well, meaning you can add reverb and delay without having your vocals drop too far away and undefined in the mix.
4) It rejects room sounds, but not amazingly so. It rejects what's behind and to the side, but in front it's pretty sensitive. With gain turned up to 55 I can easily hear my fridge running from 10 yards away through this mic if it's aimed toward the kitchen. Although with a condenser it would be twice as loud. So don't think this will make you sound like you're in a dead control room, unless you actually are in one. Hang some blankets or acoustic foam behind you and you're set.
5) The sound is *very* natural and true to my voice. It truly is a vocal mic first and foremost. That plus the dry/up-close characteristic are this mic's top selling points. It works fantastically on death metal growls and clean singing atop sparse/acoustic/clean backgrounds.
6) This thing is heavy and rugged. The capsule is surrounded by this truncated cone-like metal screen enclosed on all sides. The screen is like the kind you see behind microwave oven doors.
7) This mic needs 50 dB gain for loud singing, 55-60dB for quiet singing, 65-70dB for whispering. Make sure your preamp is designed for at least 60dB of clean gain. Some cheaper USB interfaces only go up to 35dB.
Overall, I would prefer a condenser in a good room since it allows me to move a little more without coloring the sound, and because it has a more openness and air compared to this one. The biggest pros are that it's natural sounding and that even with reverb and delay it stands out in a mix. It's especially good on spoken voice, as it was designed for, since unlike a condenser the SM7B does a very good job of not picking up mouth clicks, mouth noises, and background hissing.
In the end, if I had to get rid of all my mics and keep only one for vocals for the rest of my life, it would be the SM7B. Mainly because I know I can use it anywhere, anytime, and get reliable good results.
1) This mic is very directional. You must keep your mouth in the sweet spot at all times for best results. Pulling back an inch gets into tinny muddy territory, and an inch too close makes for a strong proximity effect. I found that 3-4 finger widths from the tip of the mic works best. As long as I keep my mouth there, the results are predictable and good regardless of the room I'm in. Also if the mic is aimed too low on your face (like at the lower lip or chin) you'll sound like you have a stuffy nose. Aimed too high (like at the bridge of the nose) sounds sneering and nasal. Right at the upper lip works well for me.
2) The bass cut and presence boost are convenient. Use a plastic thing like a guitar pick to switch them, as metal will scratch it. I've played around with the switches and in the end both set to flat was best. Initially I thought the presence boost was a good idea, but in a mix it made my vocals too ear-piercing in the upper mids. Flat's where it's at. Flat sounds most natural.
3) Being a dynamic, you will get an up-close intimate sound. It won't sound open and airy as a condenser might. You can approximate an epic open condenser with compression and a little high boost. But since it's so up-close and dry sounding, it takes reverb pretty well, meaning you can add reverb and delay without having your vocals drop too far away and undefined in the mix.
4) It rejects room sounds, but not amazingly so. It rejects what's behind and to the side, but in front it's pretty sensitive. With gain turned up to 55 I can easily hear my fridge running from 10 yards away through this mic if it's aimed toward the kitchen. Although with a condenser it would be twice as loud. So don't think this will make you sound like you're in a dead control room, unless you actually are in one. Hang some blankets or acoustic foam behind you and you're set.
5) The sound is *very* natural and true to my voice. It truly is a vocal mic first and foremost. That plus the dry/up-close characteristic are this mic's top selling points. It works fantastically on death metal growls and clean singing atop sparse/acoustic/clean backgrounds.
6) This thing is heavy and rugged. The capsule is surrounded by this truncated cone-like metal screen enclosed on all sides. The screen is like the kind you see behind microwave oven doors.
7) This mic needs 50 dB gain for loud singing, 55-60dB for quiet singing, 65-70dB for whispering. Make sure your preamp is designed for at least 60dB of clean gain. Some cheaper USB interfaces only go up to 35dB.
Overall, I would prefer a condenser in a good room since it allows me to move a little more without coloring the sound, and because it has a more openness and air compared to this one. The biggest pros are that it's natural sounding and that even with reverb and delay it stands out in a mix. It's especially good on spoken voice, as it was designed for, since unlike a condenser the SM7B does a very good job of not picking up mouth clicks, mouth noises, and background hissing.
In the end, if I had to get rid of all my mics and keep only one for vocals for the rest of my life, it would be the SM7B. Mainly because I know I can use it anywhere, anytime, and get reliable good results.
Most Recent Customer Reviews
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A must have for any budget conscious home recorder. Classic mic and extremely versatile. Especially in VoiceOver and live recording.
Published 1 day ago by Spencer Allen
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I got this microphone for my home recording studio. It is a great microphone. When I record I Often use more than 1 microphone to create a stereo effect and in case 1 microphone... Read more
Published 27 days ago by MyMabel
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I purchased this microphone as a gift. They were so excited to receive it. They use it for work and love it so much that they are going to purchase a second one. Great product!
Published 1 month ago by DJ
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I Like This Mic
I like the AT4040 better as it's one of the best condensers in the price range of this mic. I used to own both mics and I liked 'em both. Read more
Published 1 month ago by Amazon Buyer
4.0 out of 5 stars
Am I missing something or anything??
GREAT! NO PROBLEMS. But did anyone else get the wall of foam and yoke mount, that was said supposedly included?
Published 2 months ago by RaShaun
5.0 out of 5 stars
Great Sound - If you have the other gear
We use this mic to primarily record voiceovers in our New York apartment. We tried some large condensers like a U87 and a 414, but found they picked up too many of the noises... Read more
Published 3 months ago by JMAZE
5.0 out of 5 stars
Excellent Mic
I use this mic as my stage set up. I'm a church music leader, so I'm constantly on stage and singing. Fantastic tone & response.
Published 4 months ago by jay
5.0 out of 5 stars
We like
This was purchased as a gift for an aspiring voice-over artist. We've only begun to work with the microphone, but we like the construction of the microphone and we like what we... Read more
Published 4 months ago by Thomas Neil Kiser
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Shure, it gets Five Stars...... upgrade your SM57 vocal Mic
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Published 5 months ago by Robert S.D.
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You are looking at what I consider to be the best friend a voice ever had. During a 40 year broadcast and voiceover career I have used (or been forced to use) every other large... Read more
Published 5 months ago by David L. Vasser
