Shure Sm7b preamp

seventhson · Post by **seventhson** » Sat Jun 02, 2012 4:06 am

Hello to everybody, I'm new here!
I live in France, I'm a rock & progressive metal singer, and I'd like to build a little home studio to make good home vocal recordings.
For the mic, as my room is not acoustically treated, I picked a Sm7b.
Now I have to choose a preamp. My budget is around 600$.
On the paper, Summit-Audio 2BA-221 would have been a good choice, but it's very difficult to find one where I live to test it, and based on a few samples I heared on the internet, it seems to have a lack of punch, and maybe it's not a good idea to associate it with a Sm7b?
I have two options : Focusrite Isa One which seems to be punchy and clear, and Golden Age Project pre73 mkII or dlx, which seems to have more character. But will this character suit Sm7b own character I don't know!
Thank you for your help!

vvv · Post by **vvv** » Sat Jun 02, 2012 8:10 am

I don't have the GAP, but do have the other 3.

I tend to prefer my SM7b with the ISA1, rather than the Summit; I tend to prefer the ISA1 in general, altho' I really like the Summit, also. That said, I use the Summit more frequently for vocals, the ISA1 for guitars and keys.

The Summit has a bit more variation in sound available - what with the tube - the ISA1 seems to have a bit more "forward" of a sound.

Both are nice pieces of kit, as is the SM7b.

And just to mess with you, I really like the UA710 with the SM7b, also, especially on guitars and vox.

And then we come to compressors ...

seventhson · Post by **seventhson** » Sun Jun 03, 2012 12:25 am

thank you for the answer
So if I understand correctly, you find the Isa One is a better and more forward pre overall, as you prefer it on guitars, keys... but you think the Summit offers more variations and maybe will suit more vocals?
Is the fact that the Summit is a little "loose" comparing to Isa One a disadvantage for recording vocals?

vvv · Post by **vvv** » Sun Jun 03, 2012 7:55 am

No disadvantage.

Both are nice pre-amps, with the Summit a bit more variable in sound and with more flexible routing, the ISA1 sounding somehow more polished, and with better metering.

BTW, in part inspired by this thread, I recorded a song yesterday with the lead vocal the SM7b thru a Universal Audio 710, here.

Watch that thread, I'll do the ISA1 and Summit, soon.

Oh yeah, here is a SM7b into the ISA1 for lead vocal.

seventhson · Post by **seventhson** » Sun Jun 03, 2012 11:39 am

hello thank you for your answer
Isa One definetly brings the vocal more upfront in the mix, clearer.
As there are 2 schools of mind (neutral preamp vs colored preamp), I don't know if it will work well or not on my rock vocals. Apart from a few plugins, I don't have any harware (eq, comp...) to add warmth.

vvv · Post by **vvv** » Sun Jun 03, 2012 5:12 pm

OUCH! Be careful with terms like "warmth" around here ...

If you want the color option, then the Summit, to me, is more capable of adding that, and can be clean as well, very flexible.

Curiously, the ISA1, to me, has a distinctive sound, and I especially love it with the "ISA110" impedance setting on the "Hi Z" button.

But, FWIW, the UA710 has some beautiful color(s) available, and is also quite flexible, capable of sweet clean sounds, also.

My fave color pre (as much for its on-board compressor, of course), is the Meek VC1Q, altho' it's kinda like, you only wanna use that on a limited amount of tracks (ex., the lead voc, or the BV's) ...

sonocide6 · Post by **sonocide6** » Mon Jun 04, 2012 10:26 am

I just got a SM7b as well and have been considering preamp options. Please post some results and thoughts when you've got them! I've seen a lot of talk about running thru a "clean" level lifter (cloudlifter, etc.) before the pre for the SM7b. Any credence to that? I'm sure it depends heavily on the pre of choice and where in it's gain range it starts to give you color you want or don't want.

vvv · Post by **vvv** » Mon Jun 04, 2012 11:50 am

Re the SM7b, I've had it for a cuppla months now and like it. It's not, to me, especially any color, it really seems kinda neutral in the sense that it is not readily identifiable other than to say it always sounds good.

I've tried it thru numerous pre's, with vocals, guitars and bass, and it's been very nice indeed in all applications. Other than pass-filtering, I've found no need for EQ, either!

As a comparison, I have a MD421n and a MD421 II and a RE320 (all large dia.) and they all sound a little different, and they all sound good. I prefer them, BTW, in the order listed, with the SM7b coming right after the 421n.

I'll just note here that I absolutely love large dia. mic's for lead vocals as they sound big, smooth, and have very few artifacts (pops, clicks, etc.). As well, they take EQ well, altho' I seldom need any other than pass-filters. I also find, relative to my cheap LDC's, that they need less compression.

I have no idear with the Cloudlifter; I have never had a gain problem with any of my pre's.

As stated here, I'll post some more tracks with different pre's, and be sure to use the SM7b.

Jeff White · Post by **Jeff White** » Mon Jun 04, 2012 1:13 pm

Sytek is my fav pre for the SM7b.

ott0bot · Post by **ott0bot** » Mon Jun 04, 2012 10:01 pm

my favorite pre with the sm7 is a Great River 1nv. But it's a bit above your price range. Silky, is the word that comes to mind....but then when you push the gain and dial back the trim...nice 'colour' or subtle harmonic overdrive.

the UA 710 is sold too since you can push the gain a bit and get some break up when needed.

I love the summit too, especially because the variable impedence and hpf. Like it with an re20 more than sm7. Just nice and airy...with great midrange.

really...both are good choices.

me personally...i follow the pre with a comp. That way you can push it and keep the tone, but then adjust the comp to subtlely subdue the signal. The summit tla-50 rocks with dynamics...and adds a littlle sheen. FMR's rnla excels too as does the old dbx 160a.

rocksure · Post by **rocksure** » Fri Jun 15, 2012 12:36 am

ott0bot wrote:me personally...i follow the pre with a comp. That way you can push it and keep the tone, but then adjust the comp to subtlely subdue the signal..

Yes I do that too. My sm7b chain is usually one of these two options.
a) sm7b>Valley People Transamp preamp> ART Pro VLA comp
b) sm7b>Ward Beck M470A preamp> Valley People 440 compressor

option a) is warmer while option b) is more aggressive

I know neither of these are not common preamp choices as they are both vintage 70's preamps, but they work for me depending on the sound I am wanting is, and who the vocalist is.

losthighway · Post by **losthighway** » Fri Jun 15, 2012 8:41 am

b3groover · Post by **b3groover** » Sun Jun 24, 2012 1:28 pm

This may be of interest.

http://recordinghacks.com/2012/06/18/sm ... -shootout/

T-rex · Post by **T-rex** » Mon Jun 25, 2012 6:51 pm

The best pre I have ever used with my sm7 was the A12I built from seventh circle, which is an API clone. I would try an API pre if you could. For whatever reason that combo just sounds fantastic to me, but as you can see everyone has their own tastes.

jgimbel · Post by **jgimbel** » Mon Jun 25, 2012 10:33 pm

I love my SM7b (which has been used on almost every single session since I got it) into my BAE 1073MPF and API 312 clone from Regular John Recording. The former smooths things out a bit, while the latter is a little sharper/preserves transients more.

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