Shure: SM7dB Microphone

The Shure SM7 microphone [Tape Op #36] is an all-around workhorse mic that has been ubiquitous in the recording industry since its introduction in 1973. Subsequently, many engineers have recognized the SM7’s versatility, in large part due to its flat and wide-range frequency response, one that produces a natural and uncolored representation of most sources. A classic example was Bruce Swedien [#91] utilizing it on Michael Jackson’s vocals during the recording of Thriller. Since its inception, Shure has periodically made developments to the design of the SM7 but has maintained its sonic characteristics. The SM7A was developed in 1999, featuring improvements to the humbucking coil and the design of the yoke mount. In 2001, the SM7B was released, incorporating a larger foam screen cover to reduce plosives and wind noise. And recently, Shure has introduced another design modification with the new SM7dB, which includes a switchable built-in preamp, giving the mic an additional 18 or 28 dB of gain. It can also function exactly like the SM7B simply by flipping the preamp switch to “bypass” on the back of the microphone. Same as the previous SM7B, it also has two EQ switches to add bass rolloff and/or a presence boost.

As a frequent user of the Shure SM7B, I’m familiar with the sound of the mic. It has been my preferred microphone for louder vocalists, such as those in the metal genre. Its durability and flat response make it suitable for capturing everything from piercing screams, growls, and group shouts without distorting. This adaptability allows me to keep my sessions running smoothly and efficiently, as I don’t feel the need to swap mics as the vocal styles and timbres change.

With the new SM7dB in “bypass” mode, it sounds nearly identical to what you would expect from the SM7B. When I’m recording particularly heavy or dynamic sound sources, like guitar amps, drums, or loud vocalists, I often throw an SM7B in front of them. As a dynamic microphone, it can handle a lot of volume. However, one of the main drawbacks to the SM7B is its low sensitivity. When I’m recording quieter sources I have to add quite a bit of gain from the preamp to reach optimal levels, which in turn increases the overall noise floor. To compensate, I’ll sometimes grab a Cloudlifter [Tape Op #85, #123, #115, #156] to boost the gain of the signal, and the SM7dB works essentially like the combination of these two. Same as a Cloudlifter, the built-in preamp on the SM7dB requires +48V, so you will need a preamp or interface that can give it phantom power. Having the ability to switch between an 18 dB and 28 dB gain boost on the back gave me even more flexibility. I recently used the SM7dB on a softer vocalist, and activated the internal preamp with +18 dB boost. I definitely didn’t have to turn up the gain from the console preamp nearly as much as I would have with the older SM7B, and I ended up with a beautiful, clean lead vocal track. The built-in preamp sounded nearly identical to the transparent boost that I’m used to with a Cloudlifter.

Another benefit of the built-in preamp was that it sped up the time it took me to set the mic up for the vocalist. I try to be as efficient as possible when I’m getting ready for a session, and the all-in-one mic gave me one less item to look for in the studio. Despite my efforts to be organized, I inevitably end up wasting time looking for items, like my Cloudlifter, that are prone to be misplaced.

Another application where the SM7dB excels is in the broadcast realm. The mic is fantastic for podcasters, interviewers, radio hosts, and content creators. When I’m recording someone for a podcast with an SM7B, I’ll place the mic as close to their mouth as possible to capture their voice. With the additional gain boost from the SM7dB's preamp, I was able to keep the mic further away while maintaining the sensitivity and clarity from the mic that I wanted. I noticed this was particularly helpful when I was working with people who were less experienced in front of a microphone and tended to move back from the mic. I frequently set up remote recording rigs for podcasts and interviews, so having one less thing to pack and worry about was nice. Now I can leave the Cloudlifter at home.

If you already own an SM7B and a solid, clean digital audio interface with at least 60 dB of gain, then you probably don’t need this upgrade. This mic isn’t going to offer anything radically different, sound-wise, though I appreciated this consistency from Shure, since I’m already a big fan of the original. But if you have been considering purchasing an SM7B and a Cloudlifter, I think there are benefits to getting this SM7dB instead. It’s handy having everything packaged into one unit. If you travel a lot, it’s nice to have one less cable and box to worry about, plus you could save a few bucks by purchasing this mic instead of the two separate units. The SM7dB would be a valuable addition to any engineer’s mic locker, whether they record music in a professional studio or make podcasts with a limited recording rig.