Removing Shure SM7b Foam Cover

[brandondrury]

I've seen a million pictures and videos of big boys using a Shure SM7b with no foam cover. I've always wanted to remove mine, but I just assumed they ripped the damn thing off. I've had too many bad experiences with breaking stuff for the short term just to end up biting the bullet in the long term.

Tonight I used the Shure SM7b on a kick drum. (I've really gotten into that lately!) When I was pulling the mic out of the hole, I crazed the front head. It was like that part in Shawshank Redemption when the warden says "What about you fuzzy britches?" and throws the rock through the cavebabe poster.

It was an epiphany.

It was a moment of clarity.

My foam cover popped right off. It has a plastic ring on the inside and it's obvious that it was designed to do this. Great!

I left the Royer R121 in it's case tonight and used the SM7 on the electric guitar cabinet. It was perfect!

Brandon

[dangercityskyline]

hmm, that's interesting. i've never actually seen one without the cover, every time I've seen it used in videos and pictures and such it's always it on.

can you get pictures?

[Audio~Geek]

LOL

didn't yours come with two different pop filters?

There's 3 settings as I see it for an SM7
1-No foam windscreen + normal pop filter (female vocals) or for amps
2-Thin foam (rock screaming vocals and close proximity dialog recording)
3-Thick foam (outdoor dialog)


I've seen lots of pictures and videos of them both on and off.

Atreyu and Lamb Of God have videos with sm7 vocals.

[TonyB]

Originally Posted by brandondrury

I've seen a million pictures and videos of big boys using a Shure SM7b with no foam cover. I've always wanted to remove mine, but I just assumed they ripped the damn thing off. I've had too many bad experiences with breaking stuff for the short term just to end up biting the bullet in the long term.

Tonight I used the Shure SM7b on a kick drum. (I've really gotten into that lately!) When I was pulling the mic out of the hole, I crazed the front head. It was like that part in Shawshank Redemption when the warden says "What about you fuzzy britches?" and throws the rock through the cavebabe poster.

It was an epiphany.

It was a moment of clarity.

My foam cover popped right off. It has a plastic ring on the inside and it's obvious that it was designed to do this. Great!

I left the Royer R121 in it's case tonight and used the SM7 on the electric guitar cabinet. It was perfect!

Brandon

Doctor Brandon,

Good info on your 7b surgery! I've never used the 7b for a kick drum. How's it differ from the 112 and 52. I use the 112 on the beater side and the 52 on the front/hole side.

Now that you got the cover off, what're going try to do with the 7b? I'm wondering how much difference will be heard.

Also, is the term "clarity" just a coincidental term?

[brandondrury]

How's it differ from the 112 and 52. I use the 112 on the beater side and the 52 on the front/hole side.

I've not used the D112 or Beta 52 hundreds of times like I have my trusty Beta 91 (my favorite by far), but I'll give this a go.

While I know people have gottent he D112 to work, it doesn't fit my idea of what a kick drum should sound like. It never has. When I pull up the fader to the kick drum, it's there, but it's like it is not there. I don't know how to describe it. It's not necessarily an attack thing because it seems that no amount of EQ seem to fix it (although I'm a bit hesitant to write that). That's just how it feels.

I remember the Beta 52 being in a similar ballpark, but maybe a bit more meaty sounding. It's been a while and I've only used the Beta 52 once or twice.

It's really hard to describe this in text. When I switch from a D112 to a Beta 91, I immediately say "Ahhhhh. There it is!". I still may end up EQing the shit out of it, but it's always a good sound right off the bat. The 91 has a way of highlighting all the good things in a kick drum mic.

The SM7 is not the Beta 91. It's different. It's more like what I would imagine a D112 is supposed to be. So far it's been dramatically punchier sounding in the 100-200Hz department without getting as cloudy. When I EQ the SM7 I feel like I'm able to get what I want. Regardless of the drum, I always seem to lean towards sample replacement when I use a D112.

So that's the short version.

In a pinch I can definitely use a D112 and it won't be the end of the world. It's like getting burgers when I'm really in the mood for pizza. In the scope of things it's not a huge deal.

However, to anyone who needs a kick ass workhorse mic that works on a variety of sources, the SM7 is very hard to beat. It makes sense to buy it as the main kick drum mic and main vocal mic.

Brandon

[dangercityskyline]

It's really hard to describe this in text. When I switch from a D112 to a Beta 91, I immediately say "Ahhhhh. There it is!". I still may end up EQing the shit out of it, but it's always a good sound right off the bat. The 91 has a way of highlighting all the good things in a kick drum mic.

hmmm.
that is interesting.

i've always wondered how you place those things. they're definitely an odd shape, and the shure website doesn't help: "just throw it in your kick drum and play!"
do you really just sit it on the pillow or whatever?
or do you use something to prop it up?

[Audio~Geek]

The website is pretty accurate LOL

It's prettymuch omnidirectional, of course placing it closer to the beater results in more attack, closer to the shell more body, you just drop it in the center of the drum.

I'm gonna have to order me one. Brandon's comments on the D112 are identical to mine.
D112 is fine if I have some good samples.

[TonyB]

Originally Posted by brandondrury

I've not used the D112 or Beta 52 hundreds of times like I have my trusty Beta 91 (my favorite by far), but I'll give this a go.

While I know people have gottent he D112 to work, it doesn't fit my idea of what a kick drum should sound like. It never has. When I pull up the fader to the kick drum, it's there, but it's like it is not there. I don't know how to describe it. It's not necessarily an attack thing because it seems that no amount of EQ seem to fix it (although I'm a bit hesitant to write that). That's just how it feels.

I remember the Beta 52 being in a similar ballpark, but maybe a bit more meaty sounding. It's been a while and I've only used the Beta 52 once or twice.

It's really hard to describe this in text. When I switch from a D112 to a Beta 91, I immediately say "Ahhhhh. There it is!". I still may end up EQing the shit out of it, but it's always a good sound right off the bat. The 91 has a way of highlighting all the good things in a kick drum mic.

The SM7 is not the Beta 91. It's different. It's more like what I would imagine a D112 is supposed to be. So far it's been dramatically punchier sounding in the 100-200Hz department without getting as cloudy. When I EQ the SM7 I feel like I'm able to get what I want. Regardless of the drum, I always seem to lean towards sample replacement when I use a D112.

So that's the short version.

In a pinch I can definitely use a D112 and it won't be the end of the world. It's like getting burgers when I'm really in the mood for pizza. In the scope of things it's not a huge deal.

However, to anyone who needs a kick ass workhorse mic that works on a variety of sources, the SM7 is very hard to beat. It makes sense to buy it as the main kick drum mic and main vocal mic.

Brandon

Thanks. I've been using samples to supplement the 112 on the attack side as well. You're right, it wasn't the sound I was expecting; almost like using a coat hanger to beat on a tissue box. Glad to see it's not just me. I may try the 7b in place of the 112.