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Mic for metal vocal?

Discussion in 'Vocals' started by venndi, Nov 17, 2013.

  1. venndi

    venndi Active Member

    Hi to everyone!

    I had read on many forums, that which is the best mic for the recording metal vocal...Everyone said the shure sm7b, but this is expensive for me + I must buy a preamp too. The next mic they recomended is the shure sm58. The otherside say, the dynamic mics are sucks for recordings, and for the recordings is definitely best choice the condenser mics.
    What is your option guys?
    The metal music is wide palette, I like the vocal like the wellknow Metallica, Rammstein...but here is a good Hungarian melodic death metal band: Agregator - Romok között (feat. Tanka Balázs (Turbo)) - YouTube thumb
    For vokal like these, which is the best choice?
    My budget is 200 euro, I'm thinking in a used mics.
    For exemple, the AT 4040 or the 4033 is a good choice for vox like these? What about mxl v67i?
    (Sorry for bad english)
  2. TheJackAttack

    TheJackAttack Distinguished Member

    Dynamic microphones are the choice on 90% of metal and other pop vocals. Those who say otherwise are ignorant or trying to sell you a cheap Chinese condenser.

    Sent from my SCH-I535 using Tapatalk
  3. pcrecord

    pcrecord Don't you want the best recording like I do ? Well-Known Member

    I wouldn't restrict myself to any technology (Dynamic or Condenser) What works for a singer might not for another.
    That said, the preamp will do a lot of difference on how the mic will be captured. A preamp with adjustable impedance is a good thing to have when dealing with aggressive singer and screamers.
    You don't talk about budget for the preamp.. I guess suggesting a Manley SLAM would be a bit of a dream pick and not a realist one. (unless you were saying 200E for a mic and preamp which seem unrealistic)
    I use the focusrite Liquid Saffire which has a emulation of it (the slam).. I did'nt get the chance to test it yet. But with variable impedance, I'd start with my ISA 2 preamp who is a good test to start with. Focusrite makes the ISA one with a digital converter in option under 1000$
  4. MadMax

    MadMax Well-Known Member

    I don't get a LOT of metal in the studio... but I get my share.

    100% of them have been dynamic mic's... specifically the SM58 and SM57. (Beta 57 and Beta 58 were both a bit too sibilant.)

    I generally prefer to overdrive the pre-amp a bit, just to get a head start on distortion/breakup, but no so much that it's completely distorted... Just the opposite, just feathering into mic pre overload. Then doing a lo-fi plug will get you the rest of the way there... unless you have a decent analog compressor that will go there.... like a Volumax or an L2.
  5. venndi

    venndi Active Member

    pcrecord: I don't talk about preamp, becouse I won't buy preamp on account of extra gain. I have a scarlett 2i4, what works with 55db, and I read previously, that the shure sm7b must have at least 60db.
    So, I'm looking mics, which works just with my scarlett 2i4.
  6. pcrecord

    pcrecord Don't you want the best recording like I do ? Well-Known Member

    Venndi: I'm sorry I must have read too fast this morning..

    Any how, my comment was not about gain at all. The preamp choice is nearly if not equally important in creating a good sound as the mic choice.
    For exemple : The frequency response and texture will be very different with a tube preamp or a solidstate.

    The 2i4 has decent preamp but the same mic with another pre might surprise you. The Golden Age Project Pre-73 for exemple, is not so expensive an will give a very different result than the 2i4.

    Yes some preamps have more amplification possibility but unless you have a very low output mic or let say a ribbon mic, changing preamps is first a sound choice.

    But YES, I get you, you won't buy a preamp, it's a money thing. I've been there.. I'm still their, dreaming about a UA 610...
    I just wanted you to keep in mind the artists you are referring to, certainly used other gear than a 2i4 preamp and you might get different results.

    As for the SM7, there's many threads and some youtube tests that tend to say it's the exact mic as the sm57 (drastic lower price) but they added more padding and pop filter.
    Another good reason to use a dynamic mic like the sm57 or 58 is that their patern rejects side and back sound. If your room is not well threated, you will get away with it. (less room reverb and noises will be picked up.)
  7. venndi

    venndi Active Member

    Ohh man... please do not confuse me :) uhhh

    Okay, I know, the reasult will be different (and worse) with a 2i4, than with the high quality gears. But yeah, the money is a big factor.
    For exemple what will be different with high quality gears?

    And I'm again confused. For the sm57-58 people say it, this will be their last choice for vocal recordings. What is the truth? But the price is absolutly appropriate for the sm58.

    I'm a beginner musician, I just started write the lyrics, guitar riffs. So, for me is not necessey a pro gear...
    What would you suggest? Which mic should I buy?

    Thanks for the answers and explaining the things! :)
  8. DSPDiva

    DSPDiva Active Member

    Look an SM7 is going to be your best option, but it requires more gain than a normal mic, I've heard mixed reviews on the 2i2 with the 7b because most people just use a cloudlifter with it. Otherwise, an SM57 will be your second best option. I don't care for the 58 on recordings, I prefer it for live. But there have been plenty of metal records made with a 57 on the vocal. The 2i2 will work fine together.

    I HATE condensers on metal vocals. Just skip the condenser altogether.
  9. pcrecord

    pcrecord Don't you want the best recording like I do ? Well-Known Member

    Venndi :
    I'll try to unconfuse you !!
    1- A dynamic mic is my first choice for any instrument including vocal if your room is untreated
    2- SM7 and SM57 is basicly the same mic, I doubt you'd hear the difference if AB with the same pre.
    3- SM57 will be in your arsenal till your death because it shines on snare and on electric cabs and it is regarded as pro gear!!
    4- True, for pop music, SM57 is my last pick.. but for heavy and screamers .. its a pretty good choice because this mic can take high pressure and you won't get an over clear voice.
    See some clean condensers would be too clean and make iritable tracks depending on the preamp. Since the 2i4 has somewhat transparent preamps (which do not color the sound a lot.) You'll need to tame those hi frequencies...
    5- Rent one and get your own Idea about it !!!
  10. venndi

    venndi Active Member

    Thank you guys!

    I would probably buy the SM57...

    Just one more question. I read previously, that the sm57 and the sm 58 is the same. When I unscrew the ball/popfilter on the sm58, than I have a sm57. When it's true, than the 58 is better to buy.
  11. Davedog

    Davedog Distinguished Member

    While completely similar and in the same family, the capsules on the SM57, SM58, and the SM7b are different part numbers from Shure. There is some differences even though they are similar. Unscrewing the pop filter from a 58 doesn't really give you a 57 but it would be a close comparison.
  12. DSPDiva

    DSPDiva Active Member

    No, you won't have a 57 if you unscrew the ball. You'll have an exposed diaphragm. Stick with a 57.
  13. kmetal

    kmetal Kyle P. Gushue Well-Known Member

    dynamic all the way almost all the time. if you want a condenser-ish for metal the sennheisser 441 is it. i'd say a 421's crush for metal vocs too (less sibilance than 441), maybe you got some laying around, it's like a more 'ballsy' 57? a 58 would be fine, or a 57, which i'd probably try the windscreen on first. i saw lamb of god using an sm7 on their behind the scenes of "ashes of the wake" video. but a simple 58 is cool.

    alot of times they (metal singers) aren't at a podium, and the hand held gets them in their maniac state faster. love it. but i've had good results w/ a 441 on a stand too.

    w/ that sh*t it's all emotion, the nuanced differences in the raw track sonics, are secondary (to me), to the all out emotion i'm supposed to capture. they have a very limited number of hours they can go in session, so i'm not too picky, a 58 is safe, w/ a regular preamp.

    then you figure if they are cupping the mic, eating it, or too far away. if they can handle/put up w/ a stand, cool, (the drummer prob used a click for the first time...) if not watever, performance comfort first, sonics 2nd for this application. just let 'em rip, it's more important that they're throat doest crack, and they don't sound 'held back'.

    just my experience w/ screamers!
  14. pcrecord

    pcrecord Don't you want the best recording like I do ? Well-Known Member

    The pop filter of a 58 is somehow limited.. If you can work with a stand, you can use a 57 on a stand with an external pop filter.
    Like this : Microphone.jpg It will be more effective.

    Nothing scientific in this video but still interesting : Recording 101 - Demonstration - SM7b and SM57 comparison - YouTube
  15. rectifryer

    rectifryer Active Member

    That is blatantly wrong. The sm7b has three times the winds in the coil and a much thinner diaphram as well as a completely different transformer, mount, feedback grill(metal versus plastic on the sm57), and ofcourse the filter is different. Also the diameter of the hole for venting in the capsule is a different size. I don't think there is a single aspect of the mics that are similiar, save capsule diameter which is why everyone thinks they are the same.

    I'd say most youtube videos fail to place mics in the same exact position for comparisons. Youtube is a terrible place for reference.

    I mod sm7b and sm57 mics for recording.

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