It depends on what you are trying to accomplish or what you are trying to control. Do you have a lot of leakage of outside sources? Are you trying to get a close intimate, contained sound? Only you can properly answer your question. And by trying all sorts of different configurations will you allow yourself to know exactly what each setup will accomplish. Since an SM7 isnt a particularly 'sensitive' mic at any distance, it seems like its all a bit of overkill. Maybe not for a very sensitive condenser though. Again, this answer will be based on what you discover in your practical uses.

I will be using The sm7b for rap hip hop vocals

And so could I ask you if you have switched on the bass cut & presence rise switches? Screw the reflector. Tell the kids to shut up in their bedroom and go to sleep. That shower sounds really nice that your wife is taking. Is that a Kohler? Delta? Oh SHURE it is. No really that's a great vocal mic. You put that shield where ever you feel the most comfortable place is to do your vocals. It's much easier than having to woo people to moving walls and furniture for you. It's a whole recording studio space on a microphone stand. You put your studio where you want it to be. So cool that the vocal microphone is always in the studio where ever it is. But then, silly me... I put the control room in a truck.

At least it's a Mercedes
Mx. Remy Ann David

No I do not have the switches on. I just keep them flat

Also my voice is very deep. I think the roll off is to crucial.

I see. No switches on. No additional presence. So you like sounding like complete mud? You obviously know how to cut vocals better than any of us. Go for it.

Commercial Producer
Mx. Remy Ann David

Alright I will give it a shot

I won't try to second guess what I THINK Remy was trying to say, but... I have an SM7b and a deep voice, too. Eating that mic can and will produce too much bass- "mud" - in the mix. Kicking in the LF filter AND switching on the "presence rise" will vastly help keep the clarity when you start adding other elements to the mix. MANY times what doesn't sound as great on its' own really shines when other elements of your mix start combining.

I'm walking on the moon. Sorry, I didn't know that was your nose I just stepped on? Maybe that's why your vocals don't sound nasally moon? That SM 7 sounds sweet because it really does a better job at keeping you at the proper distance from the microphones diaphragm more so than anything else. Distance helps to control proximity effect (which is the extreme build up of low frequency energy). But even with that greater distance from the diaphragm, one still generally needs to engage that low frequency cutoff switch. Switching on that presence switch provides for internal equalization of the microphones sound which won't necessarily be needed to add in the mixing process. Not that you won't add some additional presence and high-frequency boost if you should so choose for better fidelity and intelligibility. Making this change right at the microphone gets you closer to the ballpark that you need to be at.

That concave shield basically provides for you a vocal booth anywhere you place it. It's a great little idea that makes the proper execution of a good sounding vocal extremely affordable without having to throw thousands of dollars of design, construction and frustration in creating a room. It's a fabulous little product whose timing was just right for the home project studio enthusiast's. Heck it's even great in full-blown million-dollar studios.

I like moonbaby, 'cuz he's smart.
Mx. Remy Ann David

No, Remy, I was agreeing with your assessment. I got the impression that the OP didn't get what you were saying. Sorry. Been a long day on the job. Time to go home and spank the plank. Or maybe stroke the folk. But not whack the weasel...

I know you were. Thanks. I'm not as articulate as I would like to be sometimes. I think he's understanding what we're all talking about. We've helped another one out. Time for a beer.

Tonight is kind of special. The beer you pour must say something more. Let it be low in brow (I know that's not how it's spelled) hee hee
Mx. Remy Ann David

moonbaby, post: 384148 wrote: I won't try to second guess what I THINK Remy was trying to say, but... I have an SM7b and a deep voice, too. Eating that mic can and will produce too much bass- "mud" - in the mix. Kicking in the LF filter AND switching on the "presence rise" will vastly help keep the clarity when you start adding other elements to the mix. MANY times what doesn't sound as great on its' own really shines when other elements of your mix start combining.

How far would you recommend standing away from the SM7B. BTW thank you all for the tips

I would say utilize a single fist distance from the front of the foam. 3 inches-2.5 inches. And that's somewhere between 5-6 inches away from the front of the diaphragm of the microphone. A little closer if you want some greater low-end? You could even eat that microphone and get good sound. But only with that bass rolloff switch on. Otherwise it's Mud City which ain't that Motown sound.

I actually like/love your online handle as folks sometimes used to refer to me as Remdog. I just hope you don't do to your dog what's in the prefix of your online handle? You know we have a Davedog here also? Get ready to post some stuff so we can hear what you're doing.

W00F!
Mx. Remy Ann David

I don't think you absolutely need the SE Reflections product, and it wont hurt to use.

I've been using SM7's for years and having the low frequency roll off and presence boost on is not even a question, they're ALWAYS on for vocals, not matter who the vocalist is.
Having those options on minimizes proximity, which also helps future compressing, and most of the time with the roll off on and the presence boost on you hardly need any EQ.

ChrisH, post: 385304 wrote: I don't think you absolutely need the SE Reflections product, and it wont hurt to use.

I've been using SM7's for years and having the low frequency roll off and presence boost on is not even a question, they're ALWAYS on for vocals, not matter who the vocalist is.
Having those options on minimizes proximity, which also helps future compressing, and most of the time with the roll off on and the presence boost on you hardly need any EQ.

Look at my first picture. That is my vocal corner but without the reflexion filter?

My experience, when improvising on mobile recordings, tells me that the corner might hurt your vox recording a bit , though the philosophy of back to the wall is the right approach . I developed this trick for improvising recordings on the field, of using an old screen people used to have to undress behind ( see what i mean?!?! ) and do a kinda U figure with it with the mic on the open side... BUT, only you can tell if its causing any unwanted reflections or not. If it sounds good, then must be good !

Iyahub makes a valid point.
Also, its hard to say where I would record vocals in your room without being in there to hear how the room reacts.
The SE Reflexion product I feel is not a bullet proof design due to not treating unwanted reflexions from behind the singer, that are going straight into the mic.

This is what I came up with.

I love the bed. You can sing in bed? That usually occurs only with duets? So really you need to have a pair of microphones for the bed. Maybe a different color quilt? Something psychedelic perhaps? The Center pole of the microphone stand is on the floor and it shouldn't be. It needs to be within the black metal base and screwed down tightly. Otherwise, you'll be getting more vibration through the floor to the microphone which isn't exactly the additional acoustic character you want. So pull it up and lock it down. Sheesh, incorrect microphone stand operation. I never thought I would be talking about how to properly use/utilize a modern-day microphone stand?

It needs to stand on its own 3 feet and not on its dingle. Ouch!
Mx. Remy Ann David