Tape Op SM57 Mod - Removing the transformer
Has anyone tried this mod?
It's a simple mod - basically, you're just removing the transformer from the XLR barrel housing of the mic by boiling (yes, I said boiling) the housing of the mic ( and of course you have removed the XLR jack and the capsule from the mic first...) which softens up the glue that holds the transformer in place.
With the glue soft from the heat of boiling, you remove the transformer.
After the mic has cooled, you connect the cables from the XLR jack directly to the capsule, with no transformer in between.
I've read mostly positive reviews; the most common comments were that the modded mic had a much more pronounced low end, and a slight to moderate decreased mid range; the trade off is that the mic's output is attenuated by around - 20db, so you'll need a nice, beefy pre to gain it back up for recording (this mod isn't recommended for SM57's that are used for live performance).
Most who have performed this process say that what you end up with tonally is essentially that of an SM7.
I'm curious to see if anyone here has tried it, and if so, what your thoughts/observations are?
I have never tried it but it seems like an awesome mod. I looked around YouTube for some audio examples and found a few videos and this was probably the best one.
I didn't find a video that did a comparison between the modded SM57 and an SM7. It would've been interesting to hear how close the modded SM57 got to it's big brother.
Anyways, the only downside to this is if you would turn on the phantom power by mistake, because then it would probably break when there's no transformer, am i right?
Removing the transformer makes no difference to the phantom power tolerance. A transformer-free 57 is just like a standard 57, i.e. perfectly happy with standard phantom power present. There might be some differences if there were a fault, e.g. one of the signal conductors shorted to ground, but the 7mA short-circuit current is not going to burn out the coil any more than it would burn out the secondary winding of the transformer.
One drawback of doing this mod is that I'm not sure that a pair of transformerless SM57s could be used as headphones in an emergency.
More interesting would have been to feed the capsule through a different transformer, for example, a type designed for quality ribbon microphones. The standard transformer in the 57/58 is obviously quite good, but given the sub-$100 list price of the mics, it can't be a very expensive one.
JohnTodd, post: 419844, member: 39208 wrote: I was going to put this one in my ribbon mic:That looks a really good transformer for a ribbon, which is a bit like a moving-coil dynamic mic with only one turn on the coil. My feeling is that it has too high a turns ratio for a conventional moving-coil mic, as the transformer multiplies the impedance by the square of the turns ratio. It would be x1369 for this transformer, so a moving-coil mic like the SM57 with a coil impedance of around 13 Ohms would appear as 18KOhms to the pre-amp. This is too high for a standard microphone input, but would feed a DI input nicely. A turns ratio of 1:4 is the normal for this type of mic.
It's an interesting area which has already a fair amount of history. Shure themselves experimented with non-transformer SM57/SM58, and brought these models out as the SM77 and SM78. To make up for the loss of output relative to the transformer models, they upped the number of turns on the voice coil, but had to go to aluminium voice coil wire rather than copper to avoid a large change in moving mass. The output was still several dB less, but, coupled with a different body material, they were substantially lighter than the 5x range, and they thought this would appeal to a certain class of singers who hand-held their mics.
The transformer company Cinemag makes a replacement for the stock transformer inside the SM57/58. [[url=http://[/URL]="http://cinemag.biz/…"]Here [/]="http://cinemag.biz/…"]Here [/]is the data sheet. They seem a bit confused as to whether their product is a CM-1050 or a CM-1057, but I think that trying this type would be a better way to go than transformers designed for ribbon mics.
Certainly it's no Royer, but it still serves my purposes (mostly M-S on acoustic and guitar amp miking, although not bad for my vocals ) but if I could improve the sound by spending a mere $30 on a transformer replacement, then this sounds very interesting to me. Now, I understand that there's more to a ribbon mic's sound than just the transformer... there's the ribbon itself, along with the basket resonance... but the transformer is still going to be a major part of the ultimate sound, right?
Don't know if the 860 has this problem, but the RSM4 had an extra windscreen inside to "protect" the ribbon from inexperienced users (saves a lot of bad will since it's not covered under warranty). This interferes with the sound, so I took the inner windscreen out. Opened it right up! Sounds like it costs $200 more. See if that can be done to your 860.
Sorry for the hijack.
(I know it's a more extensive mod since you need to drill down the casing.)
May be Worth exploring.. ;)
Boswell, post: 419865, member: 29034 wrote: That said, I never like giving a singer a microphone with a switch on it - it's a recipe for disaster.
:LOL: good thinking Bowell. It's even more true for live situations ;)
Davedog, post: 419966, member: 4495 wrote: My personal mod for a 57 is to hunt down a Shure Brothers UnidyneIII and pay the extra 30 bucks. And then run it @ a lower impedance on the input of the channel. Opens the mic right up.
Hey, a guitarist friend passed one of those on to me last year, but I haven't been recording much lately and never got around to trying it. What impedance do you suggest?
apstrong, I think Davedog is talking about something like is described on this site: