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The results, when I compared the real 4033 to the modelled 4033, were nowhere near the same. I also sang the same line into the 4033 to use as the point of reference. So my test was to sing into the D112 mic and model it to become the 4033. The 4033 is a decent sounding large diaphragm condenser mic. If you don't know these mics, the D112 is primarily used for micing kick drums (it's the football/egg looking mic). If your familiar with these mics you already know how completely different they sound. The two mics I chose were an AKG D112 and an Audio Technica 4033. I picked two very different mics from my collection which were both had models made for them. When I got the mic modeler I did a little test to see how good it actually was. Read more about the Shure SM7B dynamic microphone.This may or may not help you decide whether to buy the Mic Modeler or not but maybe it will interesting if nothing else. And at a street price of under $450 brand new, it’s hard to beat.Īnd when the singer asks you, “Wow, what’s this mic?” you can respond, “Sorry, I can’t tell you. The Shure has a big enough frequency response and dynamic range to compete with a good condenser any day. (It’s on the Mic Modeler’s menu, whereas some of the newbie cheapo mics are not). Not only can it do a multitude of tasks well, it’s possibly the perfect source mic for Antares Mic Modeler.
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Asian-made condenser sounds like a $3,000 Neumann, get the SM7B. Instead of trolling the market trying to decide which $499. The current version of the model is the SM-7B, which might be the perfect mic for the lower-budget project DAW.
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In fact, some pro recordists out there might be a little steamed that one of their best-kept secrets has just been revealed by Tape Op. In the last couple of decades, the Shure SM7 has become a quiet staple of many studio engineers, not only for vocals, but also for electric guitar, bass cabinet, horns, and even kick drum. To everyone’s surprise, the $500 Shure was the best mic for him. Just for kicks, I decided to throw the SM-7 up there in to the mix. In front of him I lined up three vintage Neumanns, a U48, a U67, and an M49. We were doing a metal band with a gattling-gun vocalist, who spat out the words fast and furious. Later in the decade, I myself had a mic shootout where the SM7 won. A bigger endorsement there could not be, because here was an artist who could afford anything, and instead of some expensive vintage tube condenser, they had chosen the SM7, a cardioid dynamic known primarily as a radio broadcaster and voice-over instrument. The first I had heard of it was in the early ’80s, when legendary recording engineer Bruce Swedien revealed he had used the SM7 for Michael Jackson’s vocals on the Thriller LP.
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The conversation made me realize that many recording people are not familiar with the wonderful but humble Shure SM7, a mic I have employed for years. He said, “Dude, I had no clue.” “You said it, not me,” I thought to myself. The poor fellow was embarrassed, to say the least. You mean a FIFTY-SEVEN.” At that point, luckily, I spied an SM-7A box behind the counter and pointed it out to him. “No, not the Shure SM57,” I said to the young clerk at the mega guitar market, “I need an SM-SEVEN.”
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See specifications, reviews, & mods for the Shure SM7B