Bluebird Mic - any recommendations?

[MacLaren]

I bought it because it looked awesome and the mic I wanted was back ordered. When I am done using it, it will still look cool in the studio. Sounds good but not over the top. I am still looking for a preamp that fits my taste.

[mojobone]

Yeah, I think we've identified that I don't automatically reach for the most expensive mic; .....

I believe that you dont.

Im telling you what pros do. They listen too, but 90% of the time they dont reach for a SM57. They do sometimes. But only sometimes.

I've worked in Ocean Way, Studio Ultimo, Cherakee, Lion Share, CBS, RCA and about 30 other top studios for years. I'm just telling you what I saw and see the best of the best do.

I'm sure that s different than what you do.

@Dwayne: I have no particular objection to being slammed on an internet forum; my opinions are solely based on my experience and study. I respect disagreement, and feel that argument is one of the best tools for learning, which is what we're all presumably here for. What I object to is being deliberately misquoted, particularly when we have this handy "Quote" button. What I said was,

"Yeah, I think we've identified the basic disconnect/difference in recording philosophy between Dwayne and myself. I don't automatically reach for the most expensive mic; I listen to what I'm getting from the singer and the space and try to choose something I know from experience should enhance the vocal in the context of the mix or what the mix will be."

In any case, since you've as much as called me unprofessional in a very public fashion, I must ask that you retract that statement, or, if you feel you have something to prove, I'm sure a way can be devised for us to settle our differences like two gentlemen, without resorting to pistols at twenty paces. Here's what I'd suggest:

REMIX CONTEST
__________________________________________________

We each send a remix of these tracks to a disinterested third party, who will then post them up in Peer To Peer for commentary (and possibly a poll, if that feature can be made to work) without attribution, so no opinions offered can be biased. (the stems took me about a minute each to download, but I haven't heard 'em yet; the full mix is here, for reference) No new recordings, no sound replacement, just your ears, skills and outboard gear/plugins against mine. Since the tracks are free to download, the whole forum can join in, if they want, and we can all have fun guessing whose mix is whose, 'til the third party (you can pick him/her, since I chose the tracks) reveals the authors. If you don't think that's fair enough, I'm open to other suggestions. If we can't get the poll to work, I guess we won't be able to declare a winner, but I'm frankly itching to hear what you can do with all that fancy gear you've got, because as far as I can recall, you've never posted a single piece of music on this site. For all I know, you could be a shill for Black Lion Audio or a fourteen year old posting pics of other people's gear from his mom's basement. What do you say, Dwayne?

[Dwayne Russell]

Yeah, I think we've identified that I don't automatically reach for the most expensive mic; .....

I believe that you dont.

Im telling you what pros do. They listen too, but 90% of the time they dont reach for a SM57. They do sometimes. But only sometimes.

I've worked in Ocean Way, Studio Ultimo, Cherakee, Lion Share, CBS, RCA and about 30 other top studios for years. I'm just telling you what I saw and see the best of the best do.

I'm sure that s different than what you do.

@Dwayne: I have no particular objection to being slammed on an internet forum; my opinions are solely based on my experience and study. I respect disagreement, and feel that argument is one of the best tools for learning, which is what we're all presumably here for. What I object to is being deliberately misquoted, particularly when we have this handy "Quote" button. What I said was,

"Yeah, I think we've identified the basic disconnect/difference in recording philosophy between Dwayne and myself. I don't automatically reach for the most expensive mic; I listen to what I'm getting from the singer and the space and try to choose something I know from experience should enhance the vocal in the context of the mix or what the mix will be."

In any case, since you've as much as called me unprofessional in a very public fashion, I must ask that you retract that statement, or, if you feel you have something to prove, I'm sure a way can be devised for us to settle our differences like two gentlemen, without resorting to pistols at twenty paces. Here's what I'd suggest:

REMIX CONTEST
__________________________________________________

We each send a remix of these tracks to a disinterested third party, who will then post them up in Peer To Peer for commentary (and possibly a poll, if that feature can be made to work) without attribution, so no opinions offered can be biased. (the stems took me about a minute each to download, but I haven't heard 'em yet; the full mix is here, for reference) No new recordings, no sound replacement, just your ears, skills and outboard gear/plugins against mine. Since the tracks are free to download, the whole forum can join in, if they want, and we can all have fun guessing whose mix is whose, 'til the third party (you can pick him/her, since I chose the tracks) reveals the authors. If you don't think that's fair enough, I'm open to other suggestions. If we can't get the poll to work, I guess we won't be able to declare a winner, but I'm frankly itching to hear what you can do with all that fancy gear you've got, because as far as I can recall, you've never posted a single piece of music on this site. For all I know, you could be a shill for Black Lion Audio or a fourteen year old posting pics of other people's gear from his mom's basement. What do you say, Dwayne?[/quote]

If you Want to hear what I can do with allot of fancy gear, listen to James Ingrams It's Real record. I recorded that with the most fancy gear of anything I ever recorded.

I a sure you James did not us a 57 for his vocal.

My resume is as long as your arm. I dont need to prove anything.

Dont be offended man. I've heard your recordings they sound real good.

Besides this post as about a mic, not a mix. And we both agreed what he should do about his mic situation.

So let it rest.

[jonathansorensen]

I bought it because it looked awesome and the mic I wanted was back ordered. When I am done using it, it will still look cool in the studio. Sounds good but not over the top. I am still looking for a preamp that fits my taste.

Consider the A-Designs Pacifica. It's a stunning mic pre. If you can't afford that, definitely get the Great River ME-1NV. I haven't found anything better for the price.

Best,
JS

[davekershaw]

Yes I'm really happy with the SM7.

Anyone know the original price of an SM7, and what would be a reasonable price to pay for a used one?
There are a few about, but I don't want to pay over the odds.

Also, is there a big difference between the SM7 and the later SM7B

Cheers,
Dave.

[gtrmann]

Yes I'm really happy with the SM7.

Anyone know the original price of an SM7, and what would be a reasonable price to pay for a used one?
There are a few about, but I don't want to pay over the odds.

Also, is there a big difference between the SM7 and the later SM7B

Cheers,
Dave.

The SM7 goes for about $200.00 USD used, what I gather the difference between the SM7 and SM7B is the mounting. The Electrovoice RE20 is another similar large diaphragm dynamic. Both mics found extensive use in the radio announcement field in the USA .. They all have a big full warm sound..... good for taming harsh male vocals, mikeing bass guitar, kick drum, floor tom, and some horns.... An AKG D12E is another good large diaphragm dynamic, but they are getting pretty scarce and more collectable....The D12E is going for about $400.00 USD used now..... That's my two cents.....

[davekershaw]

The SM7 goes for about $200.00 USD used, what I gather the difference between the SM7 and SM7B is the mounting. The Electrovoice RE20 is another similar large diaphragm dynamic. Both mics found extensive use in the radio announcement field in the USA .. They all have a big full warm sound..... good for taming harsh male vocals, mikeing bass guitar, kick drum, floor tom, and some horns.... An AKG D12E is another good large diaphragm dynamic, but they are getting pretty scarce and more collectable....The D12E is going for about $400.00 USD used now..... That's my two cents.....

Thanks Bruce.

An SM7 on eBay finishing today is currently at $277, so it seems a lot then.

If it's just the mounting, it sounds best to go for a new SM7B for not much more.

[MacLaren]

One more thing. The pop filter that comes with the Blue Bird mic looks good but doesn't work well. I use a separate filter if I am singing loud.

[rld]

SM7 - Introduced 1976

SM7A - Improved humbucking coil added; improved design of the mic mounting yoke. Introduced 1999.

SM7B - Larger foam windscreen added. Introduced 2001.

The mic element is based on the Unidyne III design and has not changed.

[davekershaw]

Looks like it's best to go for a new SM7B then.

The one I was following on eBay went for the equivalent of $415!

Cheers,
Dave.