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Shure SM7
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The Shure SM7 is a professional cardioid dynamic microphone, commonly used in broadcasting applications since 1973. Designed by Shure, it has been described as an "iconic" industry standard microphone for its focused, directional sound and its widespread adoption in radio, television and recording studios. In 2007–2008, the SM7B model became popular for professional podcasting.[1][2]
Development
[edit]
Shure designed the Unidyne microphone element in 1939, then greatly improved it in 1959, based on research and development by Shure engineer Ernie Seeler. The smaller Unidyne III appeared six years later, designed by Seeler to be the transducer inside the SM series of microphones, including the popular SM56, SM57 and SM58, used live on stage and in the recording studio. "SM" stands for "Studio Microphone".[3]
Adapting the Unidyne III element for increased bass response, Seeler designed the large and heavy SM5 microphone in 1966, intended for broadcasting applications such as for announcers in radio stations and television studios. In 1973, the SM5 was updated and reduced in size to become the SM7, which was widely adopted in radio and TV, but occasionally used in recording studios. Compared to the SM57, the SM7 has a flatter (more neutral) frequency response, but also has two recessed switches for tailoring the response curve. One switch is a high-pass filter to reduce low frequency rumble, and the other is a mid-frequency reduction to attenuate and flatten out the SM7's inherent "presence" peak.[4][5]
In 1999, the SM7A model appeared with extra shielding against electromagnetic interference (for instance, from television CRTs). In 2001, the SM7B model added a larger windscreen to reduce breathy plosives.[4]
Two decades later, in 2023, Shure added to its product line the SM7dB model with a built-in preamplifier to improve the low output of previous models without the need for an external amplifier.[6] For about $100 USD more, it incorporated circuit design licensed from the popular Cloudlifter external preamp.[7][8][9]
Broadcast
[edit]
The SM7 is one of three very popular microphones in radio and television stations, used by DJs and voice-over announcers. The other two are the American Electro-Voice RE20 (1968) and the German Sennheiser MD 421 (1960). The Sennheiser and Electro-Voice models are used widely on the concert stage and in recording studios.[10] The EV RE20 was updated to the RE27N/D.[11]
Portrayed on television in the early 1990s, the SM7 was seen in the series about the fictional town of Cicely, Alaska: Northern Exposure with KHBR radio deejay Chris Stevens (John Corbett) providing commentary and narration for each episode. The microphone was used without its windscreen, revealing the extended metal grille protecting the microphone element.[12][13] The typical radio station mounts the microphone in this manner, hanging from a robust boom arm extending out over the workspace.
Music
[edit]
The wide frequency response of the SM7, and its ability to withstand high sound pressure level (SPL), have led audio engineers to use it in the recording studio, to pick up a variety of sources such as horns, vocals, electric guitar and bass guitar amplifiers, and parts of the drum kit—especially bass drum or "kick".[4] The Rolling Stones' Mick Jagger's vocals were recorded in the mid-1970s with two microphones—an SM7 and a condenser microphone—with one or the other chosen during mixdown, or a combination of the two.[1]
Engineer-producer Bruce Swedien used several microphones including the SM7 to record Michael Jackson's vocals for Thriller in 1982. The SM7 was the only vocal microphone on "P.Y.T. (Pretty Young Thing)", and was probably used for "Billie Jean", according to Swedien's session notes.[14] Swedien owned six SM7s, and was a big fan of its sound.[4][15] He also used the SM7 in 1981 for James Ingram singing "Just Once".[14]
Because it can handle high dynamic range, the SM7 has been used for heavy metal vocalists. The 1982 album The Number of the Beast by Iron Maiden employed an SM7 for the vocals of Bruce Dickinson.[16] In 2001–2003, the SM7 was used to record the voice of singer-guitarist James Hetfield for the Metallica album St. Anger, as seen in the documentary Metallica: Some Kind of Monster.[17] The 2008 Black Ice album by AC/DC was supervised by producer Mike Fraser who chose the SM7 for Brian Johnson's "crooning" vocals.[15]
Other recordings using the SM7 include Jack White of the White Stripes working with engineer Joe Chiccarelli starting with Icky Thump in 2007, and engineer Michael Barbiero choosing the SM7 in combination with other microphones for Whitney Houston in 1983–1984, heard on her debut album in 1985.[15] Bassist-engineer Michael Bradford put an SM7 in front of Kid Rock for the album "The History of Rock" in 2000; he had learned of the SM7 from Gerard Smerek who used it on Bob Seger and Anita Baker.[18] Sheryl Crow sang into an SM7 for The Globe Sessions in 1998, and Bob Dylan has recorded with it, starting with Love and Theft engineered by Chris Shaw in 2001.[2] The vocals of Red Hot Chili Peppers' Anthony Kiedis throughout the majority of "Blood Sugar Sex Magik" album were recorded into an SM7 in 1991, as were the vocals of Maroon 5's Adam Levine on "This Love", recorded in 2002. Donald Glover used the SM7 for some songs on the Childish Gambino Camp album in 2011.[1]
Podcast
[edit]
The SM7 was largely unknown outside of professional audio circles until it began to be used for podcasting in the mid-2000s. The early podcasters shared equipment ideas, and the SM7B gained a new audience. The microphone was used for the podcasts of 99% Invisible, The Joe Rogan Experience, My Favorite Murder, WTF with Marc Maron, Snap Judgment, Song Exploder and more. Shure saw a steep increase in sales. In 2014, gamers and streamers began using the SM7B, including Shroud.[1]
The podcast Twenty Thousand Hertz dedicated an episode to the SM7 in May 2021, written by Andrew Anderson, calling it an "iconic" microphone with highly directional sound.[1][19]
The success of the SM7B in professional podcasting applications led Shure to devise a new microphone for home podcasters and streamers. In 2020, Shure introduced the MV7 model, keeping the style of the SM7 but reducing it in size, designing a completely new transducer element with greater acoustic isolation, and providing it with active digital audio circuitry, connecting via USB cable. The MV7 swiftly picked up a large share of the home podcasting market,[20] and was named the best podcast microphone by Rolling Stone magazine in 2021.[21]
Specifications: SM7B
[edit]Type: Dynamic (moving coil)
- Frequency response
- 50 to 20,000 Hz
- Polar pattern
- Cardioid
- Sensitivity (at 1,000 Hz open circuit voltage)
- −59 dBV/Pa (1.12 mV)
- Impedance
- 150 ohms
- Polarity
- Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3
- Connector
- Three-pin male XLR
- Switches
- Bass-rolloff (high-pass filter) and mid-range boost
- Net weight
- 765.4 grams (27.00 oz)[22]
See also
[edit]References
[edit]- ^ a b c d e Anderson, Andrew (June 2021). "SM7". Twenty Thousand Hertz. Retrieved July 21, 2021.
- ^ a b Bull, Justin (June 8, 2021). "How the Shure SM7B became an industry standard". Happy. Retrieved July 21, 2021.
- ^ "History of Shure Incorporated". Shure.
- ^ a b c d Rochman, Davida (July 25, 2012). "SM57 on Steroids: The Shure SM7(B) Story". Shure. Retrieved July 20, 2021.
- ^ Senior, Mike (2014). Recording Secrets for the Small Studio. CRC Press. p. 159. ISBN 9781317999904.
- ^ Schneider, Jaron (2023-10-13). "Shure SM7dB Review: Luxurious, Perfect Sound Every Time". PetaPixel. Retrieved 2025-10-13.
- ^ "Shure Relaunches SM7B Microphone with Integrated Cloudlifter Preamp". audioXpress. 2025-09-17. Retrieved 2025-10-13.
- ^ Korb, Sean (2023-10-17). "Cloud Licenses Cloudlifter Technology to Shure for New SM7dB". cloudmicrophones. Retrieved 2025-10-13.
- ^ "Is it a Cloudlifter inside the SM7dB?".
- ^ Marcus D. Rosenbaum; John Dinges; Deborah Amos (1992). Sound Reporting: The National Public Radio Guide to Radio Journalism and Production. Kendall/Hunt. p. 276. ISBN 9780840372024.
- ^ Staff (2005). "Electro-Voice RE27N/D Microphone". Pro Sound News. Retrieved July 21, 2021.
- ^ Jonathan Bignell; Jeremy Orlebar; Patricia Holland (2017). The New Television Handbook (5 ed.). Routledge. p. 210. ISBN 9781317532132.
- ^ Lazenby, Oliver (August 1, 2012). "Moosefest brings together 'Northern Exposure' fans". Daily Record. Retrieved July 21, 2021.
- ^ a b Savona, Anthony (2005). Console Confessions: The Great Music Producers in Their Own Words. Hal Leonard. p. 194. ISBN 9780879308605.
- ^ a b c Senior, Mike (November 2009). "Bruce Swedien: Recording Michael Jackson". Sound on Sound. Retrieved July 21, 2021.
- ^ Martin, Bill (2010). Pro Secrets Of Heavy Rock Singing. SMT. p. 132. ISBN 9780857121486.
- ^ TC Helicon; Gregory A. Barker; Kathy Alexander (2014). The Ultimate Guide to Singing: Gigs, Sound, Money and Health. TC Helicon. p. 165. ISBN 9780992034405.
- ^ Massey, Howard (2009). Behind the Glass: Top Record Producers Tell How They Craft the Hits. Rowman & Littlefield. p. 280. ISBN 9781617749360.
- ^ Staff (May 3, 2021). "Twenty Thousand Hertz Podcast Spotlights Shure SM7". Pro Sound News. Retrieved July 21, 2021.
- ^ Korff, Chris (May 2021). "Shure MV7". Sound on Sound. Retrieved July 19, 2021.
- ^ Chan, Tim; Ranj, Brandt; Lonsdale, John; Anderson, Sage (April 28, 2021). "The Rolling Stone Audio Awards 2021". Rolling Stone. Retrieved July 18, 2021.
- ^ "Product Specifications: SM7B". Shure. Retrieved July 17, 2021.
External links
[edit]- Shure SM7B official page
- Review of SM7 on Home Brew Audio, with listening examples
Shure SM7
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History and Development
Origins
The development of the Shure SM7 microphone originated from the company's Unidyne III cartridge technology, pioneered by engineer Ernie Seeler in 1959. This cartridge, renowned for its cardioid polar pattern and effective off-axis noise rejection, had been integral to earlier models like the SM57 since the 1960s. For the SM7, Shure engineers reconfigured the Unidyne III into an end-address design, shifting from the side-address orientation of the SM57 to better accommodate close vocal proximity in professional settings.[5][6] Conceived in the late 1960s as a full-range enhancement to the SM57, the SM7 was intended for professional vocal and broadcast applications, prioritizing versatility in capturing speech with musical nuance. Shure's primary motivation was to overcome the bulkiness and high cost of the preceding SM5 broadcast microphone, introduced in 1964, while incorporating a thinner diaphragm and heavier voice coil in the Unidyne III element to extend low-frequency response. A core design emphasis was on rejecting electromagnetic hum generated by studio equipment, such as lighting and power sources common in broadcasting environments, achieved through integrated shielding and coil configuration.[6][7] The SM7 launched in 1973 as a cardioid dynamic microphone, specifically targeted at radio and television announcers to provide clear, artifact-free voice reproduction. Priced at $257—significantly more affordable than the SM5's adjusted equivalent of nearly $1,900—it made high-quality broadcast audio accessible to stations and studios.[8] Key contributors included development engineer Gerry Plice, who designed the distinctive contoured housing, secured by U.S. Design Patent 233,669 in November 1974. Before its release, the microphone was rigorously tested over seven years in voiceover studios and recording stages, validating its performance for demanding professional use. This original model laid the groundwork for subsequent iterations, including the SM7B.[6][7]Iterations and Variants
The Shure SM7 microphone line has evolved through several iterations since its original 1973 introduction, with updates focused on enhancing performance, usability, and compatibility while preserving the core dynamic capsule and sound signature.[2] In 1999, Shure released the SM7A, which featured an improved humbucking coil for superior rejection of electromagnetic interference, such as noise from computer monitors, and a redesigned yoke mount for increased stability during use.[2][9] The SM7B followed in 2001, superseding the SM7A with the addition of a larger foam windscreen to provide enhanced pop filtering and an upgraded swivel bracket that improved desk mounting and overall positioning flexibility; this model quickly became the enduring standard in the series due to its refined accessories without altering the acoustic characteristics.[2][9] In 2023, Shure introduced the SM7dB, incorporating a built-in active preamplifier offering selectable +18 dB or +28 dB gain to compensate for the line's inherently low output sensitivity, thereby simplifying integration with modern audio interfaces that may lack sufficient clean gain; the design retains the SM7B's signature warm, controlled frequency response and EQ controls, with a bypass option to match the original performance exactly.[10] A related variant, the MV7, launched in 2020 as a hybrid USB/XLR dynamic microphone drawing aesthetic inspiration from the SM7B but featuring a smaller proprietary transducer, Voice Isolation Technology for focused vocal capture, and integration with the Shure MOTIV app for real-time adjustments like EQ presets; positioned as a modern, podcast-oriented successor, it emphasizes versatility for digital workflows.[11] Production of the SM7 series shifted from the United States to facilities in Mexico starting in the mid-1980s, with full assembly there by the 1990s using components that maintained consistent audio quality and no perceptible changes to the microphone's performance.[12] As of 2025, the core SM7B model has seen no major updates, continuing as the flagship alongside these variants.[13]Design and Technology
Construction and Components
The Shure SM7 series microphones are constructed with a rugged, all-metal body consisting of dark gray enamel aluminum and steel, ensuring durability and protection for internal components in demanding professional settings. This robust housing contributes to the microphone's reputation for reliability, with a net weight of approximately 765 grams for the SM7B model, providing stability without excessive bulk.[14][15] An internal air-suspension shock and vibration isolator is integrated into the design to effectively reduce handling noise and external vibrations, isolating the cartridge from mechanical disturbances. The microphone features a locking yoke mount with a captive stand nut that fits standard 5/8-inch–27 threads, enabling up to 90 degrees of rotation for versatile positioning on microphone stands or booms.[14][16] Standard accessories include a foam windscreen for general use, a detachable close-talk windscreen to minimize plosive sounds during close-proximity recording, and a switch cover plate for protection. The SM7B variant incorporates a larger foam windscreen compared to predecessors, enhancing wind and breath noise reduction.[15][17] Over iterations, the build has evolved for improved functionality while preserving the core design. The SM7A introduced an enhanced yoke mount for greater stability and positioning control. The SM7B retained this refinement alongside the expanded windscreen. In the SM7dB, a built-in preamp is housed internally, increasing the net weight to 837 grams but maintaining nearly identical external dimensions to the SM7B for compatibility with existing setups.[17][18]Acoustic and Electrical Features
The Shure SM7 employs a cardioid polar pattern that provides focused sensitivity from the front while offering substantial off-axis rejection, effectively minimizing ambient room noise and reducing the risk of feedback in live or studio environments.[1] This directional characteristic is particularly beneficial for close-miking applications, where it helps isolate the desired sound source from surrounding interference.[13] A key electrical feature is the built-in humbucking coil, which provides excellent shielding against electromagnetic hum generated by sources such as computer monitors, neon lights, and other electrical devices.[1] This design results in very low hum pickup, measured at 11 dB at 60 Hz under typical conditions, ensuring cleaner signal capture in electrically noisy settings.[1] The microphone includes switchable controls for tonal adjustment, featuring a bass roll-off filter that attenuates low frequencies to reduce unwanted rumble from sources like air conditioning or traffic, and a presence boost that enhances mid-range frequencies for improved clarity in vocals.[1] These filters allow users to tailor the response to compensate for proximity effect or environmental factors without external processing.[13] As a dynamic transducer, the SM7 exhibits inherently low self-noise, making it suitable for quiet recording scenarios where condenser microphones might introduce more inherent hiss.[1] It also handles extremely high sound pressure levels, exceeding 180 dB SPL without distortion, which supports its use with loud sources like drums or amplified instruments.[19] Electrically, the SM7 delivers a low output level with a sensitivity of -59 dBV/Pa, necessitating approximately +60 dB of clean gain from a preamplifier to achieve optimal performance.[1] It features a balanced XLR output with an impedance of 150 Ω, compatible with professional audio interfaces and mixers.[1]Applications
Broadcasting
The Shure SM7, introduced in 1973, was specifically developed for use in radio stations, recording studios, and voiceover applications, quickly gaining adoption among U.S. radio announcers in the 1970s for its ability to reject electromagnetic hum from nearby equipment while delivering clear, natural speech reproduction.[2] This hum rejection was enhanced in later iterations like the SM7A (1999) through a dedicated humbucking coil, making it particularly suitable for broadcast environments with electrical interference, such as control rooms.[2] Its flat, wide-range frequency response emphasized midrange clarity (around 2,000–7,000 Hz) to ensure intelligible vocals without excessive processing.[20] In television news and sports broadcasting, the SM7 became a staple for on-air talent starting in the 1970s, valued for its capacity to handle variable acoustics in live settings—such as newsrooms or sidelines—while requiring minimal equalization to maintain consistent audio quality.[21] Early adopters included prominent radio personalities like Wolfman Jack, and it evolved from predecessors like the SM5, originally designed for TV and film studios.[20] The microphone's cardioid pattern effectively isolated the voice from ambient noise, proving reliable in dynamic, untreated spaces common to broadcast production.[5] Notable implementations include its standard use in major U.S. broadcasters and production environments for spoken-word segments, where its durability supports high-volume, live workflows. Internationally, it has contributed to its reputation for reliability in professional live environments.[2] Key advantages in broadcasting stem from built-in switches for bass roll-off and presence boost, which allow precise control of the proximity effect to achieve a warm yet balanced tone without extensive room treatment.[2] By 2025, the SM7 series retains its enduring popularity in broadcasting, particularly for remote and hybrid setups where its noise-rejecting design excels in non-studio locations like home offices or field reports, minimizing the need for acoustic modifications.[5] This longevity is partly due to its shared dynamic cartridge heritage with versatile microphones like the SM57, adapted here for broadcast-specific vocal demands.[2]Music Production
The Shure SM7 microphone's smooth, flat frequency response from 50 Hz to 20 kHz makes it particularly well-suited for vocal recording in professional music studios, delivering a warm and rich tone that captures lead and backing vocals with clarity and minimal harshness during close-miking techniques.[1] This design excels in handling dynamic performances without sibilance or excessive brightness, as evidenced by its use on Michael Jackson's vocals for the majority of the 1982 album Thriller, including tracks like "Billie Jean," where engineers Quincy Jones and Bruce Swedien selected it for its ability to provide intimate, detailed capture on a high-profile pop-rock production.[22] Similarly, Metallica's James Hetfield employed the SM7 for his aggressive vocal style on albums such as Death Magnetic (2008) and St. Anger (2003), leveraging its forgiving response to tame proximity-induced peaks while preserving raw energy in metal recordings.[3][23] Beyond vocals, the SM7 proves versatile for instrument miking in studio environments, effectively capturing high sound pressure level (SPL) sources like guitar and bass amplifiers, where its cardioid pattern isolates the signal amid dense rock mixes.[1] It is commonly positioned on drums, such as kick and snare, to emphasize punch and attack without distortion, and on brass instruments like trumpets to highlight tonal detail through its built-in presence boost switch, which enhances midrange frequencies around 4 kHz for added articulation.[22][23] For instance, in Red Hot Chili Peppers' sessions for Blood Sugar Sex Magik (1991) and the track "Black Summer" from Unlimited Love (2022), the SM7 was used for Anthony Kiedis' lead vocals, blending seamlessly with analog tape workflows to achieve the band's signature gritty, layered sound.[23][24] In studio techniques, the SM7 is frequently paired with inline preamplifiers like the Cloudlifter to overcome its low output sensitivity, providing up to 25 dB of clean gain for optimal signal-to-noise ratio in professional setups without introducing noise from console preamps.[25] This combination is standard for capturing nuanced performances in controlled environments, including film scoring applications where the microphone's unidirectional design and shockmount help isolate vocals or solo instruments during orchestral sessions.[2] Its inherent dynamic response offers a natural compression effect through close proximity miking, which smoothly controls peaks and enhances warmth in the low end, making it a go-to for detailed overdubs in rock, pop, and hybrid genres.[26] The SM7 gained significant traction in 1980s rock music production, transitioning from broadcast roots to a studio staple with its debut on landmark albums like Iron Maiden's The Number of the Beast (1982), where it handled Bruce Dickinson's soaring vocals amid heavy instrumentation.[23] By the late 1980s and into the 1990s, its adoption by artists like Billy Idol and Metallica solidified its role in capturing the era's raw, high-energy aesthetics.[3] As of 2025, the microphone endures in hybrid analog-digital workflows, prized for its analog-like warmth and built-in presence lift that integrate effortlessly with modern digital audio workstations (DAWs), enabling engineers to achieve polished yet organic results in diverse productions from rock to orchestral scoring.[2][23]Podcasting and Streaming
The Shure SM7 series experienced a significant surge in popularity for podcasting during the late 2000s and 2010s, as the medium exploded in accessibility and home production became feasible. Podcasters began recommending it widely for its ability to isolate the voice and minimize background noise, making it a go-to choice even in non-professional environments.[20] This rise was amplified by high-profile adopters, such as the Joe Rogan Experience, where the SM7B became a staple, contributing to its status as both a sonic benchmark for warm, intimate spoken-word audio and a visual icon of "professional" setups visible on camera.[27][20] By the 2020s, its use extended to other leading shows like 99% Invisible, My Favorite Murder, and WTF with Marc Maron, solidifying its role in defining podcast audio quality.[20] In home podcasting setups, the SM7 excels due to its dynamic design, which provides excellent off-axis rejection and low sensitivity to room ambiance, allowing clear recordings in untreated spaces without excessive echo or hum.[28] This forgiving nature suits non-singers and casual hosts, as it captures a natural, flat frequency response that requires minimal processing for intelligible speech.[13] The SM7dB variant further addresses common gain challenges in consumer-grade interfaces, including USB models, by incorporating a built-in preamp offering up to +28 dB of clean boost powered by phantom power, simplifying workflows and reducing the need for external boosters like Cloudlifters.[4] This makes it particularly accessible for beginners using affordable USB audio interfaces, maintaining the series' signature warmth while ensuring sufficient output levels.[28] The SM7's attributes also translate well to live streaming and content creation on platforms like Twitch, where it supports voiceovers and commentary in dynamic home environments by rejecting keyboard clicks, fan noise, and ambient sounds through its cardioid pattern and air suspension shock isolation.[13] Streamers often position it close to the mouth (2-6 inches) to maximize proximity effect for a fuller low-end tone, and apply subtle EQ—such as a gentle high-shelf boost above 5 kHz for clarity—to counteract the artifacts from real-time internet compression and bitrate limitations.[4] Its robust build withstands frequent use in multi-tasking setups, from gaming broadcasts to tutorial videos, without picking up plosives or handling noise.[28] Culturally, the SM7 has become synonymous with premium podcasting by 2025, with a 2024 survey of over 500 podcasters indicating that the SM7B is used by nearly 10% of those with five or more years of experience, often as a primary mic for its reliability and broadcast-like results.[29] While budget alternatives like the Audio-Technica AT2020 offer a more sensitive condenser response suitable for quiet, treated rooms at a lower price point, the SM7 stands out for superior noise rejection in everyday home studios, making it the preferred choice for creators prioritizing isolation over high-fidelity detail.[26][30]Technical Specifications
SM7B
The Shure SM7B is the flagship model in the SM7 series, featuring a dynamic moving-coil transducer with a cardioid polar pattern designed for close-miking applications.[13] It provides a smooth, flat frequency response suitable for professional audio capture.[14] Key electrical characteristics include a sensitivity of -59 dBV/Pa (1.12 mV) at 1 kHz open circuit voltage and an output impedance of 150 Ω, rated for low-impedance microphone inputs.[1] The microphone handles maximum sound pressure levels exceeding 180 dB SPL without distortion.[19] Its rugged all-metal construction weighs 0.764 kg (1.69 lbs) and measures 190 mm in length and 64 mm in diameter (net, excluding cable).[31] It does not include a microphone cable and requires a phantom power-free preamplifier capable of providing at least +60 dB of clean gain to achieve optimal levels for typical voice inputs around 84 dB SPL. Standard accessories furnished with the SM7B include a detachable A7WS foam windscreen for pop filtering and a yoke mount (RPM604) for secure stand mounting.[14] The SM7B incorporates refinements over the original SM7, such as enhanced electromagnetic shielding for reduced hum pickup.[15]| Specification | Value |
|---|---|
| Type | Dynamic (moving coil), cardioid polar pattern[1] |
| Frequency Response | 50 Hz to 20,000 Hz (flat, with bass roll-off and presence boost options)[14] |
| Sensitivity | -59 dBV/Pa (1.12 mV)[1] |
| Output Impedance | 150 Ω[1] |
| Maximum SPL | >180 dB[19] |
| Dimensions | Length: 190 mm; Diameter: 64 mm[31] |
| Weight | 764 g (net, without cable)[14] |
| Preamp Requirement | Phantom power-free, +60 dB gain minimum |
| Included Accessories | A7WS detachable windscreen, yoke mount[14] |