Shure is one of the most iconic microphone brands in history, and the SM7—and its later iterations, the SM7A and the modern SM7B—stands with the SM58 and SM57 models as one of the most versatile and useful dynamic microphones in the audio industry.
This is the history of the Shure SM7 and its current iteration, the SM7B. A microphone christened by the Shure company themselves as the "SM57 on steroids." It celebrated its 50th anniversary last year in 2023 and is an enduring go-to choice for recording engineers and broadcasters worldwide. Let’s dive into the origin story, what sets it apart sonically from other dynamic microphones, and how it changed the game in the worlds of broadcasting and recording production.
The SM7 is Born
After improving on the Unidyne element that Shure first launched in 1939 with the Model 55, Shure engineers invented the Unidyne III capsule in 1965. It is the capsule that Shure’s three most popular microphones—the SM57, SM58, and SM7B—still use today.

After tweaking the Unidyne III to provide extended low end frequencies, the SM5 came to market in 1966. The intent was to provide the broadcast and film communities with a microphone that complemented their specific needs. It met all of the sound demands of these industries, and while it quickly gained favor it was big. Around 10” long, cumbersome, unwieldy, and expensive. Accounting for inflation, it retailed for around $1900!
This led Shure engineers on a mission to reduce the size of the microphone. And this is where the SM7’s story begins.
They wanted to create a different mic that had the same sonic appeal, but one that was smaller and more convenient to use. In addition to reducing the overall size, they wanted to incorporate some of the sound design elements that made the (new at the time) SM57 so useful for recording music

In 1973, the SM7 was born. It utilized the Unidyne III, and like the SM5 before, it quickly became a standard for broadcast. But it didn’t take long for recording engineers to discover how great it sounded at capturing vocals and instrumentation for music.
Some design elements that set it apart include a diaphragm variation that offered more bass frequencies. An internal shock mount reduces sympathetic vibrations from mic stands, where the shock mounts in the SM57 and SM58 are designed for noise reduction in handheld use.
SM7 Evolution
The SM7 was originally released in 1973, but it wasn’t until 26 years later in 1999 that the next iteration, the SM7A, came to market. This updated version had additional shielding in the electronics to further prevent electromagnetic interference.
Two years later in 2001, the next and current version was released: the SM7B. The biggest difference in this model is the larger windscreen that provides better protection against plosives. This is an ideal design element for broadcasters and vocalists who like to have close proximity to the mic’s diaphragm.
The SM7’s Sonic Signature

In comparison to a microphone like the SM57, the SM7 provides a more neutral frequency response. This can be altered through two switches on the rear that change the frequency curve. One is a low cut/high-pass filter and the other is a presence boost in the midrange.
Ranging from 50Hz all the way up to 20kHz, its useful frequency range is broad enough to take on any miking situation. The polar pattern is fixed cardioid, which provides great off-axis rejection from the sides and back.
Importantly, the frequency response is actually pretty neutral overall for a dynamic microphone. There is a slight dip in the 2kHz to 5kHz range with a bit of presence peak above that into the 6.5kHz area. It dips around 7kHz and varies around the high end of the midrange in the 10kHz to 12kHz area. Despite some popular advice suggesting that condenser mics are generally best for vocal recording, the SM7B is a very popular choice for voice: its carefully tailored frequency response offers presence, crispness, and intelligibility.
If you’re considering buying one it’s important to note that the SM7B requires at least 60dB of gain to operate. Most preamps should be able to provide this, but you want to double check with the model(s) you use to make sure. It's common to pair the SM7B with a Cloudlifter or similar level-shifting device. An even more recent version of the SM7B—the SM7dB—adds an internal preamp for up to an additional 28dB of gain, which in combination with your preamp of choice should offer plenty of gain for most situations the mic is designed to handle.
Microphone Choice of Music Masters
The SM7 has been used on countless hit recordings, including some by the biggest names in the music business. Mick Jagger of the Rolling Stones started using them on their run of records released in the mid 1970s. It’s also a popular microphone for recording heavy metal and hard rock vocalists due to the abuse it can take from high SPL sources. Frontman Bruce Dickinson used a SM7 exclusively on Iron Maiden’s landmark 1982 album Number of the Beast.
James Hetfield of Metallica and AC/DC’s Brian Johnson have also employed the mic. Producer Joe Chiccarelli used it on Jack White’s vocals for The White Stripes’ Icky Thump, and artists across genres like Anthony Kiedis of the Red Hot Chili Peppers, Bob Dylan and Sheryl Crow have all used it to complement their signature vocal sounds.
But perhaps the most famous anecdote of the SM7 in use in the recording studio is on Michael Jackson’s insanely successful Thriller. Producer Bruce Swedien was a huge fan of the sonic qualities of the microphone and used it extensively to capture Jackson’s generational talent. This record was one of the first times the SM7 was used on a major label recording.
The fact that so many seasoned musicians, engineers, and producers across such disparate genres choose the SM7 as a go-to microphone is a testament to its efficacy in handling any source it’s in front of.
Broadcasting to Podcasting
Much like the SM5, the SM7 quickly became the preferred microphone choice for broadcast due to its neutral frequency response and warm sound. Even today it’s one of the most likely microphones you see in radio, television, and streamer studios.
For decades the SM7 was primarily used only in professional audio scenarios. It wasn’t until the mid 2000s during the rapid popularity rise in podcasting that it became a favorite of amateurs and DIYers. It became such a hit with the rise of podcasting that it led Shure to develop an offshoot of the SM7B specifically for the medium - the MV7. Aesthetically, it’s very similar to the SM7B’s enclosure but smaller in size.
And it sports a lot of features that are perfect for podcasters. For starters, it has a different transducer that offers better isolation from room acoustics, and it has active digital circuitry that connects via the USB standard as well as XLR. Onboard DSP helps you cut down or eliminate post production to get the audio right during production. It records uncompressed, lossless audio and has an auto-leveler that adjusts gain and compression based on the input signal. Like the model that inspired it and the prominence it found in professional broadcasting, it didn’t take long for the MV7 to become one of the premier microphones for podcasters.
Conclusion
Even half a century after its release, it’s no wonder why the SM7 and its subsequent variations have achieved such wide-reaching acclaim. It’s versatile, durable, and sounds great on any source you throw at it in any situation.
The rise in popularity and ubiquity in all aspects of audio has surely surpassed what even the engineers who created thought it was capable of. There have been two further models released, the SM7A and the SM7B. They offer slightly different features, but they’re sonically identical. This speaks to the genius of the original design.
Some manufacturers just get it right from the very beginning, and that’s certainly true for the SM7. The fact that it’s just seen two updates with only slight modifications is a testament to the genius of the original design. Its instantly identifiable aesthetic and coveted sound makes it one of the best all-around microphones available. No matter what your needs are, having the SM7B in your microphone locker provides a safety net that few other microphones can.
Brandon Stoner is a lifelong musician and audio engineer who owns more guitars than anyone needs. As a lover of all things writing and music technology, he crafts every piece with his dog Max on his lap.