WF
It is shurely good (see what i did there?)
This is a very nice microphone. The upper mids and highs are a bit different than on the sm57, however, It is best not to think that this is a copy of that, but rather just another take on the classic dynamic microphone that can do it all.
This might or might not be the same microphone as the little bit cheaper Behringer version...
I use this on pretty much everything that I used to us my sm57 on back when I had a studio. With a simple EQ you can get this to sound pretty much identical to sm57 or even sm7b so the use cases are endless really.
This might or might not be the same microphone as the little bit cheaper Behringer version...
I use this on pretty much everything that I used to us my sm57 on back when I had a studio. With a simple EQ you can get this to sound pretty much identical to sm57 or even sm7b so the use cases are endless really.
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J
3 Years of ownership and still going
I use the MB 75 as a snare mic for my band when playing live. It works fine and sounds pretty good. I haven't used it in any other situation so cannot comment on how it sounds for guitar or vocals but in this case it is fine. It isn't quite as pristine looking as it once was and has taken some knocks and scrapes but is still going. Can't knock it!
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F
T.Bone MB75 - An SM57 for the economically minded.
I use all sorts of mics, from a little "superscope" stereo mic that came free with a PC motherboard about 12 years ago, to an early 80's Calrec Soundfield CM4050 Mk.IIIa with the modular preamp/control system, some vintage 1950's British and German ribbon mics, 1960's Calrec (again) small diaphragm condensors, Shure, Beyer, and so on. Yet, through being introduced to them by friends over the last 20 years, I have become a lover of T.Bone mics, from the cheap and cheerful MB85, to the SCT2000. I started using these regularly about Ten years ago, and, apart from one EM81 drum overhead mic that went faulty, all have behaved impeccably, and done the job perfectly. This from 24 track studio down to home use, and including occasional gigs. In general, I recommend T.Bone mics, and /over/ the big name brands, because they are better value for money.
Basically. I recommend T.Bone mics in general, as a brand, and for all uses, from home, to high end pro studio.
Specifically about the MB75. I like /everything/, having used 4 of them, generally substitutes for a Shure SM57, and been quite impressed. Does the same job. Is /slightly/ different, seeming to have a little more clarity in the "low treble" range than "the real thing", but still the same general "body"and "thickness".. I specifically like these types in front of a guitar amp, snare, tom, or even the top end of a biamped bass rig. Where I want things to "roar" in a rock context generally.
The cons: Handling noise is much higher than the SM57, and, on a mic stand, it seems to pick up sub 120Hz (where I set the shelf when this happens) rumbles from nearby machinery (a tumble drier) quite well via the mic stand. Disproportionately even. I was barely aware of this sound via air and ears, yet via building and mic stand, it was fairly obtrusive. A high pass filter on the input of the desk at 120Hz fixes this, but if you don't have a HPF, you better find someplace quiet to record, and be aware of building/stand transmitted vibration. This is really the only con for me in practice, though the pair that arrived today were not tightly screwed together at the mid-body point. A little twist of the wrist sorted that before I even connected them to the preamp.
Given that mechanical noise isn't much of a problem for me usually, and I have the equipment/knowhow to fix this in an instant, I don't see a good enough reason to pay more for Shure mics, though some clients may be less impressed if/when they realise I'm using "cheap" mics, regardless of the fact that I am delivering the same tonal quality, but I'm not really chasing clients at the moment, and my other equipment has enough "impressive" value to more than negate this silly bias, so it's not an issue for me at all.
Why pay more?
Again. I have A/B'd these (in pairs panned L/R) with SM57, and the MB85 against SM58, and in general, prefer the T.Bone sound. But then I do have nice consoles with transformer balanced inputs and so on.. I could see perhaps why someone with a transformerless input desk might prefer the bandwidth limiting effect of the Shure's onboard transformer.
At the current price (£28), you can afford to try one out and see if you like it.
Suggestion for T.Bone though.. It might be an idea to do a "bare" version, like with the MB85, without the (very good) hard case and cable bundled, and at a similar price to the MB75.. And conversely, to offer a "deluxe" MB85 set with case and cable. (or just sell cases and cables seperately.. I'd go a couple of MB85 cases if you were to offer at reasonable price.
Basically. I recommend T.Bone mics in general, as a brand, and for all uses, from home, to high end pro studio.
Specifically about the MB75. I like /everything/, having used 4 of them, generally substitutes for a Shure SM57, and been quite impressed. Does the same job. Is /slightly/ different, seeming to have a little more clarity in the "low treble" range than "the real thing", but still the same general "body"and "thickness".. I specifically like these types in front of a guitar amp, snare, tom, or even the top end of a biamped bass rig. Where I want things to "roar" in a rock context generally.
The cons: Handling noise is much higher than the SM57, and, on a mic stand, it seems to pick up sub 120Hz (where I set the shelf when this happens) rumbles from nearby machinery (a tumble drier) quite well via the mic stand. Disproportionately even. I was barely aware of this sound via air and ears, yet via building and mic stand, it was fairly obtrusive. A high pass filter on the input of the desk at 120Hz fixes this, but if you don't have a HPF, you better find someplace quiet to record, and be aware of building/stand transmitted vibration. This is really the only con for me in practice, though the pair that arrived today were not tightly screwed together at the mid-body point. A little twist of the wrist sorted that before I even connected them to the preamp.
Given that mechanical noise isn't much of a problem for me usually, and I have the equipment/knowhow to fix this in an instant, I don't see a good enough reason to pay more for Shure mics, though some clients may be less impressed if/when they realise I'm using "cheap" mics, regardless of the fact that I am delivering the same tonal quality, but I'm not really chasing clients at the moment, and my other equipment has enough "impressive" value to more than negate this silly bias, so it's not an issue for me at all.
Why pay more?
Again. I have A/B'd these (in pairs panned L/R) with SM57, and the MB85 against SM58, and in general, prefer the T.Bone sound. But then I do have nice consoles with transformer balanced inputs and so on.. I could see perhaps why someone with a transformerless input desk might prefer the bandwidth limiting effect of the Shure's onboard transformer.
At the current price (£28), you can afford to try one out and see if you like it.
Suggestion for T.Bone though.. It might be an idea to do a "bare" version, like with the MB85, without the (very good) hard case and cable bundled, and at a similar price to the MB75.. And conversely, to offer a "deluxe" MB85 set with case and cable. (or just sell cases and cables seperately.. I'd go a couple of MB85 cases if you were to offer at reasonable price.
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TF
Near perfect replica of a SM57 - exclusively for use on a stand.
The MB75 compares extremely well to a real Shure SM57 in SMAART or OSM, basically within a reasonable margin of error, considering I don't have an anechoic chamber. As long as you use this mic on a STAND, it is unlikely anyone will ever notice that you are not using a real SM57... HOWEVER... handling noise is simply atrocious compared to the real SM57...!!!
If for some reason this is the last mic in your bag at a live show, and you need to give it to a singer, you are in for a bad night. All I can say is roll off the LF response as much as you can if someone is going to hand hold this mic. This is not a fault exclusive to this particular model, you will find the same issue with virtually ALL low cost copies of Shure / Sennheiser products, including other t.bone models and the likes of the Behringer XM8500 et al. Apparently the companies building these clones in SE Asia do not have any mechanical "engineers" on staff. Either that, or 5 cent rubber capsule isolators would raise the cost of these products too much for them to be competitive with the originals. Dunno.
If for some reason this is the last mic in your bag at a live show, and you need to give it to a singer, you are in for a bad night. All I can say is roll off the LF response as much as you can if someone is going to hand hold this mic. This is not a fault exclusive to this particular model, you will find the same issue with virtually ALL low cost copies of Shure / Sennheiser products, including other t.bone models and the likes of the Behringer XM8500 et al. Apparently the companies building these clones in SE Asia do not have any mechanical "engineers" on staff. Either that, or 5 cent rubber capsule isolators would raise the cost of these products too much for them to be competitive with the originals. Dunno.
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D
Good mic for recording amps
This is my first mic to record amps with, and i absolutely love it, it sounds good, especially for the price!
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G
As good as a sm57?
I have no idea as i this is the 1st mic I have ever had, but I dont see how a SM57 could be better as this sounds fantastic to me. Feels like it is really well built, not cheap plastic
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B
Good Product for the price
It sounds alright and will do the job for lots of applications such as micking amps, percussions and even record vocals in some cases. Seems durable and has a good construction quality. I recommend it.
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C
Good in livestreaming band setup.
using weekly for picking up acoustic guitar and happy enough with the sound for livestreaming, doesn't pick too much around it so voices are separate in their own mics. good solid microphone.
One of our units did lose the foam inside the cap though this was through misuse- obviously the MB75 with the rotating cap doesn't have the total reliability of the original sm58! (can forgive it though!)
One of our units did lose the foam inside the cap though this was through misuse- obviously the MB75 with the rotating cap doesn't have the total reliability of the original sm58! (can forgive it though!)
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mk
!!!
for the price its really good !! it does its job !!!!!!!!
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A
For the price, it's quite ok
So the question in most people's minds is: is it a SM57? You can read reviews online, comparison videos on you tube, etc. and some people actually claim it is as good or better than the SM57. I wouldn't go so far, especially because I do not have a SM57! :) Now, if the question is if I am satisfied, I would say yes, but not completely. I use it for micing an amp cabin, for recording and PA. For PA, it is fine, but I can't say I am thrilled about the recording results. The sound is not very well defined, and doesn't capture the fullness of the cabin.
Mind you, I am not a recording expert, but still I hoped to get a bit better results. For this reason, I am planning to get a SM57 soon, and sincerely hope the big difference in price bring a big difference in sound as well.
Mind you, I am not a recording expert, but still I hoped to get a bit better results. For this reason, I am planning to get a SM57 soon, and sincerely hope the big difference in price bring a big difference in sound as well.
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