Shure - SM7B Vocal Dynamic Microphone

i used a blue yeti microphone for 6 years, it did everything i needed it to and lasted me so long, the only reason i ditched it recently was simply for an upgrade. The blue yeti is a fantastic affordable microphone, i just recently upgraded to the Shure SM7B because I could finally afford to upgrade the quality, and i'll likely be using this mic for years and years to come

As RudeRick stated, you're not really looking at this correctly. First off, sound doesn't just stay in a laser beam. It spreads and reflects. Even when dealing with directional microphones, the areas of least sensitivity (the nulls) will only help from those particular directions. Close your eyes and listen to your room. All that background sound you hear doesn't just come from 1 direction. You can try to help this a bit by picking a microphone with a [polar pattern](https://blog.biamp.com/beamforming-microphones-polar-patterns/) (cardioid, supercardioid, or hypercardioid) that allows you to position it with a nearby source of noise in one of the the microphone's null. For example, if you had a nearby object on your desk making noise, you could try to put it directly behind a cardioid microphone. But again, this only goes so far. As RudeRick also stated, proximity to the microphone makes a huge difference. That's a big part of why dynamic microphones tend to do better. They are less sensitive than condenser microphones, mainly due to their heavier diaphragms (but also because most dynamic mics are passive while pretty much any condenser microphone is active), so this forces users to use the microphone closer. It does also help a bit by making the mic less sensitive to higher frequencies as those have lower energy and just can't move the heavier diaphragm as much (so this is technically a disadvantage, but the advantage of more sensitive mics often gets in the way for use cases like yours; hence why the broadcast world is dominated by mics like the Electro-Voice RE20 and the Shure SM7B). So, to answer your question, there are mics that are amazing at dealing with background noise, but they aren't a good fit for you. The [Coles 4104](https://coleselectroacoustics.com/4104-commentators-microphone/) is a fantastic example as it's specifically built to be useful for commentators in noisy environments like sports games. That said, I would never suggest a ribbon mic to anyone that doesn't understand what they are getting into (how to take care of and not damage a ribbon mic, the high gain and impedance preamp requirements, etc.). DO NOT take this as a recommendation for this microphone for you. This is just an example. One other note: all directional microphones exhibit [proximity effect](https://en.wikipedia.org/wiki/Proximity_effect_\(audio\)) (bidirectional microphones have the most). This is a rise in low frequencies when you get close to the mic. How much proximity effect you have where will depend on the microphone. Some mics can have a very nice "voice of God" sound up-close, while some can be a muddy mess. Some mics, like the Electro-Voice RE20 are specifically designed to minimize proximity effect and have next to none. You need to figure out how much proximity effect you like with your particular voice using your particular microphone. As you can probably tell by this point, while the mic does make a difference, how you position it and the acoustic treatment of your space will always be important. Dynamic mics like the SM7B aren't amazing in noisy environments compared to your average condenser mic. They are just less of a battle. In-general, there is "absolute best" for anything in microphones because there is always a subjective element. If there was a best of anything, then that's what every high-end studio would have and nothing else. Studios have big mic lockers (not to mention preamps and outboard gear) not just because of the wide ranges of sound sources they need to be able to record but because every artist, producer, etc. has their own preferences (vocals especially since there is such a wide range of voices and how you like your recorded voice to sound is very personal). So make sure you get an arm or stand that allows you to position whatever mic you get well. I'll just leave you with the big broadcast industry standards: Electro-Voice RE20, Shure SM7B, and to an extent, the newer Heil PR40. If you want a great reference for hearing samples of microphones, it doesn't get much better than this: https://audiotestkitchen.com/.

A little pricy, but the Shure SM7B is the industry standard for a reason. Don’t forget to get a Cloud Lifter.

The Shure SM7B is fantastic, so since your current mic is dying, I could recommend this mic. In regards to the ambient noise, here are some other tips to battle this: I’m assuming the sound from the environment is lower than your voice directly into the mic (if it isn’t, you’re insane for even trying lol), so nothing that a noise filter couldn’t handle. Obviously you need to tweak some settings to hit that sweet spot (where your voice doesn’t get cut off, but also where it doesn’t pick up ambient noise. Second, just in case the noise filter isn’t sufficient, I would add a (small) room divider, preferably covering it in heavy cloth. Place this directly between your mic and the direction the noise is coming from (the tv). You can position the room divider out of frame, and when you’re done streaming you can store it somewhere it doesn’t bother anyone. Solving your specific issue with *just* a different mic is practically impossible.

In all honesty, I can’t possibly think of a situation where a room divider wouldn’t be a viable option, with the exception of *maaaaaaybe* you need to have visual contact with what’s happening in front of the tv - for example a child you’re supposed to watch. In case of the latter I’m a bit of an asshole and say “don’t stream when you’re supposed to watch a kid” 😜 Anyway, you’ll have reasons, so I’m not prodding anymore than I already have - I would simply suggest you to reconsider: there’s a very good reason more people suggest this as an (extra) solution. In regards to you other question, I’m a bit confused as to what you mean exactly. Yes, I recommend the Shure SM7B. There could possibly be other mics out there that might do the trick, but I only have experience with the SM7B, and since I have a *very* positive experience, that’s the mic I’ll recommend to practically everyone who needs a good mic for vocals. Since your current mic is dying, you’ll need to replace that old mic anyway, so why not an upgrade to the SM7B? There’s a reason it’s considered to be an industry “standard”* * There are a lot of “professional mics out there, and granted, the marketing of Shure has ensured their position within the streaming/podcasting/radio markets, but if it was a shit mic, you wouldn’t see it being used that much. You can hear for yourself (countless podcasts, Youtube-videos, Twitch-streamers, even some radio shows) the quality is good. However, even with the SM7B you still need to apply a filter, the noise gate. Eventually, whether you *really* need it or not (reading your situation, you *REALLY NEED* it), it wouldn’t hurt. For example: I stream from a *acoustically treated* music studio (that’s what my stream is about), so the sound here is already pretty good. However, I have an air purifier running constantly, plus I live at a fairly busy road, close to a hospital. If I wouldn’t apply the noise gate, chances are big (but not a guarantee in my particular case) that you could hear traffic, sirens, and the purifier. With the noise gate applied, you only hear my voice. That being said: you could probably do with a mic of lesser quality, but still apply the filter, and not worry about the background noise. The noise gate is an absolute necessity, in my opinion. Feel free to ask if you have questions!

Not a problem! And I understand how a wife "works" - that's why I only stream once a week, and that was a well fought battle haha! So this is my setup: **Mic**: Shure SM7B **Audio interface**: Focusrite Scarlett 2i2 **Pre-amp**: Triton Fethead **Cable**: random XLR-cable (don't fall for the "you need really expensive XLR-cables!"-trap) You plug the Fethead in the mic, cable in the Fethead, cable in the Scarlett, Scarlett in the computer. Now, what is what, and why? **Mic**: Self-explanatory. **Audio interface**: You can't plug the SM7B directly into a computer, you need an audio interface (or alternatives, like a mixer of sorts). To keep it simple: the audio interface "translates" the incoming signal from the mic to the computer, so the computer knows what to do with it. I personally use the Focusrite Scarlett 2i2, because it suits my personal needs. If you're only ever intending to use just one mic, you can look for slightly cheaper alternatives, like the Focusrite Scarlett Solo. I vouch for this brand, but that's my own experience. Other people will recommend other brands, you can't go wrong really if it's 'just' for streaming (I work with audio and do VOs professionally, so I can't really fuck around). **Pre-amp**: Even though the Scarlett is a good interface, it lacks a bit in power. The Shure SM7B is an amazing mic, but it needs a bit more "oompf". So, without an extra pre-amp, your mic will sound less loud (up to the point maybe that it's actually really quiet), and you'll need to crank the input for the mic all the way up, which can (and probably will) cause a bit of 'hissing'. To give a simple example: record 'silence', play it back, but turn up the volume; all of the sudden the silence becomes hissing, like white noise. That's what happens when you crank up the input; it will add some hiss. A pre-amp, like the Triton Fethead, is a weird little thing: it basically tells the interface "You know this audio that the mic is giving you? Yeah? Nice, just crank it up 15dB." And then the interface does exactly that, oddly *without* adding the hiss. This results in you needing less input, thus keeping that cleaner audio. **Cable**: So you need an XLR-cable (male to female) to connect the mic to the audio interface. It really doesn't matter which cable you get, honestly. Most interfaces come with a USB-cable to connect to a computer, so don't worry about that either. Now, typing this, I can hear you think two or three things (maybe even four): 1. "Fuck me, can't I have something that I can simply plug into the computer?" Short answer: yes. There are USB-mics (even Shure has one, I think it's the Shure MV7) that you can plug in directly into your computer. I personally have no experience with these, so I can't rightfully recommend this. I'm sure it works just fine - but I can't vouch for it :-) 2. "So wait, if I *don't* use the Fethead, and crank up the input, I'll hear a hiss. But if I *do* use the Fethead, *which cranks up the input itself*, I *don't* hear a hiss? But why?!" Short answer: No clue, it just does, embrace it lol

So as I have no personal experience with the SM7dB, and my current SM7B doesn't need a replacement, I never looked at the reviews/comparisons between the two. I have now. [Here's a review mic where he talks about the differences.](https://youtu.be/4O_yCjaE55Q?si=rHi7ze00EoqdGmEi) Now, this video smells a little bit like it's a paid promo, but it doesn't appear so - I never watch paid promo videos, because *of course* that product will be superduper fantastic amazing... That being said, with my knowledge about what he's talking about, the SM7dB sounds like the upgraded version of the B - I think if I were to get a new setup now, without having a mic already, I would probably go for the dB, but not with full conviction tbh. My thought-process: \- The B is older, yes, but it's also proven. There's a reason it's the industry standard. \- The dB is from late 2023; but we're two years down the line and *still* everyone is talking about the B, instead of the dB; why is that? It makes me wonder. Are peole simply holding on to the concept of "The B worked just fine, don't need no improvements"? \- The B is from 2001. Yes, it's *that* old. The original (Shure SM7) is from 1973, and in 1999 they finally released an update (Shure SM7A), which they quickly replaced with the Shure SM7B in 2001. The model hasn't had the need to get updated for almost 25 years; it's *that* good. Granted, the mic was amied for professional use, so the "issue" of needing more power and not having a built-in pre-amp was not an issue: professional studios, radiostations etc had mixers with enough power to utulize the B to perfection. The "need" for the pre-amp became evident when streaming and home-studios became more accessible for Regular Joe; now that you and I could build a studio at home (and with "studio" I mean "a laptop and some speakers" in 99% of the cases) they faced the issue that the interfaces/mixers the consumers (like you and me) were using, weren't professional grade, and lacking the power needed. \- Okay, so the B is older, pretty old. We don't know when it's going to be end of life (so when support stops), but my educated guess is that you still have a loooooong time before this happens. \- Why isn't everyone raging about the *HUGE* quality difference in the audio between the two mics?! The dB is almost 25 years older, it *MUST* be better? Right?! Well, you don't hear anyone about this, because there just isn't that much difference. The audio quality is very much alike. \- The dB is initially a bit more expensive than the B. Though, if you need the pre-amp for the B (which you do), the difference isn't that much. \- I'm never a big fan of newer device being crammed with all sorts of different technology (I'm old fashioned lol). Now, in this case I'm fairly positive it won't impact the mic as much, but let's say you have the B with the separate pre-amp, and the pre-amp breaks down, you can simply replace it. If it's built in, like with the dB, you have to bring your mic back to the store/manufacturer and have it replaced/repaired. If you're out of warranty, you need to buy a complete new mic, setting you back more than if you just had to buy a new pre-amp. So for me personally, the advantage of having the dB be the same size *as the B without the pre-amp, and thus smaller than the B WITH the pre-amp*, doesn't outweigh the disadvantage of having to replace the entire mic if the internal pre-amp in the dB malfunctions. So all in all I would still prefer the B over the dB. I would say, if you're concerned about future upgrades of the *external pre-amp*, yeah, the B is the way to go. With the dB you're kinda 'stuck' with what they made.

Hard disagree. It’s not a brand thing it’s a brand model thing. AKG is not the company it once was, the modern mics have nothing to do with their old legendary microphones.  Shure SM7B should have made the list, it’s my favorite shure mic. I have so many models. KSM8 is good if you have vocal cord damage and it suppresses those frequencies. I know of no studio sennheiser for vocals. They make good handhelds for live music though.  Similarly Neumann TLM103 is overly bright and harsh and great for foley and perhaps modern narration but not necessarily good for singing 

The way I see it is RE20 is the euro version of SM7B as it became more popular there. RE20 is definitely a nice mic and I recall Kerim Lechner (Krimh) call it the elephant dong. Definitely nice to have. I noticed SM7b works better with lo-z capable preamps as that surprisingly causes the volume to jump up 5-10dB!

Sorry I fixed a typo, I meant SM7B works better with lo-z not sm57 lol. old habits of typing sm57 over and over die hard. Guess how many SM57s I have :)

SM7B is definitely very smooth but I think the trick is to play with the EQ settings in the back to get it to "neutral" vs. dynamic neutral. But funnily enough for my last cover of punk rock music, I chose the 58a over the 7b because I wanted it to be not smooth at all :)

Shure SM7B. Once you get serious it's WELL worth the upgrade from USB to XLR.

I disagree, I think they’re more than “just ok.” I think a lot of people just think they work great on everybody, I disagree with that. I think an sm7b is more versatile. But when a U87 works great, it works pretty great. I have 2 regular studio spots, one has a real U87 and one has a clone. The U87 fucks

I mean the SM7B is the top of the line so as far as quality you aren’t going to get any better. I have a b.a. in music technology and don’t know of any mic below $50 that will get you a comparable quality. What video editing software are you using? Premiere Pro has an auto sync feature and I’m pretty sure most editing softwares do. I would try to figure out how to streamline your workflow so that you can make using the SM7B easier. I can’t remember which one(it’s probably in more than one) but in a Colin and Samir interview some creators were talking about how audio quality is more important than even the video quality. The gist was that you can look past bad visuals, but bad audio is nearly impossible to look past. So, if it were me, I would take the extra time to setup the SM7B to make sure I’m getting the best audio recording I can. Best of luck!

Yes, I use a Shure SM7, and I work much better.

More accurate. Also read this to find the right app for you! [https://www.reddit.com/r/macapps/comments/1lg4wyj/comment/mytncm1/](https://www.reddit.com/r/macapps/comments/1lg4wyj/comment/mytncm1/)

Would absolutely recommend you skip this then and go straight to a Shure SM7B that's basically the king of this style mic

Shure SM7B, or MV7, or if your budget does allow it The AT2020 USB, this mic is truely bomb... Please don't go for a blue snowball, or blue yeti 😭 Also look up the different between a dynamic mic and a condenser mic, background noise is a big difference. Sm7b is dynamic, zero background noise. At2020, picks up everything, because it's designed to be in a studio, to pick up everything.

Shure SM7B. It's the standard for a reason.

If your room has good acoustics, the rode nt1 (all variations) are incredible. Anything more expensive than this has diminishing returns imo. I recently bought a shure sm7b but returned it as I hated the sound (I much prefer condenser mics.)

I would argue that the best mic is one that you can edit from in post production. Rode PodMics are a solid starting mic and an affordable option. They do have a USB options, as does Shure. USB could be accomplished with an interface which I would recommend over a USB mic personally. If money is no object I would go Shure SM7B, it’s as good as advertised and that’s a reason it’s popular. I have mine paired with a Focusrite Vocaster but that has a max of two mics, for the price it’s amazing though. The Rode Procaster II would be my recommendation for the amount of mic ports you need though. Again, all of this is just you spending money if your post-production skills lack. I know people that make their Shure SM58 sound incredible. The good thing is given your need, your options and combinations are effectively endless. What you need to determine is your total budget. I don’t think you’ll be happy with USB mics though and will ultimately upgrade so I would’ve personally just skip that.

I see lots of people recommending dynamic mics, and the SM7B is a good mic (I use it), but if you are unwilling to budge on the obvious free improvements like using headphones and just generally reducing background noise, a shotgun mic would be a much better choice. You'll have to spend more to get one that would actually be useful (the longer the tube, the better background rejection it will have), but something like a Rode NTG-2 or NTG-3 could work. Curtis Judd on YouTube has comparisons of a lot of different shotgun mics if you want more recommendations.

Do you have lighting already? Is it in this budget - lighting is also very needed (unless you're not cam streamer). I'd set myself on Shure SM7B with some XLR dock from Elgato maybe and FetHead. That's what I did. But as other said - unless it is small budget for you, do not put large amount into mic before trying.

"It’s not a brand thing it’s a brand model thing." Awesome point and I totally agree! I've always felt the SM7B was too dark/smooth on some vocals. It almost sounds compressed or like a pillow is over your voice (singing). However, I've found great success with it when recording hardcore screams/vocals! Also, I always hear a lot of hate for the TLM 103, but I've never produced a bad result with one. Can't say I share a similar experience there.

Hard to narrow down, but here’s 5+ mics I like more: Voiceover: TLM49 or TLM103 depending on the voice ADR: Schoeps CMIT 5U, MKH416, Cos11d Music (vocals): C12 (or any of the C12-inspired mics), SM7b, U47 tube or fet, and then completely out of my price range but of course a great mic is the Sony C800G

Used Rode NT1 and a used Scarlett Solo interface. I would recommend the 5th generation NT1, as it has the ability for a USB connection, but you'd have to find it used to get it under $200. You can find it new for just above that. Sound test I've heard out the quality pretty close between the XLR and USB connections. But really, if you can afford a $200 microphone, you can afford an interface. I've bought genuine SM7B's for $150 and that would still leave $50 for an interface. Just gotta be smart and shop around.

Buy used for $50-$80. Don't buy one that comes with a box and all of its packaging if you can't tell what a fake is (which can be very difficult nowadays) as many sellers have gotten smarter and sell their fakes as "used" in order to make you think it's more legitimate. Check the seller's other items for sale. If it's just a bunch of microphones, don't buy it. I can try finding some listings for you if you really need the help. I managed to snag a legit SM7B for $150 because the seller didn't normally sell microphones, presumably just looked at the prices of sold listings (which are overwhelmingly fakes selling for cheap) and just priced it at that.

I’ve been using the [Shure SM7B](https://x.com/DealHopperHQ/status/1986428068009844751) for a few years now, and it’s been rock solid. The sound is smooth and natural, great for both vocals and spoken word. It handles background noise really well, which is a big plus if you’re not in a treated room. You do need a strong preamp or a Cloudlifter to get enough gain, but once that’s sorted, it just works. It’s not flashy or “wow” out of the box, but it delivers consistent, professional results every single time.

Noise gates are great and all, but they don't cut out noise while you're talking and you're talking a lot, you're going to get a lot of bleed from your speakers. A very directional mic with some shielding is what you're after. It's pricier, but the SM7 is an industry leader for broadcast and it would be great for your use case as it does a great job to straight not pick up a lot of the sound around it.

Tbh, filters and gates will only help when op isn't talking . If op is talking lots AND there's noise coming from speakers, then a shit mic will still have a lot of bleed - OP needs something that will be very directional and shielded from the speakers if they're going to be streaming, talking a lot, and having loud sounds from speakers.

Possibly, provided the speakers are low. I know in a recording studio environment, sm7s are the best for killing out room sound to minimise bleed - but even then, having baffles up saves the day. Provided OP keeps their volume low enough, simple filters and shielding will save bleed

The SM7B is the answer. I use a Universal Audio Volt 276 Audio Interface instead of a mixer. So many people I play online with ask me how my microphone is so clear. It's the SM7B. They say I sound like I'm on a podcast or radio show.

Na 87 is the desert island mic. Maybe the 67 betters it. You can throw it on anything and it’ll work. 87 is better than SM7 on vocal for me generally

I’m really surprised the SM7B is mentioned so much, but rarely ever the RE20. It’s basically its direct competitor with more high end clarity, works better on a wider range of vocals, in my opinion. The SM7B is great for brighter sources, like guitar amps. Screaming, too. Dynamics are obviously great for high SPL sources. I sold my SM7B (and Cloudlifter) many years ago, never liked it, and neither do my coworkers, but they all work in live sound rather than studio. To each their own, of course! If it works for you, that’s all that matters.

The SM7B is a bit of a gain hog but you have so many options with this mic or any mic even.. There's no need to track at -16 at 44.1 kilohertz you can track a close mic'd whisper at -24db even and have a huge sounding track just by adding some gain in post.

87 beats a 7b for me at least 8x out of 10.. aggressive vocals notwithstanding. Especially when put want a detailed, nuanced capture of a good singer in a nice sounding room The 87 hate is real, but there are reasons it’s been used on so many beloved, familiar recordings. A good 67 will usually sound sweeter, a 49 fuller and more beautifully balanced, a 44 , bigger, but an 87 is going to do better on many voices, under many circumstances, than 90-95% of the mics most commonly used today by home recordists

Great post! Seriously, audio really is vital. I highly recommend spending $50-100 on a USB condenser mic (Fefine, Yeti). Inexpensive gaming headsets or laptop mics that cause clipping or plosive pops can be really distracting and instantly limit how much time someone is willing to spend watching your content. If you are trying to get into actual podcasting, where audio is the primary focus, you'll need to start spending more on a Shure SM7B or equivalent, but you will not need anything super serious for YouTube content.

Welp if you want to dive right in, RE20. Sounds great out of the box, great on avoiding background noise. Has a nice broadcast/radio sound Shure SM7db/Shure SM7b is the other mic that is super popular but I find it takes some EQ and extra gain to have it sound good in a live stream. As these are XLR mics you'll need an interface, I've had no issues with the Focusrite Scarlet Solo with my RE20 but someone may have other recommendations

Shure sm7db. Got it hooked up to a focusrite interface

The SM7B is okay, but I wouldn’t recommend it for voiceover compared to other options that are even cheaper! It’ll depend on your needs though. It’s a dynamic mic, whereas typically you’ll want a condenser! Dynamics have both the advantage and disadvantage of being less sensitive. What that means is that it’s better about not picking up background noise relatively speaking, BUT it’s also worse at picking up your vocals which can make them sound less crispy. Think like… a good radio/podcast voice quality vs. what you’d hear in a video game. Both great sounds, but very different purposes! So in short: the SM7B would probably be better than a Rode NT1 if you don’t have a well-treated space to record in. However, space is really important to voiceover regardless, so I’d 10000% recommend getting the cheaper NT1 which is better for voiceover anyways, and spending the difference in price on treating the space (if it isn’t already)!

I see so many posts and comments with people treating the u87 like it’s the holy grail of microphones. I own a pair of them, and I hardly use them.. They’re not bad mics, but my god there are such better options out there (especially for vocals). I know for beginners the U87 is the most attainable “pro” mic, but I guarantee the real pros in here don’t use them as much as people in this sub seem to think. For the price, you’re better off getting a u47 clone. I would take a Flea47 over a real u87 all day. Hell, I’d take an SM7 over a u87 (on vocals). Edit to clarify: I’m not saying u87’s are bad or that no one uses them. As I said, I have 2. I just don’t think they’re worth the hype for what they are Another edit: I think a lot of you are misreading my post. I didn’t say the u87 was a bad mic. Never once. I don’t own bad mics! I just find it funny that when the obvious newbies comment about vocal mics in this sub, it’s a lot of “I’ve got X for a vocal mic, it’s no u87 but it works” or “if dreams came true I’d have a u87” or “how do I get that u87 sound??” I just don’t think it’s worth that hype. They’re ok mics, nice to have in the locker, but they’re not the end-all-be-all a lot of people seem to think they are. Also, for those who are mad that they somehow read “pros don’t use them,” read again! I said “the pros don’t reach for them AS MUCH AS PEOPLE IN THIS SUB SEEM TO THINK.” See the difference?

I've never needed a cloudlifter with my SM7B. I've used a GOXLR and now a RodecasterDuo. It doesn't need as much gain as people lead you to believe.

I always feel more character in my SM7B than my U87ai Both going 1073 > Cl1b U87ai feels more artificial and screechy, and a loss of character. Could be the way the SM7B makes me deliver into the mic because of its shape, and that it’s dynamic allowing me to get more close and personal.

Most content creators are using Shure SM7-B Shure MV7+ or Rode Procaster. The Procaster is within your price range while the SM7-B/MV7+ is round about 400 quids. Keep in mind that you need an audio interface which is an extra 100 quids depending which brand you want. I usually go for Focusrite Scarlett Solo in this case which is sufficient enough. These mics are fantastic but their use case are a bit different. The SM7B is what most musicians use for recording vocals but is also great to record a podcast. The MV7+ is more meant to be used for podcasts and doesn’t need an audio interface since it’s USB powered. The Procaster is always a good option if you’re not planing to record vocals for music.

Vocals - start with 4 of the following up: U67, 251, c12, u47, c37, and maybe a u87, SM7. Patch each into your choice A vocal chain, and pick whichever works. Sometimes the U87 or the SM7 win For the character of the song. Or just go with what you got and make it work.