I have had a s7mb for months, which is much different than condenser mics, my vocal chain for my s7mb just doesn’t sound right on my new mic that is similar to a TLM 103. There are a lot of videos online how to specifically EQ vocals for a s7mb since its infamous for its dark sound so i used those videos to EQ it but i can’t really find any quality videos on how to EQ or mix a mic that similar to TLM 103.

Do yall like using pultec or something like Pro Q4 for these type of mics?

Which plugin you use doesn't matter as much as what you do with it.
You really just have to take the time and get to know what to listen for. There's no shortcut. And there's no "one size fits all" for equing any source or mic.
You probably had to add highs with an sm7b (which is a dynamic mic). Now you have a condenser, so the high end will change drastically to the point where you may not add any highs... And may even take some away.
How you EQ is going to rely on a lot of variables. What's your room sound like? How close do you get to the mic? Is the mic above or below or level with your mouth while you're recording? Is it off axis at all? All these factors will affect the tone of your recorded sound. And that doesn't yet take into consideration at all what your actual source sounds like, which is the most important thing.
There's no shortcut to doing this. You just have to spend the time it takes to develop your ear and understand what happens at different frequencies so you know what to do when you hear something that needs adjusted.
Maybe try posting some samples of what you've recorded and people might chime in with suggestions...

Using EQ is a popular choice to achieving a professional sound.

Enjoy your day!

there shouldn't be a "magic" setting for an equalizer for all program sources. the whole point of an equalizer is to change the frequency spectrum. if it was the same change every time, you wouldn't need parameters. it would be a batch operation, like normalize or convert from WAV to AIFF.

you equalize a sound by listening to it, and making context-dependent adjustments.

you can make progress by using the "Marco Polo" technique: grab an eq handle, and start moving it around. is the sound getting better? move a bit more in that direction, or leave things where you placed them. is it getting worse? move in a different direction (the opposite direction is a good place to start). not sure what you did or why? delete the eq point. if you don't know where to start, start anywhere. once you have made progress in one part of the frequency spectrum, grab another eq handle and do the same Marco Polo technique in another part of the frequency spectrum. after three or four (or less) eq points have been plotted, you've probably done enough.

EQ is a fine thing, but a lot of what makes those microphones sound the way they do has to do with nonlinearity and not something that you can change with EQ.

Also, EQ after the fact will change the response both on and off-axis, while many of those microphones have very different response off-axis and on-axis and that can be a big part of their sound.

Don't be afraid to use EQ, but it's not a magic tool that can make anything sound like anything else.
--scott

Your "new mic that is similar to a TLM103" – so... does that mean a TLM103 knockoff from Ali Express, or something like that? If so, it might just not be a good-quality mic. The SM7B isn't anything special but it is, at least, a good-quality microphone. So you might be hearing the difference between a mic that's built well and a mic that isn't. EQ isn't ever going to fix that.

A U87, or any other good-quality LDC, will need EQ based on the context in which it's being used. I often apply none to mine, other than a high-pass filter (at 40Hz or 80Hz or whatever, depending on situation). The best practices of EQ are going to work across the board, with all mics, and require you to be able to identify which specific problems exist, by ear.

What you said. If it’s a cheap knockoff, eq not gonna help. If it’s a quality mic, basic eq will get it in line. Some HP, and maybe dip something up the spectrum if a certain “not so great “ freq is getting emphasized.

I think you are asking the wrong question here.

The idea of how to EQ for a certain mic is odd to me. Sounds like you need to be asking "how to EQ"...full stop.

If there was an EQ setting that would make a specific mic sound good...The manufacturers would just build it into the mic.

For example, If I used an SM58 on a vocal and an SM58 on a snare...I promise the EQ will not be the same on both...

Yes, you can say things like the SM7B is notoriously darker...likely meaning it is not very bright, so you may find that using that mic might require some brightening no matter what you put it on...However...You should reverse this. If you have a singer for example that has a very bright and/or brittle tonality to their voice...That's a perfect opportunity to use the SM7B instead of a TLM103.

It comes down to the source, the room, the pickup pattern, the distance from the mic...all in combination WITH the mic.

It's not as simple as...X mic + Vocal = Y eq

EQ is a tool used to "fix" tonal problems that arise when you combine the mic + room + source + distance from mic + pickup pattern...Meaning you need to listen to the result, use your ears and make EQ decisions based on what you are hearing.

As a side note...EQ would not be the only tool for this. As alluded to earlier...You can change any of those factors mentioned.

For example: Sounding too boomy? Take a step back from the mic before you grab the EQ and remove all the low end.

Sounding too roomy? Try recording in a different room, or adding some pillows/blankets to kill some reflections...or maybe change the position of the mic in the room.

Sounding too bright with a condenser mic? Try a dynamic mic like the SM7B or another mic that is known for it's warmth.

Your goal should be to get your recording to sound as close to the finished product as you can BEFORE using any mixing techniques (plugins...processing)...Then, using tools like compressors and EQs becomes WAY WAY simpler.

problems mixing usually arise from a poor capture of the source to begin with.

Imagine you were taking a picture...but the lights in the room were off...but you said "that's ok...just take the photo and I'll fix it in editing."

You will likely be able to brighten the photo in editing, but the photo will never look as good as it could have if you set the lighting correctly to begin with.

so the mic is not a TLM-103?
the TLM-103 is a condenser mic. It is going to be much brighter, clearer and up-front than an SM7b. If you are used to adding highs to your SM7b, you may find that same reflex to be counter-productive with a mic that already has plenty of highs.

But you should not be "adding highs" based on a formula anyway. You should be listening to the track and determining if it needs more highs. And at what frequency? Or maybe it needs something cut? Even if they use the same mic as you, the people making those YouTubes do not have access to your voice, your song, your room.

The EQ settings are what is important. While the Pultec clearly has some limitations as far as the frequencies you can "get at", pretty much any EQ could work to "mix" your vocal.

The problem is that you are not going to find a YouTube tutorial that will tell you what those EQ settings specifically are for your voice, your mic, your room in that song with those instruments in that arrangement. Much less a formula based on what your mic is 'similar' to. You can learn some basic principles of mixing, but in the end it will be contextual.

I have watched other people mix 'over their shoulder' and some of them will do something to the voice that I think is "wrong". But then they do something else to the guitars that also seems weird to me, then the drums - what are they thinking? - but in the end, each instrument fits into the 'holes' of the other instruments and their mix comes out good. Different from what I would have done, but it holds together.

Sure there are always going to be more ways to make a mix suck than to make a good mix. But there are still many different ways to make a good mix. What you are missing is not a secret tutorial for a "TLM 103-ish" mic, but the fact that there is no 'formula' for how to EQ something.

Much less a mic-specific formula, It's all contextual,