SM58 - Why a standard

bubbagump

bubbagump

New member
Perhaps I will be brow beaten for this... but why is the SM58 such a standard? I run FOH quite often and I find 58s to be the muddiest, low mid heavy, New York subway announcer, icky proximity effect mics in a "pro" level stage mic. (Not that they are the worst, as those 5 mics for $50 things are even more miserable.) What I can't fathom is how they are still an "industry standard". I can understand 45 years ago when that was all there was... but now there are so many other better sounding and just as durable alternatives. Why do folks even bother with 58s on stage any more? Folks just use what they are used to? Every person who tells me that "a 58 suits my voice" ineveitably has all the mud problems I noted above. I am just trying to get my head around how a 58 can survive when OM5s and e835s etc exist.
 
Because it's been around for a long time and almost indestructable.

I watched David Yow of The Jesus Lizard stick one up his ass, and then sing through it. LOL I think I would have let him have that one. :D

Personally, I hate the damned things. My favorite vocal mic's are the Sennhiesers. They are worth the price difference. I'd rather have one of the cheaper Sennheisers over an SM58 for vocal mic's.




Tim
 
They last a long time as long as you have a steady supply of replacement baskets (none of my Sennheisers has managed to dent like a 58 yet in six years of constant use).

I agree that the make your singers sound like they're singing through a sock ... but I guess people recognise them and know what they do. You can always dial in some extra highs but I find it easier to have a mic that sounds how I want it to by default!!

I haven't used much of the Audix stuff but the Sennheiser E series things are superb value.
 
Don't blame audio people... the SM58 is requested on 80% of riders my company gets... the other 20% is usually Beta 87s, which are vastly superior (although not as durable, being that they're condensors). 87s are more prone to 4-6K feedback in monitors though, but they sound infinately better.
 
markitzero said:
Don't blame audio people... the SM58 is requested on 80% of riders my company gets... the other 20% is usually Beta 87s, which are vastly superior (although not as durable, being that they're condensors). 87s are more prone to 4-6K feedback in monitors though, but they sound infinately better.
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I had a guy recently throw an Audio Technica AE3300 down on the ground because 'he only sounded good through a 58'. Aside from billing his band for a new mic, I had no problem with it in the end cos it turned out he was a shit singer anyway.

Take the blue ring off a Beta 58 and I bet most of these ignorant nuggets wouldn't know the difference anyway.
 
I mostly use the SM57 in place of the SM58 and I know exactly where it fits into a mix and what to expect when using it on a snare or guitar cab. There are many great dynamics out there, but based on its performance and recording history, it's a studio standard for good reason. So is the SM81.
 
well they are cheap as pro gear goes, lots of people now are used to them....

as for me i cannot deal with them!

they make my voice sound really muddy also...

how ever i have had fair luck with the SM55 Elvis mic.... go figure...


AKG D770

stomps the 58 ever time, does a fair job at the 57 too!
 
So I am not the only one who thinks they are muddy crud. It just makes me nuts when you put up an OM5 or something like that and folks look at you like you are ghetto or from outer space. I don't buy the durability claims either. They are certainly durable, but so are most of the competition.

had a guy recently throw an Audio Technica AE3300 down on the ground because 'he only sounded good through a 58'. Aside from billing his band for a new mic, I had no problem with it in the end cos it turned out he was a shit singer anyway.
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You dig that mic? I have been very curious about it. I hav had my eye on that, an e865, or perhaps a C5900m. Time to do some upgrades around theplace as I am getting more and more jobs doing sound for real singers (jazz, classical, etc.) versus punk bands.
 
bubbagump said:
You dig that mic? I have been very curious about it. I hav had my eye on that, an e865, or perhaps a C5900m. Time to do some upgrades around theplace as I am getting more and more jobs doing sound for real singers (jazz, classical, etc.) versus punk bands.
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I like it but you have to be prepared to use the onboard pad and HPF on most male singers in my experience or things get ugly quickly. I think it has quite a dramatic proximity effect. It has that condenser sound in spades though.

The E865 I liked, but not enough to replace any of my others with. I have five E845s and a couple of E835s and the 865 wasn't so hot that it made me want to ditch any of them. Beta 87s sound great but, as mentioned above, they aren't the ones you'd most want to put in a fight with a rock singer. :)
 
I agree the SM58 does have that muddy low mid thing happening. Years ago my brother in law (singer) decided to end a show his metal band was doing by throwing the SM58 on the stage and breaking it. He threw the hell out of it.

It didn't break, had a dent in it but still worked.

Tons of stuff kicks its ass sonically though.

War
 
noisedude said:
I like it but you have to be prepared to use the onboard pad and HPF on most male singers in my experience or things get ugly quickly. I think it has quite a dramatic proximity effect. It has that condenser sound in spades though.

The E865 I liked, but not enough to replace any of my others with. I have five E845s and a couple of E835s and the 865 wasn't so hot that it made me want to ditch any of them. Beta 87s sound great but, as mentioned above, they aren't the ones you'd most want to put in a fight with a rock singer. :)
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The rock singers aren't getting the condensors. Like I said, these would be for the "higher end" clients.... jazz, big band, classical... folks who really know how to sing and use a mic. I am more interested in clear and articulate in a stage condensor than having a studio condensor sound. Shure has their KSM stage mic out now which may be decent too. The web doesn't seem to have too much discussion on live sound mics (other than the usual two or three suspects), so I just gotta go out and try a few.

However, I also need a few more work horse vocal mics for the rock/weekend warrior guys. I have been very pleased with the OM5 (hardly needs any EQ in most situations except maybe a bit of high end peeled off in monitors adn has a very controlled proximity effect), but the 835s and the AKG Tripowers are interesting as well.
 
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