I'm looking at getting a Shure SM57 or SM58 but am not sure which to get. I'll mainly be recording singing and screaming vocals. However, I will record acoustic guitar occasionally. I understand the main difference is the SM58 has a pop filter built in. I have an external pop filter so if I used my pop filter on the SM57, would I get good results. What do you think?
Shure SM57 or SM58?
- Thread starter M3TA1
- Start date
Steenamaroo
...
Hey,
There's not really a big difference so I'd just make the decision based on whether you prefer the ball filter or a clip on one.
If you think there's a good chance you'll invest in a nice instrument mic some time, or you might use the mic live, you'd probably be better going with the 58.
I know plenty of people who've used 57s and 58s for the full range of duties. Vocals, guitars, drums etc.
You can't really make the wrong choice.
I'd recommend buying new from an authorised retailer, though. There are a LOT of fakes out there.
There's not really a big difference so I'd just make the decision based on whether you prefer the ball filter or a clip on one.
If you think there's a good chance you'll invest in a nice instrument mic some time, or you might use the mic live, you'd probably be better going with the 58.
I know plenty of people who've used 57s and 58s for the full range of duties. Vocals, guitars, drums etc.
You can't really make the wrong choice.
I'd recommend buying new from an authorised retailer, though. There are a LOT of fakes out there.
Steenamaroo
...
Does it filter out pops?
mjbphotos
Moderator
Not really.
Steenamaroo
...
Maybe you can get them on false advertising.
Not only have the called it a pop filter, but they gone ahead and described it as 'effective' too.
I guess they didn't expect us to scrutinise it, huh?
The joke is on them.
Not only have the called it a pop filter, but they gone ahead and described it as 'effective' too.
I guess they didn't expect us to scrutinise it, huh?
The joke is on them.
David Cooke
New member
Pop filter + sm57 would work great but most of the screamers I've worked with like to hold the mic so thats why I'd prefer the sm58 in this case. If its just you screaming get the sm57 kind of a no brainer its cheaper and you won't have to hear a band ask "why are you using that sm58 mic on the guitar isnt it a vocal mic?" I know its vain but its annoying and happens to me all the time.
Beerhunter
Barley Processing Unit
rob aylestone
Moderator
I get the impression everyone now believes that most preamps are rubbish, and you have to make sure you get a special one to record a guitar with a 57 or other dynamic. Are we really designing preamps worse than those available in the 70s when home recording took off. If any name manufacturer has a product being sold that can't do this basic and simple thing somebody should create a list. Preamps sensitive and quiet that can record a flea fart are one thing, but recording a guitar, even a quiet acoustic, isn't really beyond most, is it?
Not sure it matters, but if the singer has dreadful technique and covers the rear grill slot on a 57, it sounds dreadful which you cannot do on a 58. The little foam windshields for 57s can, if out on and taped with a bit of air space, stop some singers getting too close, as they're quite stiff and prickly!
Not sure it matters, but if the singer has dreadful technique and covers the rear grill slot on a 57, it sounds dreadful which you cannot do on a 58. The little foam windshields for 57s can, if out on and taped with a bit of air space, stop some singers getting too close, as they're quite stiff and prickly!
Morning Rob,
No, my comment was not intended to slagg off the mic amps in every AI! (actual mic PRE AMPS are a different matter and should not suffer compromise) .
The fact is however that many AI pres will only have a marginal amount of gain for a dynamic on a quietly picked acoustic.
I have used an M-A fast track pro and the Tascam 122/144s and all were very weak. My NI KA6 is certainly quiet enough but needs the gains flat out.
The Focusrite pre amps are said to be the stuff of dreams but I was not overly impressed with those on my 8i6, as good as the KA6 but no better. Even my A&H ZED10 needs near max gain to drive a 2496 sound card with SM57 and acoustic git!
All this to generate levels of around -20dBFS on any of several DAWs (usually Samplitude). The noob will wonder why he needs to crank things so much to return a very wee signal!
Pre amps of the 70s were different beasts altogether. Many used valves with a 1:10 or higher ratio transformer in the front giving at least 20dB of noise "free" gain. Transistor designs were also "iron assisted" a reasonably satisfactory transformerless solid state design not being common until the mid 70's. But all these designs had split gain structures to optimize noise and headroom. Something not economically possible in an AI.
Fortunately the AI brigade seem to have gone for a decent amount of gain and low noise now, the downside being that we now get reports of overload problems but these are easily overcome with a couple of inline XLR pads.
And! Although I have nothing against the 57/58 series, my reccy for noobs is always a SDCapacitor. You can buy two quite good ones for the price of a genuine SM57.
Dave.
rob aylestone
Moderator
I've lost count of the interfaces - external and internal, that I've had and none seemed bad? I guess I've been lucky.
SM57 and 58 mics are not the best mics in the world, but they're a standard took in the box. I too like the small diaphragm condensers sound wise - but I look at the band, I look at my mic boxes, look back at the band, and then often close the lid on the nice kit, and get out 57s and 58s. I should be well passed the heart in the throat feeling when somebody trips over a mic cable and you see your expensive, delicate and excellent sounding microphone heading for the ground in slow motion - but I'm not. I'm also very guilty of age discrimination. If I see people who can not afford decent instruments and don't yet have the responsibility of spending heard earned cash on them, I tend to not give them things to wreck. Too many years working with students seeing Neumanns and 414s smacking the ground. We even had sets of cheap disposable headphones and mics that would just be binned.
Maybe the question should be about which microphone is appropriate for the users? Buying one mic would for me be a 58, because it can be used perfectly well for almost everything.
SM57 and 58 mics are not the best mics in the world, but they're a standard took in the box. I too like the small diaphragm condensers sound wise - but I look at the band, I look at my mic boxes, look back at the band, and then often close the lid on the nice kit, and get out 57s and 58s. I should be well passed the heart in the throat feeling when somebody trips over a mic cable and you see your expensive, delicate and excellent sounding microphone heading for the ground in slow motion - but I'm not. I'm also very guilty of age discrimination. If I see people who can not afford decent instruments and don't yet have the responsibility of spending heard earned cash on them, I tend to not give them things to wreck. Too many years working with students seeing Neumanns and 414s smacking the ground. We even had sets of cheap disposable headphones and mics that would just be binned.
Maybe the question should be about which microphone is appropriate for the users? Buying one mic would for me be a 58, because it can be used perfectly well for almost everything.
"Maybe the question should be about which microphone is appropriate for the users? Buying one mic would for me be a 58, because it can be used perfectly well for almost everything."
Sorry Rob but I would say the AKG P170 beats it in both versatility and sound quality and is 30quid cheaper!
Not as sensitive as the big cap' jobs at 12mV/Pa it is still 20dB hotter than a 57 and so will give very clean results on guitar. It can cope with an SPL of 135dB as is and 155dB with the pad in. Nothing outside NASA gets that loud.
I have two earlier P 150s and find them excellent.
They are also said (by AKG) to be "road hardened" and I take that to mean they will put up with a certain amount of "children's" abuse? But I do agree, there is nothing quite as indestructible as an SM!
But then, we all know no mic can really do it all but for those that want a big job that comes close, check out the Rode NT1 in SoS Aug 14.
£179 and a very flat, very neutral mic that does not flatter or worsen a voice. Super low noise. For that money you do not get a pad or HPF but the mic can handle 132dB anyway.
Dave.
Sorry Rob but I would say the AKG P170 beats it in both versatility and sound quality and is 30quid cheaper!
Not as sensitive as the big cap' jobs at 12mV/Pa it is still 20dB hotter than a 57 and so will give very clean results on guitar. It can cope with an SPL of 135dB as is and 155dB with the pad in. Nothing outside NASA gets that loud.
I have two earlier P 150s and find them excellent.
They are also said (by AKG) to be "road hardened" and I take that to mean they will put up with a certain amount of "children's" abuse? But I do agree, there is nothing quite as indestructible as an SM!
But then, we all know no mic can really do it all but for those that want a big job that comes close, check out the Rode NT1 in SoS Aug 14.
£179 and a very flat, very neutral mic that does not flatter or worsen a voice. Super low noise. For that money you do not get a pad or HPF but the mic can handle 132dB anyway.
Dave.
So good. This post wins the Internet.
Anyway, yeah, Steenemaroo's first response basically answers the mail on this question.
DO NOT BUY THE GLS AUDIO MICS as substitutes for Shure SM-57s (and 58s). They sound NOTHING alike. I'm not saying either sound "better" or "worse" but they most definitely do not sound similar. Please check out my thread compairing the two "57" models to hear the actual difference in tonal characterists between the two brands. It's a drastic difference.
If someone is asking about a genuine Shure microphone choice, offering up a knock off brand is not helping. I know the intentions are probably good, but unless you've actually A/Bd the two mics in person, I ask that you reconsider recommending one as an alternative to the other. They are quite dissimilar.
If someone is asking about a genuine Shure microphone choice, offering up a knock off brand is not helping. I know the intentions are probably good, but unless you've actually A/Bd the two mics in person, I ask that you reconsider recommending one as an alternative to the other. They are quite dissimilar.
Just curious but what made you arrive at either of these two? Maybe you'll find your answer for which one to choose right there.
But then I've found that microphones can be rather personal and a voice that sounds just heavenly through one mic can sound less than pleasing in another. So I wouldn't set my mind on a certain brand or type before I'd either tried a few or from what can be deduced from e.g. clips on U-tube. That way I learned I'm more of a Sennheiser guy.
Rod Norman
New member
Get the 57. It's a great first mic. You can drive nails with it so it will survive while you add a condenser and a good studio vocal mic. Consider a good Bass Drum mic (I ofter use them for vocals since I like to eq them with a smile shape (up lows and highs, curved down for mids) and the BD mics are pre-eq'd to that response. A small diaphragm mic like the Rode NT5's are also a good idea for later. Good luck,
Rod Norman
Engineer
Rod Norman
Engineer
ashcat_lt
Well-known member
I'd go for the 58 because 57s freak me out. People talk about how indestructible they are, and I have to say I haven't seen too many broken, but that weird plastic thing around the grill always felt rickety and weird to me. The ball on the 58 feels more solid to me. It also helps keep a vocalist a little bit further from the diaphragm itself, which can help to reduce both proximity effect and pops and in general. OTOH, speaking of the rear port on the 57, the ball on 58 seems to encourage certain assholes to cup the mic, which does about the same thing if not worse.
Neither of these are particularly sensitive microphones, which can actually be a blessing in a live environment, but does want a bit more gain in some situations. I've found that if you're recording to digital, you can usually make up for any lack of gain in the preamps ITB without any trouble. Most preamps get their best noise specs somewhere in the mid to upper-mid range of their gain controls, and digital gain is comparatively silent. I'm aware that this is a bit of a dangerously broad generalization...
I picked up a couple of EV Co7s a while back, and I have to say I'm pretty happy with them. You never really hear about them, but they seem to be sturdy, and have a frequency response pretty similar to the SM5xs, but are quite a bit more sensitive and have worked pretty well on the sources I've used them on both live and in the studio. You can usually get two of them for about the price of a single Shure mic.
Neither of these are particularly sensitive microphones, which can actually be a blessing in a live environment, but does want a bit more gain in some situations. I've found that if you're recording to digital, you can usually make up for any lack of gain in the preamps ITB without any trouble. Most preamps get their best noise specs somewhere in the mid to upper-mid range of their gain controls, and digital gain is comparatively silent. I'm aware that this is a bit of a dangerously broad generalization...
I picked up a couple of EV Co7s a while back, and I have to say I'm pretty happy with them. You never really hear about them, but they seem to be sturdy, and have a frequency response pretty similar to the SM5xs, but are quite a bit more sensitive and have worked pretty well on the sources I've used them on both live and in the studio. You can usually get two of them for about the price of a single Shure mic.