SM58 vs. SM57

[Ptron]

I've been told by a coupla different people that an SM57 uses the same diaphragm as the 58. They test the batches and the ones that don't spec out as well become 57s. Sounds far-fetched but like I said, I've heard it from more than one source. Is this just a myth? It would sure be embarassing to those who say the 58 is better for vocals and the 57 is better for amps/instruments.
Also I have a coupla Shure mikes that are shaped exactly like SM57s but they have PE66L written on them instead. What's the deal with these?

 

[JimH]

My understanding has always been that the SM58 has a slight peak at around 2KHz whereas the SM57 is flat. This gives a little extra presence for vocals and is why the SM58 is considered more of a vocal mic.

A little anecdote: years and years ago (I don't want to tell you how many ) I used to work sound for a small live band for about a year. The band had a female lead singer who used a SM57. At one point we switched her to an SM58 and I did hear a subtle difference. The guitar player didn't believe that I heard it. But when you listen to the same thing over and over again like I did, it's more likely you'll be able to hear a change. I probably couldn't hear it today.

Jim

 

[mastahnke]

I certainly don't claim to be an expert in this field, but I will tell you what I can about this. The 58 is for vocals due to a proximity effect having to do with bass response, although I am not exactly sure about what that means. I really don't like the 58. The 57 is indeed identical, only without the proximity effect. So, if you have money for only one mic, get a 57. Some guys sing through them onstage anyway, (see another thread in this board). I am sure someone around here knows more than I do, so I will let them do their magic.

MIKE

 

[dondottcomm]

I have allways heard that the 58 ,57 are the same the difference is in the head 58 ball shape is not as tight as the 57 in its pickup pattern and thats how the differences come about..I could be wrong...they are both good mics..I've heard that the 57 is a better choice for a female vocal in live performance,because its the proxsimity effect..causing it sound like more of a chest sound than head sound..If someone knows more about this it would cool to hear about

 

[Tapehead]

These microphones are essentially identical with one difference: the SM58 is optimized for vocals--i.e. the round windscreen contains a pop filter whereas the SM57 does not. Their response patterns are identical except for a slightly lower presence peak in the 8-11 kh range which I would theorize is due to the damping effect of the windscreen. (This contradicts the popular but erroneous idea that the SM58 has more presence than the SM57--in fact it's about 1db less at the freqencies I just mentioned. The writer above has sharp ears and noticed the difference.

 

[Slackmaster2K]

First of all, the "proximity effect" is a natural phenomenon that occurs with all microphones.

The SM58 compensates for the proximity effect such that you can get right up into it and sing really loudly without it "booming". Sing "buh buh buh" really loudly into both an SM57 and an SM58 and you should hear the difference. Especially with the Beta 58.

Other than that they are very similar microphones.

Slackmaster 2000

 

[JimH]

Not to beat a dead horse but... Tapehead is absolutely right. A quick look on Shure's web site at the frequency response of both mics proves it. Sorry. I guess I was just hanging on to an old memory of a rumor. At least I'm finally straight now!

Jim

 

[Tapehead]

There's nothin' here cause I edited it out--I misread the previous posting...

[This message has been edited by Tapehead (edited 03-17-2000).]

 

[wolfie]

Actually, proximity effect doesn't occur in omnidirectional mics; they sound the same at any distance. The Shure SM57 and SM58 are both unidirectional mics. Just though you might like to know. I read about this in Practical Recording Techniques, written by Bruce and Jenny Bartlett. This is a great book. It's used at a lot of colleges.

wolfie

<BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Originally posted by Slackmaster2K:
First of all, the "proximity effect" is a natural phenomenon that occurs with all microphones.

The SM58 compensates for the proximity effect such that you can get right up into it and sing really loudly without it "booming". Sing "buh buh buh" really loudly into both an SM57 and an SM58 and you should hear the difference. Especially with the Beta 58.

Other than that they are very similar microphones.

Slackmaster 2000<HR></BLOCKQUOTE>

 

[Slackmaster2K]

Yep.

 

[omnipotent]

I could be wrong so don't quote me on this, but i have always thought the 57 and 58 have the same wiring but different diaphragm's. Also even if they are the same, the ones i have sound slightly different to me, and both have advantages i guess, but i have always used the 57 on things like guitar, and drums, and the 58 on vocals, it may not sound better, it's just a habit that i'm shure many people have.

omnipotent

 

[dinky yo]

Hey, just to throw in two cents...
I bought one of each and have found
that a sweet technique is recording a
vocal using both, but 'offsetting' the
58 about an inch and 1/2 away from the singer's mouth, while having them sing about 1/2 inch away from the 57. It grabs some 'air' and you can even pan them a bit if you so desire.

 

[dondottcomm]

Could the fact that you can get closer to the diaphram on the 57 be the reason that prox. eff.is more present with this mic than 58?...able to" flatten "the diaphram easier ?

 

[James HE]

My two cent:

when you get right up on a 57 and youre singing into it the proximity effect almost cancells itself out in a way. Everything is being exxagerated, not just the P's and B's, so (It might just be me and how I sing) you don't seam to hear those annoying pops. On a 58, I'm popin and buh buhin all over the place put on the 57 I can't tell. It all sounds loud- and you get less feedback from a57 too.

-jhe

 

[Sir_Matthew]

Hi, I'm new here but I have a related question. I've just now started on my home recording odyssey & I'm using a SM 58 for everything right now since it's the only mic I have.

I took the bulb off & used the mic as a 57 on my acoustic guitar, & it sounded quite good. However, when I try the same thing on my amp (a Fender Hot Rod Deluxe 112) it sounds really thin. Could this be because of the placement, or should I get a real 57?

 

[Ptron]

If you take the bulb off a 58 there is a foam disc on top. Could this be the main difference from a 57? I poked at this disc and found it had deteriorated to the point I could rub it off (my 58s are twelve years old and have spent alot of time in damp basements). Is it now the same as a 57? Somebody must know. Shure obviously does but may not want to admit that's the only dif. I'll do a side by side test with the one I can't get the bulb off (probably rusted on) and let everybody know what I find but my results could be skewed, since these mikes have seen better days.

[This message has been edited by Ptron (edited 03-28-2000).]

[This message has been edited by Ptron (edited 03-28-2000).]

 

[Bruce Bartlett]

I was a microphone engineer at Shure.

The SM57 and SM58 are essentially the same, except that the SM57 was intended mainly for instruments and the SM58 for vocals. The SM58 has a ball grille that acts as a pop filter. The two mics have the same proximity effect at the same miking distance.

Because of its smaller grille, the SM57 lets you get closer to it for more bass boost. But if you are 2 inches from the diaphragm in either mic, they have the same bass boost.

They have a slightly different response at high frequencies because of the acoustical effects of the different grilles.

Hope this helps...

 

[Recording Engineer]

Bruce:

Cool of you to stop by the site... You must have heard us talking about you awhile back... hehe. Anyhow, I just want to Thank You for all you've given over the years.

Weston Ray

 

[Bruce Bartlett]

Thanks for the kind words, Weston.

Looks like there's some interest in understanding proximity effect. It's a microphone's rise in low-frequency response that occurs as you get closer to the mic. Omnidirectional (pressure) mics do not have proximity effect. Directional (pressure gradient) mics do have proximity effect. Some directional mic patterns are cardioid, supercardioid, hypercardioid, and bidirectional.

Pressure gradient mics work on the pressure difference between their front and rear sound entries. There's a hole or port in front of the diaphragm, and on the back of the diaphragm. Since high frequencies have short wavelengths, they have a high pressure difference between the front and rear ports, so the mic has a high output for high frequencies. Lows have long wavelengths, so they have a small pressure difference between front and rear ports. So the mic has a low output for low frequencies.

But if you talk close to the mic, you are closer to the front port than the rear port. Your sound waves are louder at the front port than the rear port. This increases the pressure difference, so the output of the mic increases at low frequencies if you talk close.

Hope this helps explain it.

 

[Rymarks]

Hi, I am quite knew to recording and on a semi budget. I really only want to buy one mic for now and record both my guitar running through a mesa duel rect. and 4x12 mesa cab, and my lead vocals. What would be a better mic in this situation, sm57 or sm58?