The legendary Shure SM58 ® – at around $100 (20% less on Ebay) – is surely the world’s best value and most popular vocal mic!
Exactly what is it? The SM58 ® is a unidirectional (cardioid pattern) dynamic vocal microphone designed for professional vocalists’ use in live performance, sound reinforcement, and studio recording. Because it’s so well known, and treated as the worldwide standard entry-level professional stage mic, musicians expect to find the Shure SM58 Dynamic Microphone in any recording studio. And that’s probably a good reason for every commercial studio to have a handful of them.
SM58 – Great For Live, Gigging Performance
With its uncanny ability to survive the kind of abuse that would be the end of any other microphone, the SM58 ® has not only helped to define the sound of rock vocals on stage, it’s also been used as a hammer to build stages – then gone on to perform flawlessly! Which is exactly why the unique mix of robust construction, and warm, clear vocal tuning, makes the SM58 ® a really great fit for live, gigging performance.
Beg to differ?
Having said that, there’s always someone around with a contrary view…Guess what mic Bruce Swedien used to fatten up Michael Jackson’s vocals on the Thriller album? Yes, it was an SM58 ® in that studio.
Number 1 for ever?
So what’s kept this mic in the lead for so long? I guess its the distinctive upper-midrange presence peak that ensures an intelligible, lively sound, combined with the tough durability proven over decades of live use. I’ve seen the Shure durability myself in action for 40 years! I had, until very recently, a Shure Unisphere B (forerunner of the SM58 ®) which I bought when I was a teenager in the ’60s! Like the Unisphere model, the SM58′s characteristic “ice cream cone” appearance is formed by a tough, built-in spherical filter, highly effective in minimizing wind and breath “pop” noises. This cage also keeps an inch or so between the vocalist’s lips and the mic’s diaphragm, and so limits the proximity bass boost effect from becoming excessive.
The manufacturer says this “…the legendary Shure vocal mic is tuned to accentuate the warmth and clarity of lead and back-up vocals. Consistently the first choice of performers around the globe.”
But Should it be Your Choice Too?
Probably yes, if you need it for:
- live vocal use
- hand held comfort through a long set
- hammering in the nails as you build your stage!
Which other models to consider?
If you need greater feedback rejection, better high frequency response, higher end-on sensitivity…
… then select the Shure Beta 58A Supercardioid Dynamic Microphone instead
For purely studio recording use, you should, of course, consider a large diaphragm condenser mic from the Shure KSM range – for example the KSM27 or KSM32. The challenge for the small studio operator will be to beat the SM58 ® for value for money.
For instrument recording, SM57 or Beta57 would be better models to check out.
For more options, here’s a link to a useful summary table showing when to choose which Shure microphone.
If it is the right match for your music, buy your Shure SM58 Dynamic Microphone here.
{ 3 comments… read them below or add one }
Believe it or not & despite the hype, the Beta 58 is a notorious feedback trap. I know, I know, the literature says “exceptional gain before feedback” but talk to people in the industry and they’ll tell you they stray away from the Beta 58. Why? A hypercardioid polar pattern means a tighter pickup in the front but it comes with a tradeoff. The direct rear of the microphone is the Beta 58′s weakspot, so if you’ve got your monitors placed 180 degrees off axis (where the butt of the mic is pointing), the Beta 58 will pick up more sound from the monitors and create feedback. The traditional cardioid pattern of the SM58 is less tempermental as far as monitor placement is concerned.
With proper monitor placement (about 120 degrees off axis or so) the Beta 58 lives up to its name as a feedback killer, but let’s face it: a sound engineer can spend all his/her time placing a mic in the right spot just to have the “talent” come in and move stuff around and muck everything up. As far as real-world application goes, I’d rather have a less accurate frequency response in a live situation just to never hear the monitors squeal. Save yourself the extra cash and go with an old skool SM58– the sound engineer will thank you.
Excellent advice – thanks CHITT!
Good point Chit productions. I have found the SM58 to be great in some circumstances, and others a feedback producing nightmare. Now i know why… thanks!