SM57 versus SM58: What's the difference?

[Charlie Bernstein]

I know that 57s are usually used for instruments and 58s are usually used for vocals.

I also know that both work for both.

They seem to be similar. So tell me: What's the difference?

Thanks!

[Tim Griffin]

The windscreen.

[Charlie Bernstein]

Thanks. Now I know. And someone sent me a link to a Shure page that spells it out.

Think they're any good for mando? Or are the highs too high?

[RobP]

I use an SM57 for the mandolin and an SM58 for vocals when my band performs using our PA system. Both mics sound just great, but I'm considering getting a condenser mic for the mandolin instead. We either have to crank the gain way up on the PA, or I have to play close enough to the mike that I hit it with my hand from time to time, making an annoying pop. But, with that caveat, thumbs up for sound quality.

Cheers,

Rob

[tjmangum]

These were and still are industry standards. Since the 60's these mikes have been used extensively in live performance and studio work. A lot of the recorded sounds we have in our heads were recorded with these microphones.

[pops1]

A 57 has more proximity effect than a 58.

[rcc56]

Although some of the literature may say otherwise, I have found the 57 to be a bit more directional and to be less hot on the high end than a 58; which makes the 57 more practical for instrument use in less than ideal situations.
Good sound engineers have known this for decades.

A good condenser mike can be wonderful when the conditions are favorable, but unforgiving or even useless when they are not. I've found that especially on a feedback prone stage or a room with too much echo, a 57 will work when nothing else will.

By all means, feel free to get a good condenser mike if it's within your budget. But continue to bring the 57 with you also, because sooner or later you will find yourself in a room where the condenser will feed back no matter what you do. When that happens, it's time to break out the 57. If the sound man can't dial that in, there's not much else you can do unless you switch to a guitar that's got a good pickup for the rest of the night.

[mikerofone]

I haven't used either for mandolin but I've found with acoustic guitar and vocals the Beta versions of both (Beta 58 for vocals and Beta 57 for guitar) provide more volume before feedback than the base versions.

[Charlie Bernstein]

I use an SM57 for the mandolin and an SM58 for vocals when my band performs using our PA system. Both mics sound just great, but I'm considering getting a condenser mic for the mandolin instead. We either have to crank the gain way up on the PA, or I have to play close enough to the mike that I hit it with my hand from time to time, making an annoying pop. But, with that caveat, thumbs up for sound quality.

Cheers,

Rob

Thanks, Rob!

If you're mic shopping, someone in another thread says the SM81 is a good choice. Googled it. Looks like a great mic for the job.

(A 57 would be plenty for my purposes.)

[dhergert]

I got condensers initially, and then found that for any in-person stage work they pick up far too much background noise. The 57 or 58 are great, as are some alternatives that "mimic" them. I've found the Audix OM5 and OM2 lines are very reliable with similar results to the 58 and 57. If I need a hotter dynamic mic, I like the Sennheiser e935. But I tend to keep condensers for studio-type situations where background noise can be controlled.

[pit lenz]

As rcc56 has stated before, condensers are (only) great in a clean acoustic environment. That said, always keep a 57 (I prefer a beta57, which is even more directional) in your bag as a lifeboat…

As to answer the original question, though they are originally based on the same capsule design, the different housing gives them different acoustic characters.

Here is SHURE‘s answer to the question.
https://www.shure.com/en-US/performa...8-and-the-sm57

[TonyEarth]

I had almost convinced myself to buy an sm57, and have only found out about the beta57 from this thread. ..... now I'm undecided about my next mic purchase again

[keith.rogers]

I had almost convinced myself to buy an sm57, and have only found out about the beta57 from this thread. ..... now I'm undecided about my next mic purchase again

I've had both, and either is a good mic.

BUT, the Beta mics are super-cardioid mics, designed primarily for louder stages. This means that the pickup pattern is a bit tighter, so (IMO/IME) requires slightly better mic technique to keep the signal consistent. The 58/57 mics are cardioid with a more forgiving pattern. If you can't hold still when playing/singing into those types of mics, the Betas might take some getting used to.

The other difference in those patterns is that the supercardioid (and hyper-cardioid) pattern mics do have a bit of sensitivity directly behind the mics. In a loud stage, this means you have to be aware of what is directly behind the microphone. The last Beta58a I bought (for a friend) had a piece of cardboard in the box to show you where you should *not* have the floor wedge monitors placed in relation to the mic, specifically for that reason. I used my Beta57a mics a lot in the same places you'd use the SM57, but also liked them for vocals. However, they also had the same problem with sound from "behind" them, and on one recording setup, I was mystified by a slap-back on the electric guitar track, until I realized it was the Beta57a that was on the guitar amp picking up the guitar amp audio that was coming through the stage monitor, too!

I would agree with some of the comments about using condenser mics in at least some live stage settings. Especially tight places and/or noisy clubs. Large stages, or outdoors, with very little coming from the sides or behind are much more controllable. Most clubs I would avoid them if the level has to be high.

p.s. You can get much closer to the SM57 diaphragm because it lacks the large ball of the 58. That's why you can get more proximity effect from it. Put the Shure windscreen made for the 57 on, and it becomes more 58-like.

[MikeEdgerton]

The stories of these two mics are legend when it comes to toughness. People talk about using them as hammers. There are a few videos on Youtube but this one, I think, shows pretty much how tough they really are.

[Kevin Winn]

This is an SM 58. No further evidence needed...

[Elliot Luber]

From a Sam Ash music store blog:

[allenhopkins]

Well, the '57 specs at 10 ounces, the '58 at 10.5.

If you were carrying 32 of each, you'd notice a 1-lb. difference.

[Tim Griffin]

I have used a 57 and the optional foam windscreen so I can get right in top of the mic without dinging my mando should I bump it.

[Rob Roy]

Hi Charlie,
I've found the SM57 to be quite sensitive to distance, meaning you have to pay close attention to to how far you are from the mic. It also has a response curve that's tailored to the human voice. I've found small diameter condensers to be more natural sounding and less picky about placement. For mando, they sound great from 8-12" away, which is helpful when you're swinging your arm vigorously. They do require phantom power (there's a preamp in the mic) but all boards/PAs have it these days. I bought a lower level Audio Technica (Pro 37 I think) many years ago and they sell for about the same as the Shure's.

Should you decide to stick with dynamic mic's, I agree the beta's are worth it. Just beware of fakes, the SM57 is one of the most bootlegged mics out there.

[jherm]

if you have ever been to any festival in the last 20 years the standard set-up is usually 58's for singing and 57's for instruments. the 58's with a rounder ball is more uni-directional....... the 57 is more staight on, better for insruments ...but both are prone to feedback especially if you are playing a tight spot and they are to close together they can also play havoc on the monitors.

[RobP]

Hi Charlie,
I've found the SM57 to be quite sensitive to distance, meaning you have to pay close attention to to how far you are from the mic. It also has a response curve that's tailored to the human voice. I've found small diameter condensers to be more natural sounding and less picky about placement. For mando, they sound great from 8-12" away, which is helpful when you're swinging your arm vigorously. They do require phantom power (there's a preamp in the mic) but all boards/PAs have it these days. I bought a lower level Audio Technica (Pro 37 I think) many years ago and they sell for about the same as the Shure's.

Should you decide to stick with dynamic mic's, I agree the beta's are worth it. Just beware of fakes, the SM57 is one of the most bootlegged mics out there.

I have been considering a Pro 37 for live performance. The venues we play are not necessarily quiet - usually for a small crowd at a restaurant or a bar. Others in the thread have advised against condensers unless in a "quiet" room because they pick up background noise. What was your experience?

Thanks

Rob

[Rob Roy]

I have been considering a Pro 37 for live performance. The venues we play are not necessarily quiet - usually for a small crowd at a restaurant or a bar. Others in the thread have advised against condensers unless in a "quiet" room because they pick up background noise. What was your experience?

Thanks

Rob

I used condenser mic's playing for contradances. We were up on stages behind the mains so the only extraneous sounds were the other musicians. For loud bars with a tight stage, a bomb-proof dynamic mic would be more advisable. Ideal for loud, crowded venues would be a pickup with a good preamp.