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[Roland Clarke]

I love going back to old threads.  Some interesting things on this one.  I’m a Shure guy, I can always make them work.  58’s and Beta 58’s, absolutely my go to choices.  I like the DPA mics, but they are slightly thinner in the bass than I would like, possibly the best top end I’ve heard.  SM86, don’t we all like those?  I like the Sennheiser 865 not mentioned here, but find I dislike the rest of the current range, 835, 945, not for me.  OM 7, screamingly feedback resistant, but the just don’t sound great to me ears.  KSM9 has a great balance, quality mic and sounds it.  I like the KSM 104 and 105, but they need the right vocalist and gig.  I’m really looking forward to getting my mits on a ksm 11.

[Tim Hite]

I love going back to old threads.  Some interesting things on this one.  I’m a Shure guy, I can always make them work.  58’s and Beta 58’s, absolutely my go to choices.  I like the DPA mics, but they are slightly thinner in the bass than I would like, possibly the best top end I’ve heard.  SM86, don’t we all like those?  I like the Sennheiser 865 not mentioned here, but find I dislike the rest of the current range, 835, 945, not for me.  OM 7, screamingly feedback resistant, but the just don’t sound great to me ears.  KSM9 has a great balance, quality mic and sounds it.  I like the KSM 104 and 105, but they need the right vocalist and gig.  I’m really looking forward to getting my mits on a ksm 11.

Andy Broughton put me on to the KSM8, which I like for vocals. My go to is still the 935, which I think is great with no EQ.

[Thomas Le]

I love going back to old threads.  Some interesting things on this one.  I’m a Shure guy, I can always make them work.  58’s and Beta 58’s, absolutely my go to choices.  I like the DPA mics, but they are slightly thinner in the bass than I would like, possibly the best top end I’ve heard.  SM86, don’t we all like those?  I like the Sennheiser 865 not mentioned here, but find I dislike the rest of the current range, 835, 945, not for me.  OM 7, screamingly feedback resistant, but the just don’t sound great to me ears.  KSM9 has a great balance, quality mic and sounds it.  I like the KSM 104 and 105, but they need the right vocalist and gig.  I’m really looking forward to getting my mits on a ksm 11.

Ye old thread. I'm also a Shure house, I really don't like the "sennheiser sound" though it is because I use the 835 on a EW100 G3. Sunday livestreams I am still using the same SM58 and Beta 58A, though I am gravitating towards the B58a more because of the hotter output, can't do much for timid singers... If I had money, I'd put them all on KSM9's lol but I can get by with SM86's.

[Helge A Bentsen]

Might be a silly question, but from time to time people request Shure SM57 with windscreen for vocals.
Sounds like it works all right when I provide it as per request, is there a reason why they don't get used more for vocals?
Did a choir the other day on 20x SM57, sounded like a choir to me and the customer was happy.

[Art Welter]

Might be a silly question, but from time to time people request Shure SM57 with windscreen for vocals.
Sounds like it works all right when I provide it as per request, is there a reason why they don't get used more for vocals?

The feel of a foam wind screen as it fills with saliva is not good, and the look of foam wind screens not great, especially after they get wet and chewed up.
A single drop of an SM57 can snap the built in screen into pieces.

Most would prefer just using an SM58 with it's built in foam screen that covers up the mess, and better protects the diaphragm, though the closer diaphragm to lip distance of a 57 even with a foam screen can give a little more gain before feedback.

[Geoff Doane]

Might be a silly question, but from time to time people request Shure SM57 with windscreen for vocals.
Sounds like it works all right when I provide it as per request, is there a reason why they don't get used more for vocals?

After trying a whole lot of other things in the 1980s*, SM57s with the Shure A2WS foam windscreens is what I settled on for my primary kit.  They seemed to work OK, and vocalists who liked to grab the mic off the stand while singing appreciated that they didn't knock themselves in the teeth.  The chief disadvantage seems to be that it was impossible to remove lipstick from the foam.  One singer liked a particularly vivid shade of purple.  There was never any doubt which mic in the kit was hers.

GTD

* Believe it or not, SM58s were not always the bargain they are today, at least not in Canada.  I have a catalog here from 1981 that gives a list price of $290 for ONE.  Comparable E-V or AKG mics were well under $200 at the time, so I went through a number of them before the SM57s.  Eventually the importer (AC Simmonds) lost the line, and prices became more sane.  I think I recall reading a few years ago about the principals of AC Simmonds being convicted of fraud in an unrelated matter. https://www.efootage.com/videos/97701/john-simmonds-fraud-scheme

[Dave Pluke]

Might be a silly question, but from time to time people request Shure SM57 with windscreen for vocals.
Sounds like it works all right when I provide it as per request, is there a reason why they don't get used more for vocals?

When I was performing, my vocal mic for a decade or so was a Unidyne III / SM57 with A2WS windscreen. I was able to leverage more proximity effect when needed and didn't chip my teeth like I did on SM58's.

True, the foam windscreens get funky and they deteriorate in storage. Today's protocols would dictate swapping out the windscreens for each user, which adds up at $15 a piece.

Dave

[Mike Monte]

Today's protocols would dictate swapping out the windscreens for each user, which adds up at $15 a piece.
Dave

When Covid became a reality I purchased 15 black foam windscreens.
I contacted my local elementary school's nurse and asked her what I needed to do to clean them.
Her answer: wash them in very warm water with anti-bacterial soap, rinse, and hang dry.
After drying I package them individually in plastic fold-to-close sandwich bags.

I take a bag of them to every gig and make them available to singers that want them.
I have found that most gal vocalists (that don't bring their own mic) will ask for one.  The guys, not so much.

I wash and reuse as needed.

[Dave Pluke]

Her answer: wash them in very warm water with anti-bacterial soap, rinse, and hang dry.
After drying I package them individually in plastic fold-to-close sandwich bags.

Good plan!

Dave

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