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Author Topic: Back to SM58's  (Read 5031 times)

Nate Zifra

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Back to SM58's
« on: October 01, 2019, 10:48:46 am »

After working with various manufacturer (Audix (OM2, OM5), Sennheiser (835, 935/945), Shure (beta 58, ksm 8)), I've found myself circling back to the good old SM58.

The majority of my work is combat audio. Festivals in different environments, with multiple acts and quick changeovers.  While each of the vocal mics I've worked with have their purpose (I love the Senny 900 series), the 58's just work, and sound decent on the majority of voices. In working with multiple acts, you can never be certain of how talent will interact with the microphone. You could have a mic set at the perfect location with regard to the monitor, only for the talent to move it. Also, because of the different environments (large/small stages, etc) certain mic's can be more challenging to tame. I find for the most part, unless someone does something dumb, the SM58 is basically set it and forget it. That's important because with quick changeovers, there are a lot of considerations, and not having to worry about ringing a wedge because someone is wearing a hat or decided to move the mic stand can be the difference between starting on time or not. I've never had anyone complain about using a SM58 either.

The other advantage is that parts for grills, etc, are easy to get and relatively cheap.  There isn't much worse than seeing a mic stand holding your $200 + microphone go down.

Outside of the festival environment, if it's talent I've worked with before, I'll certainly use different mics.  But in the end, if there are going to be any variables, or any uncertainty, I'll grab the 58 first.
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John L Nobile

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Re: Back to SM58's
« Reply #1 on: October 01, 2019, 11:11:25 am »

After working with various manufacturer (Audix (OM2, OM5), Sennheiser (835, 935/945), Shure (beta 58, ksm 8)), I've found myself circling back to the good old SM58.

The majority of my work is combat audio. Festivals in different environments, with multiple acts and quick changeovers.  While each of the vocal mics I've worked with have their purpose (I love the Senny 900 series), the 58's just work, and sound decent on the majority of voices. In working with multiple acts, you can never be certain of how talent will interact with the microphone. You could have a mic set at the perfect location with regard to the monitor, only for the talent to move it. Also, because of the different environments (large/small stages, etc) certain mic's can be more challenging to tame. I find for the most part, unless someone does something dumb, the SM58 is basically set it and forget it. That's important because with quick changeovers, there are a lot of considerations, and not having to worry about ringing a wedge because someone is wearing a hat or decided to move the mic stand can be the difference between starting on time or not. I've never had anyone complain about using a SM58 either.

The other advantage is that parts for grills, etc, are easy to get and relatively cheap.  There isn't much worse than seeing a mic stand holding your $200 + microphone go down.

Outside of the festival environment, if it's talent I've worked with before, I'll certainly use different mics.  But in the end, if there are going to be any variables, or any uncertainty, I'll grab the 58 first.

Here's a different twist on the 58

https://www.behringer.com/Categories/Behringer/Microphones/Dynamic/BA-85A/p/P0E7P#googtrans(en|en)

It not only looks like a Beta 58A, it has the same letters in the name flipped around.
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Chris Grimshaw

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Re: Back to SM58's
« Reply #2 on: October 01, 2019, 11:23:20 am »

Whatever works for you, Nate.
I do a lot of those gigs - 10x bands in a day, 45 min set and 15 min changeovers, and the headliner gets a double slot.

I find Sennheiser e935s to do really well for that sort of thing. I did have one act recently that had brought 3x wireless SM58s, and the drop in vocal quality was noticeable - sibilant and muffled at the same time.

So yes, SM58s aren't really my jam, so I feel fortunate that I took maximum advantage of Sennheiser's sale a while back. If you're interested in selling your 945s or 935s, PM me.

Chris
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Steve M Smith

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Re: Back to SM58's
« Reply #3 on: October 01, 2019, 11:24:13 am »

SE Electronics V7.  I don't want to use anything else now!


Steve.
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Steve Litscher

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Re: Back to SM58's
« Reply #4 on: October 01, 2019, 11:29:38 am »


(snip)

Outside of the festival environment, if it's talent I've worked with before, I'll certainly use different mics.  But in the end, if there are going to be any variables, or any uncertainty, I'll grab the 58 first.

SM58 is predictable, fairly benign, ubiquitous, and relatively inexpensive.

Dave Natale uses *only* SM58s and SM57s with the Rolling Stones, and we've all seen SM58s on vocals for international superstars more than any other mic.

I do love me the e935, and I have a handful of the V7 MC1 capsules for my ULXD stuff, but it's tough to beat the SM58. They work, and they work well.

Ken Braziel

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Re: Back to SM58's
« Reply #5 on: October 01, 2019, 11:35:36 am »

I've always said that any decent engineer should be able to pull off a good mix just using 57's and 58's.

That being said, I vastly prefer the e935's for the same purpose on vocals and other dedicated mics for instruments as appropriate (e906/609 on amps, e604/904 on toms and the topside of Leslies, PR22 on snare, Telefunken M82 on kick, etc). I have them all in my collection, so I'm gonna use them, and in many cases the mics give me exactly what I need without EQ (other than high-pass of course).

I have one old mic case full of 57's and 58's and a collection of random other mics that I'm happy to send out on rentals, or I grab a bunch as needed when appropriate (big band = lots of 57's for horns, or in orchestras for the musicals I work twice a year).
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Jay Marr

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Re: Back to SM58's
« Reply #6 on: October 01, 2019, 12:10:05 pm »

For folks that love the Senn 934/945, what are your pros/cons between those two?
Trying to pic a second capsule for stages where my 965 wireless is prone to feedback.
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Dave Garoutte

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Re: Back to SM58's
« Reply #7 on: October 01, 2019, 12:22:52 pm »

For folks that love the Senn 934/945, what are your pros/cons between those two?
Trying to pic a second capsule for stages where my 965 wireless is prone to feedback.

The 935 is cardiod and 945 is super c. 
The 935 is going to be more forgiving for mic technique and the 945 will reject off-axis better.
For general use, 935. 
I use a 945 on my wireless MC mic because the feedback rejection is amazing,
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Nate Zifra

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Re: Back to SM58's
« Reply #8 on: October 01, 2019, 12:35:20 pm »

If you're interested in selling your 945s or 935s, PM me.

Hi Chris,  nope, I'm holding onto them!  I, like you, managed to get them during the Senny anniversary sales.  I think because of that, I'm very guarded using them for random groups, rather they'll be my go to for groups I work with on a regular basis and trust.

I love how they sound, and your description between them and a 58 mirrors my experience.
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Tim McCulloch

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Re: Back to SM58's
« Reply #9 on: October 01, 2019, 12:39:18 pm »

After working with various manufacturer (Audix (OM2, OM5), Sennheiser (835, 935/945), Shure (beta 58, ksm 8)), I've found myself circling back to the good old SM58.

The majority of my work is combat audio. Festivals in different environments, with multiple acts and quick changeovers.  While each of the vocal mics I've worked with have their purpose (I love the Senny 900 series), the 58's just work, and sound decent on the majority of voices. In working with multiple acts, you can never be certain of how talent will interact with the microphone. You could have a mic set at the perfect location with regard to the monitor, only for the talent to move it. Also, because of the different environments (large/small stages, etc) certain mic's can be more challenging to tame. I find for the most part, unless someone does something dumb, the SM58 is basically set it and forget it. That's important because with quick changeovers, there are a lot of considerations, and not having to worry about ringing a wedge because someone is wearing a hat or decided to move the mic stand can be the difference between starting on time or not. I've never had anyone complain about using a SM58 either.

The other advantage is that parts for grills, etc, are easy to get and relatively cheap.  There isn't much worse than seeing a mic stand holding your $200 + microphone go down.

Outside of the festival environment, if it's talent I've worked with before, I'll certainly use different mics.  But in the end, if there are going to be any variables, or any uncertainty, I'll grab the 58 first.

^^^ THIS

I've said this before (and multiple times):  if you can't mix a show with SM58s on the vocals (or kick drum!), you can't mix.  Not because these products are superior, but because they are ubiquitous.

I have at least a half-dozen of SM86 (highly suggested by me), AKG C-535, Beyer M-69... and while I love them and use them as often as is practical, I still end up using the company's SM58s most of the time because the *talent* knows them.

A little story (also told before)...  many years ago I did my first gig with Asleep at the Wheel.  Jim F. was the FOH guy and I tried to substitute AKG D-190 for the SM57s he requested for the drum kit.  His reply was "Sonny, I'm sure those are fine microphones but I don't have the time to figure out how they're different and make the drums sound like I want.  How about you just put out the 57s I asked for?"  Great show and I never again tried to second-guess Jim and the Wheel.
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Re: Back to SM58's
« Reply #9 on: October 01, 2019, 12:39:18 pm »


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