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Author Topic: Back to SM58's  (Read 5032 times)

Brian Jojade

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Re: Back to SM58's
« Reply #10 on: October 01, 2019, 12:56:44 pm »

Just like the old saying 'nobody ever got fired for buying IBM', the same can be said for the trusty SM58.  For just about any show, it would work.  No, it may not be the best, but it certainly won't be the worst.  The SM58 is predictable, durable, and relatively inexpensive.

And, just like Tim said, it's not just that YOU know how to use the mic. The talent probably does too.  Throw a mic in front of a singer that doesn't know how it behaves and you may get horrible results, even if it's a 'better' mic.

My general rule is if I'm providing sound, SM58's is what you get, unless otherwise specified in advance.
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Brian Jojade

Jamin Lynch

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Re: Back to SM58's
« Reply #11 on: October 01, 2019, 01:02:50 pm »

The E935 is my favorite vocal mic.

I do keep a couple of 58's around for those bands that feel like they have to trash my mics. They seem to hold up pretty well to abuse.
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Bob Faulkner

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Re: Back to SM58's
« Reply #12 on: October 01, 2019, 01:06:29 pm »

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.
hmmm... yep, sure likes the Beta 58A.

This reminds me of SNAP-ON automotive tools... and its extremely affordable knock-off:  STACK-ON
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Steve Garris

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Re: Back to SM58's
« Reply #13 on: October 01, 2019, 01:22:56 pm »

SM58 is the perfect mic for small, crowded stages, IMO. I've tried many - but haven't tried the OM series stuff which gets good reports. Tried the Senn 835's and 935, but for all the bands I work with the 58 is the one that always works across the board.
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Brook Hovland

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Re: Back to SM58's
« Reply #14 on: October 01, 2019, 01:54:02 pm »

If you are providing audio for acts with engineers, 57s and 58s will never be a bad investment.
I would guess that 95 percent of the acts that we work with use them primarily.  We are fortunate to have a good mic inventory but the old standby is the most used (successfully!)
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Geert Friedhof

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Re: Back to SM58's
« Reply #15 on: October 01, 2019, 02:12:49 pm »

I am not a fan of the Beta58, but i find the  Beta better sounding when the Dj's BFF is cupping it....
Otherwise a SM or a 935 will do just fine.
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Brook Hovland

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Re: Back to SM58's
« Reply #16 on: October 01, 2019, 03:10:59 pm »

I am not a fan of the Beta58, but i find the  Beta better sounding when the Dj's BFF is cupping it....
Otherwise a SM or a 935 will do just fine.

I BELIEVE that the Beta 58 is temperature sensitive. 
We do a sound check in the hot afternoon and they sound great. Showtime rolls around, the temp drops (Montana) and the high frequencies are all over the place.
Anyone else have these issues?
Again...  SM58 is the most common choice.
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Peter Kowalczyk

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Re: Back to SM58's
« Reply #17 on: October 01, 2019, 04:01:33 pm »

I primarily use senny e945s.  when the talent stays on them, they sound great.  But they're super-cardioid, so they fall off fast. 

At last weekend's 'songwriter showcase' night, with a dozen performers doing 10- minute sets back-to-back-to-back, an SM58 would have been a better choice. 
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frank kayser

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Re: Back to SM58's
« Reply #18 on: October 01, 2019, 04:15:16 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.
57/58, far from my favorite mic.  That said, mic always works, and a half-decent mixperson can get a better-than-decent mix in just about any situation.  Seldom will you find a performer that objects to having a 57/58 in front of them.  Learn to love it for what it is - THE workhorse of mics.
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Chris Grimshaw

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Re: Back to SM58's
« Reply #19 on: October 02, 2019, 03:33:08 am »

Learn to love it for what it is - THE workhorse of mics.

I recognise that they're everywhere and lots of people know how to use them, but that doesn't mean I'm ever going to particularly like them, let alone love them.

IMO, SM58s are clearly out-performed by other mics these days, and I see no particular reason that the industry maintains such a fierce loyalty to them.

While I spent my formative years in sound engineering working with SM58s and 57s. I don't own any now and haven't regretted that for a second.

Chris
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Re: Back to SM58's
« Reply #19 on: October 02, 2019, 03:33:08 am »


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