SM58 or SM57?
- Thread starter Frank'nfurter
- Start date
Frank'nfurter said:
SM57 because it is not dull like the SM58.
A better question would be what are the alternatives to an SM57?
Ribbon-Miks? LD-Condensors? SD-Kondensors?
The SM57 colors the sound. But it does it in a very good way.
2dark
guitars must be loud
SM57, 'cause it has more definition high mids. SM58 sounds more dull in that region.
That's why the SM58 is 'the' vocal live mic, you have to work hard to get feedback
from it.
If you have the chance try also a Sennheiser E609, Sennheiser MD421
or AKG C414 which is nice too.
Once I also had a Neumann U87, which sucked in my case to get some
heavy industrial guitars done.
Little side note on the SM58:
Herbert Grönemeyer (one of the biggest german solo pop artists) used entirely the SM58
for his vocals on his last album.
That's why the SM58 is 'the' vocal live mic, you have to work hard to get feedback
from it.
If you have the chance try also a Sennheiser E609, Sennheiser MD421
or AKG C414 which is nice too.
Once I also had a Neumann U87, which sucked in my case to get some
heavy industrial guitars done.
Little side note on the SM58:
Herbert Grönemeyer (one of the biggest german solo pop artists) used entirely the SM58
for his vocals on his last album.
Just for discussion:
I don't like the SM58 so much. It is more susceptible for feedback than some cheap No-name Micros (X-Ray etc.). And it sounds dull even for vocals.
But this is not a problem in live situation and male vocals.
So it does its job and everybody knows what he can expect.
In my opinion the 406 sounds not so good as the 57. For toms and guitars.
I did no AB, but I think the old blackfire 506(?) sounds better.
I don't like the SM58 so much. It is more susceptible for feedback than some cheap No-name Micros (X-Ray etc.). And it sounds dull even for vocals.
But this is not a problem in live situation and male vocals.
So it does its job and everybody knows what he can expect.
In my opinion the 406 sounds not so good as the 57. For toms and guitars.
I did no AB, but I think the old blackfire 506(?) sounds better.
2dark
guitars must be loud
Haven't tried it, but the Sennheiser MD441 should also be worth checking out
for guitars.
As for the AKG C414, I use the B-TL II version. That version has a nice boost
around 4khz.
for guitars.
As for the AKG C414, I use the B-TL II version. That version has a nice boost
around 4khz.
That's verry helpfull answers. Thank's a lott. I'll also try out these other mics by the next recording session setup. Mostly I use the 58 but now I will give a closer eye on the other things like mic, position ec.
I'll send the results then.
I'll send the results then.
Andy Sneap
Metal Guru
I used the same 58 as Bono at Electric Lady apparently!!!
I like 58's, they work and they seem to fit vox in the right place, same as an SM7, there's times, especially with aggressive vox where you don't want a super high on the vox.
I don't think 57s colour the sound that much, get them in the right place and they are pretty true, 609 isn't bad, certainly better than a 414.
I like 58's, they work and they seem to fit vox in the right place, same as an SM7, there's times, especially with aggressive vox where you don't want a super high on the vox.
I don't think 57s colour the sound that much, get them in the right place and they are pretty true, 609 isn't bad, certainly better than a 414.
Wadi
Member
ThomasT said:
Anyone tried JTS NX7? I read somewhere that the capsule is similar to SM57.
Nonetheless, I caught hold of one and I prefers NX7 to SM57 in many cases.... IMO though..
@andy:
Your right SM58 is good on aggressive vocals.
But on clean vocals you have to EQ more than with newer mics.
Most thing have their good and bad sides.
Sometimes there are slight misunderstanding about the qualities of some gear.
Someone likes other thing more etc. In my opinion NS10, SM58 and mic placement on guitars are overrated (if not mystified) in discussions. So I want to point this out.
Where as other things are needs more attention in my opinion. This are the SM57 as one of my favorite miks (it never fails), and mic placement on bassdrums (or drums generally). Especially in live situations mic placement is often neglected.
btw. it funny to talk with techicans especially for metal. The opinions are often 180 degrees different from other non-metal-techs. So al lot of questions have accumulated.
Your right SM58 is good on aggressive vocals.
But on clean vocals you have to EQ more than with newer mics.
Most thing have their good and bad sides.
Sometimes there are slight misunderstanding about the qualities of some gear.
Someone likes other thing more etc. In my opinion NS10, SM58 and mic placement on guitars are overrated (if not mystified) in discussions. So I want to point this out.
Where as other things are needs more attention in my opinion. This are the SM57 as one of my favorite miks (it never fails), and mic placement on bassdrums (or drums generally). Especially in live situations mic placement is often neglected.
btw. it funny to talk with techicans especially for metal. The opinions are often 180 degrees different from other non-metal-techs. So al lot of questions have accumulated.
yeah andy, but that's not the thing I ask. What are you using mostly in order to recording guitars. The 58 or 57 and why? Did you make the same experience like the most here described "dullnes" about the 58? 
Maybe using the 58 the problem why I think sometimes my recorded guitar sound have a little bit to much mid-low end.
Maybe using the 58 the problem why I think sometimes my recorded guitar sound have a little bit to much mid-low end.
Andy Sneap
Metal Guru
57 everytime, not really a dullness with the 58, I think the 57 has a better mid and highend.
" Someone likes other thing more etc. In my opinion NS10, SM58 and mic placement on guitars are overrated (if not mystified) in discussions."
I couldnt disagree more, sorry.
Couldn't live without NS10's, mic placement on a cab, like I said, 1 cm can make a world of difference.
" Someone likes other thing more etc. In my opinion NS10, SM58 and mic placement on guitars are overrated (if not mystified) in discussions."
I couldnt disagree more, sorry.
Couldn't live without NS10's, mic placement on a cab, like I said, 1 cm can make a world of difference.
Andy Sneap said:
It's a hearable difference. Of course. And it's important, but not that much.
Not in ranges of 1cm. Unless you use only very small speakers...
What I mean is, you will not get a nice tone on the sweet spot and 1cm from this position the sounds turn into crap. Even there it would sound good.
Maybe you need a little bit different EQ during mixing.
An other thing: I heared and read that someone prefers the left or the right speakers. I cannot comprehend this. 4x12" cabs are symmetrical.
A discussion would be the upper or the lower ones...
Andy Sneap
Metal Guru
Thomas, isnt a hearable difference an important difference?. 1 cm makes a big difference on 25 or 30 wt cones because the centre is so small. You can find a nasty phasey sound pretty close to the centre so ,...after all why eq it if you dont need to, all you are doing is messing with the phase.
You really shouldn't overlook it, 1cm back and forth from the grill gloth makes a difference as well, especially with the tightness of the low end
Left and right can sound different, depending on how cab is wired.
I always check every speaker as they all sound different, and if one is on its way out, it will alter the impedence.
You really shouldn't overlook it, 1cm back and forth from the grill gloth makes a difference as well, especially with the tightness of the low end
Left and right can sound different, depending on how cab is wired.
I always check every speaker as they all sound different, and if one is on its way out, it will alter the impedence.
martyfireball
myspace.com/studioferox
Andy Sneap
Metal Guru
martyfireball
myspace.com/studioferox
2dark
guitars must be loud
I always thought that a good positioning is all you need. And now
it does matter? damnit :-(
Thomas, trust Andy on this one, totally.
In audio engineering there are not a lot of rules, except for some electrical
and physical stuff, but this one: do never touch the EQ if there's still an
option of getting a different mic or mic position.
Everything you add to the signal, doesn't matter if it's digital or analog, adds
noise (for analog that is) and/or changes you signal.
I admit that with working on a digital platform those signal chances are not
that important anymore, except for the AD/DA. And IMHO that's exactly why
people care less about the essential stuff like mic positioning.
I admit that I'm also very lazy sometimes and every time I regret that.
Leaving a mic at a 'good' position and not have taking the time to find the 'best' position.
Think about it. If you don't care about the smallest differences on every mic
and instruments. Wouldn't it make a big difference in the end when all
the 'small' differences are summed together?
it does matter? damnit :-(
Thomas, trust Andy on this one, totally.
In audio engineering there are not a lot of rules, except for some electrical
and physical stuff, but this one: do never touch the EQ if there's still an
option of getting a different mic or mic position.
Everything you add to the signal, doesn't matter if it's digital or analog, adds
noise (for analog that is) and/or changes you signal.
I admit that with working on a digital platform those signal chances are not
that important anymore, except for the AD/DA. And IMHO that's exactly why
people care less about the essential stuff like mic positioning.
I admit that I'm also very lazy sometimes and every time I regret that.
Leaving a mic at a 'good' position and not have taking the time to find the 'best' position.
Think about it. If you don't care about the smallest differences on every mic
and instruments. Wouldn't it make a big difference in the end when all
the 'small' differences are summed together?