Dynamic Microphone with Cardioid Pickup Pattern, 40Hz-15kHz Frequency Response, Low Impedance, Included Stand Adapter, and Zippered Carrying Case
"He also used a Fender Bassman on about four songs and a Vox AC30 for some clean tracks. Four microphones were used to mic Kurt's speaker cabinet (he would pick which mic he liked best for each song and its signal was sent through the Neve console at Sound City): a Shure SM57, an AKG 414, a Neumann U87, and occasionally a Sennheiser 421. His main effects were the DS-1 Distortion and Small Clone. A ProCo Rat distortion pedal was also used on some songs on the album (6)."more
"First and foremost, I recorded—and still record—exclusively with a Shure SM57 because I believe that the magic in that little mic can’t be beat. I can’t tell you how many times engineers would place all these fancy condenser mics two or three feet away from my rig and tell me, “Don’t worry, we’ll get a good tone.” I’d never be happy with it though, so I’d set up the 57 two inches in front of and off the outer edge of the cone and it would always sound better!"more
"I keep one of my basketweave cabinets mic’ed up all the time – 24/7 – for the last six years. I keep the heads in another room and switch between them, but keep the cabinet mic’ed up. I picked just one speaker and I use Shure SM57 and Sennheiser 409 mics together on the same speaker" - [Gilby Clarke](http://www.vintageguitar.com/2903/gilby-clark/).more
In [this article](http://www.soundonsound.com/sos/jan11/articles/it-0111.htm) Yvan Bing, sound engineer on Phil Collins' album, Going Back, says, "For most of the recordings, I had a Beyerdynamic M88 on the kick, a Shure SM57 on the snare top and a Sennheiser MD441 on the bottom, another M88 on the low tom, a Neumann U47 for mono ambience and one Neumann U89 as a mono overhead."more
> I had two Shure SM57s on the snare, top and bottom, and on the toms I had an SM57 on the top and a Sennheiser 421 underneath. You have to be really careful in positioning these mics; the top gives more attack and the bottom will pick up a more round tonal quality. Mike Fraser, Sound on Sound interview, 2009.more
In this [Sound on Sound interview](http://www.soundonsound.com/sos/jul13/articles/it-0713.htm), Ken states of his recording microphones, "I have an [AKG C414 TLII](http://equipboard.com/items/akg-c414-tlii) for vocals and acoustic guitar, a couple of [Royer R121s](http://equipboard.com/items/royer-r-121-ribbon-microphone) and some [Shure SM57](http://equipboard.com/items/shure-sm57-instrument-vocal-mic) and [58s](http://equipboard.com/items/shure-sm58-vocal-microphone) for guitars, and that's it."more
Reid’s guitar rig had a much more modern vibe than the other players on the tour. In addition to his signature Parker guitar and Roland processor, it featured a Mesa/Boogie Dual Rectifier with a matching 4x12 loaded with Celestion Vintage 30s and mic’d with Sennheiser e906 (left) and a Shure SM57 (right).more
> I record to Cubase through really good Apogee convertors, and I generally just pick a very simple chain using a nice preamp and a Shure SM57 mic—just like all the oldschool guys used to do. Here’s a tip I learned from three of the big four metal bands: Put an SM57 in the bottom left speaker of your 4x12 cabinet, aim it dead center in speaker and up against the grille, and then move it to the left about an inch or so. That’s pretty much the miking technique for most of the great metal albums that came out in the ’80s, and even including Pantera in the ’90s. I have a good set of Celestion speakers in my Hughes & Kettner cabinet, and, quite honestly, as long as it’s Celestions and an SM57, you can get a great metal sound. Guitar Player interview, 2010.more
At 24:34 Larry Carlton talks about how he uses the Shure SM57 to mic up his amp to his effects. "Yeah, yeah, so pretty simple set up if you notice now there's a 57 on my speaker cabinet. There will be, when I'm playing live, 2 57s on my speaker cabinet one 57 is for the house mix the other 57, the tone of my speaker and my amplifier, it's that 57 and that tone is what ends up hitting my effects. Just like when you're in the studio, you have your dry guitar sound which you wanna put some effects on it, you have the send and return. It's getting the source from the microphone on your amplifier, so that's the conversion that I did because the tone I want my effects to hear is the tone I'm sending through it, right?"more
"For guitar amps, I start with an SM57 typically, but sometimes a RØDE, usually into this UREI 1178 compressor through an API 312 mic preamp. I usually go into this API 550A EQ; or if something really needs to be carved out, I'll go into this UREI 546, an old film mastering EQ, with very specific control. Sometimes I'll send the guitar into this old RCA solid state compressor. The RCA also sounds great on snare."more
According to [this article](http://patricksisson.com/gang-signs-post-punk-legends-gang-of-four-revisit-old-principles-and-crank-up-the-transistor-amps-on-content/), in which Andy discusses his drum micing technique, "For the snare, I use an SM57 or Beyerdynamic M88, an SM85, and a KSM44."more
Matt: Does your studio set up differ from your stage rig? Stacey: I keep things pretty simple. My role in Hi-Fi is to just provide the meat. I have two settings distorted and really distorted, loud and louder. Normally I play all the rhythm parts, but for this record Jamie and I both played rhythm because we 99% of it is live off the floor. So in other words, when we got a drum track we got a bass and two rhythms guitar track as well, because we were all tracking live together. There’s this intangible quality you get with four guys playing live at the same time. There’s no beat detective or anything with this record, we just did it live and then added overdubs later. Generally speaking, I use a Marshall JCM2000and I’ll put a 421 or a 57 on that and a Royer, a little darker mic, and I have a Bad Cat combo amp that I use. So I have this wall of distortion from the Marshall and I’ll mix in the chimey, clean stuff from the Bad Cat, and that really works well for me. That’s in the studio, and on stage I’m really simple, I really just set up the Marshall and I’m good to go.more
“Starting with the kick drum, I used an AKG D30, but then I sometimes used the Shure Beta 52A and I used a [Yamaha SKRM-100] Subkick too at times. On the snare drum, I had a [Shure] SM57 or sometimes the Telefunken M80. It’s a little more of an open kind of mic. With the toms, I used a [Shure] Beta 52A on the floor tom, which I really liked. It’s really got a lot of bottom and some top but it’s got a thing where it kind of glues things together with the rest of the kit when you bring it in. It worked really well with the overhead mics. I also used a [Shure] SM7 on one tom. For overhead mics, of all things, I used these [MXA] MCA SP1s. "more
Vocalist/guitarist Andrew Stockdale sings through a Shure Beta 58A. “Nothing is going to sound better on his vocal,” says front-of-house engineer/tour manager John Hagler, “especially to lift him above the guitars. I've tried to get away from using it, but every time I ended up just EQ'ing the thing to sound like a 58A, so I always go back to it.” His amps (below right) take two SM57s: one on the Marshall and one on the Vox."more
"The overhead was usually a [Sony] C37. The snare would've changed around for sure, but usually it was just a [Shure SM]57. If I needed a bottom snare, like if I needed a little more crack out of it, it would be whatever cheap condenser I had sitting around, because it doesn't need to sound great, it just needs to pick up that high frequency. "more
A FOH stage hand sent out a couple pictures of Chris Stapleton's live rig on May 27, 2016 in Simpsonville, SC at the Charter Spectrum Amphitheatre. The stage setup clearly matches the setup seen in various videos around the web from early-2016 shows. Shure SM57's are seen clearly in front of both of his amps.more
"In general I used both Shure SM57 and Royer R-121 ribbon mics, a few inches back, just off the center of the cone, give or take an inch or two depending on the part. When you back the mics off a bit, it can help a part sit in a track better, especially if there are more that two guitar parts."more
You point a 57 at a sound source, adjust the gain on your preamp, and what you record sounds vaguely like the sound you recorded. One time me and a buddy drowned a 57 in a toilet, flushed for the heck of it, then plugged her in and used her and she sounded exactly the same. No worse off.... but no better either! Indestructible, cheap, I used to own like 8 of these but now I think I just have my vintage 60s one.
I used to make do with one of our drummer's spare tom microphones... I didn't realise what I was missing until I got one of these and my life changed! Absolutely love it, perfect for mic'ing up my amps either for stage or studio.
Yes, it has been the standard for snare drums for so many years and it sounds really great. Lacks of high frequencies but he reproduces perfectly the body of the snare drum sound.
This is a classic microphone used on countless tracks. It is the standard for recording guitar cabinets and can be used for pretty much anything if you have the creative will!
This microphone is by no mistake the industry standard for recording guitar (and a lot of other instruments). We grew up listening to guitars recorded with it, and, as ar as microphones go, this one is really really easy to set up and get a good sound out of. I have used it for vocals with a pop filter with good results, and for other instruments as well. Highly recommend.
I bought one Shure SM57 before my first big gig with my other band, my Fender Rumble is really louder but the room was really big, so we (me and the guitar player, who has a Marsall CF 112) bought a couples of these mics, we put the mics in a Yamaha EMX head and trough two Peavey's PV115 and we play. I also recorded a lot of acoustic's with this mic and my Yamaha Acoustic. Not my choice for voices, but is a great instrument mic
This mic is amazing. I spent some time up at Berklee College of Music this past summer, and they have about 7-13 of these in all of their studios, stored right next tons of other mic that make the price of this mic look like pocket change... Keep in mind, Berklee has multi-million dollar studios, and they have to budget to fill their mic lockers to the brim with as many $1000 AKG condensers as they want, yet they still swear by 57's for any project. You know a mic is good when it doesn't even cost $100, yet it is still used by pros who would choose it over mics that are way more expensive.
Most people would agree that in the music world, you get what you pay for when it comes to gear. This mic is the exception. It's incredibly cheap, but it still sounds amazing.