Pricing and availability
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Reviews
Price
Average Price: $113
Standard/Professional
$75
$201+
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Budget
Standard
High-end
Price History
Based on price data from 7 merchants for "Shure SM57". Prices shown reflect NEW condition. Tracking began Apr 2, 2026.
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Description
Meet the Shure SM57, a dynamic microphone that's as versatile as it is reliable. Known for its exceptional sound reproduction, this microphone has become a staple in both studio recording and live performance. From the presidential podiums to the global stage, the SM57 has proven its worth, capturing the true character of vocals, guitars, drums, horns, and virtually everything else.
Inside the Shure SM57 is a meticulously engineered dynamic element that provides a smooth, natural frequency response optimized for instruments and vocals. Whether you need to highlight the metallic ring of cymbals, the punchy thump of a bass drum, the growl of a guitar amp or the rich harmonics in a saxophone, the SM57 renders each detail with lifelike realism, so your instrument shines in the mix.
Key Features:
- Cardioid Pickup Pattern: This feature isolates the main sound source while minimizing background noise, ensuring the voice remains clear and intelligible.
- Tailored Frequency Response: The SM57 has a uniquely tailored frequency response that accentuates detail and nuance, allowing your instrument to sound its best.
- Rugged Construction: With its all-metal construction and rugged steel grille, the SM57 can handle the rigors of the studio and the stage.
- Versatility: The SM57 can accurately convey the tone and dynamics of a wide variety of instruments, making it a go-to choice for many professionals.
- Trusted by Professionals: The SM57 is not only the first choice for professional musicians, but it has also been at the podium of the US President for over 30 years.
Owner's manual
Shure SM57 User ManualProduct specs
| Microphone Type | Dynamic |
| Polar Pattern | Cardioid |
| Frequency Response | 40Hz-15kHz |
| Output Impedance | 150 ohms |
| Connector | XLR |
| Dimensions | 6.34" x 1.68" |
| Weight | 0.63 lbs. |
| Included Accessories | Mic clip |
FAQs
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What is the Shure SM57 primarily used for?
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The Shure SM57 is primarily used for miking instruments such as drums, guitar amplifiers, and woodwinds in both live and studio settings due to its cardioid pickup pattern that isolates the main sound source.
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Can the Shure SM57 be used for vocal recordings?
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Yes, the Shure SM57 can be used for vocal recordings, especially for loud vocals or live performances, though it is more commonly used for instruments.
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Does the Shure SM57 require phantom power to operate?
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No, the Shure SM57 does not require phantom power as it is a dynamic microphone, which does not need external power to function.
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What type of connector does the Shure SM57 use?
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The Shure SM57 uses an XLR connector, which is standard for professional audio equipment, ensuring secure and high-quality signal transmission.
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How does the cardioid polar pattern of the Shure SM57 affect its performance?
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The cardioid polar pattern of the Shure SM57 helps to focus on the sound source directly in front of the microphone while minimizing background noise, making it ideal for isolating instruments in a mix.
Equipboard's Expert Review
Equipboard tested this
Unyielding Versatility and Performance
When it comes to reliable microphones, the Shure SM57 stands resolutely at the forefront of our minds. We've depended on this industry stalwart for years, and it has remained a consistent companion in both studio and live settings.
Upon our initial inspection, the SM57 impresses with its robust build. The solid metal body exudes durability and has a comforting weight that has been withstanding the rigors of heavy usage and accidental drops for years. Shure’s reputation for crafting durable gear holds strong here—this mic is built to last.
The features of the SM57 are straightforward yet effective. Its cardioid pattern provides good off-axis rejection, making it versatile for a range of applications. However, there is some off-axis coloration, which might be a drawback for those needing pristine rejection. Additionally, its medium output isn’t ideal for low-level recordings, but it’s rarely been a dealbreaker for us.
In terms of sound, the SM57 delivers natural, clear, and detailed performance that has earned its place in countless recordings. We've used it extensively on guitar amps, snares, and various instruments with consistently outstanding results. That said, it’s not our first choice for vocals, where it can exhibit significant proximity effect. Its frequency response has noticeable peaks and drops, and it lacks the high-end clarity some might desire.
However, the Shure SM57’s value for money is unparalleled. At roughly $99, it’s a long-term investment that punches well above its weight class in performance. It’s perfect for musicians and audio professionals who need a reliable all-arounder. However, vocalists looking for a more refined sound might want to explore other options. In sum, the SM57 is a durable workhorse that continues to earn its keep in our gear arsenal.
Videos
Podcastage
Shure SM57 Dynamic Mic Review / Test
Shure SM57 Dynamic Mic Review / Test
Podcastage
Shure SM57 - The Only Microphone You'll Ever Need...
AudioHaze
Miking Guitar Amps: Finding the Sweet Spot by Sweetwater
Sweetwater
Shure SM57 vs Sennheiser e906 - Two LEGENDARY Guitar Amp Mics Compared!
intheblues
Disassembled Counterfeit/Fake SM57 vs a REAL Shure SM57
Local Teen
This is WHY You Need This Mic - SHURE SM57
Cajon Master
300 € sparen? Shure SM7B und SM57 im direkten Vergleich | Abmischen Tutorial | Recording-Blog 122
Recording-Blog
Shure SM57 Dynamic Microphone | Reverb Demo Video
Reverb
Shure SM57 Test und Vergleich mit SM7B und Rode Podmic
Alexan Der
Review - Ist das Shure SM57 das beste Mikrofon unter 100 Euro?
Marvin 96kHz
Shure SM57 Dynamic Instrument Microphone
Gear4music Guitars
Reviews
PROS
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Versatile across instruments: drums, guitar, bass amps, and vocals
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Industry-standard with a strong reputation
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Durable, robust construction withstands heavy use
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Excellent off-axis rejection minimizes bleed
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Handles high SPLs well, suitable for loud sources
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Excellent for both studio and live use
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Cost-effective for its performance
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Natural sound reproduction with minimal background noise
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Works well for YouTube content creation
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Ideal for capturing the sound of classical and electric instruments
CONS
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Some find it lacks high-end clarity for vocals
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May not excel in capturing very soft, low-level sounds
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Requires significant gain for optimal volume
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Some users prefer alternatives for specific instruments like guitar cabs
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Can sound compressed and somewhat muddy on acoustic instruments
Owner Insights
We analyzed real musician discussions from forums and Reddit to find what players love, question, and tweak about Shure SM57.
Use cases and applications
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SM57 is praised for versatility, excelling on guitar amps and snare drums but less ideal for soft acoustic instruments without a preamp boost.
Source -
A Cloudlifter is recommended to enhance gain for recording softer instruments with the SM57, reducing noise and improving clarity.
Source -
The SM57's tighter polar pattern makes it ideal for drum vocals, reducing unwanted kit noise pickup, though it requires the vocalist to maintain close proximity.
Source -
The SM57 is noted for being more sensitive than the SM58, making it potentially better for capturing softer voices, such as speech for public addresses.
Source -
The SM57 can be advantageous in live settings for instruments due to its ability to fit in tight spaces, such as on a snare drum, without a large grille interfering.
Source -
The SM57 is highly recommended for guitar amps and drum sets, making it ideal for both studio and live environments.
Source
Comparisons
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The Shure SM57 is often compared to the SM58 for vocals, with the SM58 preferred due to its design for vocal clarity.
Source -
The SM57's flat grille allows the capsule to be closer to the sound source, enhancing bass response, unlike the SM58's larger, round grille which limits proximity.
Source -
Removing the SM58's ball grille can expose the capsule to damage if dropped, whereas the SM57's design inherently protects the capsule better in such situations.
Source -
Despite using the same capsule, the SM57 and SM58 differ in their application suitability due to differences in grille design affecting frequency response and proximity effect.
Source -
The SM57 is contrasted with the SM7B, with the latter requiring additional investment in preamps for optimal performance, making the SM57 a more budget-friendly option for many users.
Source
Build quality
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Known for its durability, the SM57 can withstand physical abuse and still function effectively, making it a staple in live sound setups.
Source
Other
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Concerns about counterfeiting suggest checking authenticity when purchasing an SM57, as fakes can impact performance.
Source
Features and functionality
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The SM57's grill design includes holes around its circumference, slightly altering sound capture compared to the SM58.
Source
Value and pricing
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The SM57 is seen as a cost-effective choice for beginners, offering versatility and durability without the need for additional equipment like a Cloudlifter.
Source
Critic Reviews
5.0 out of 5
Based on 124 Reviews and 922 Ratings
2608
classic studio workhorse
sounds good on everything. can't go wrong with it. there's a reason it's a staple even now in major studios.
344
What’s not to like
If it doesn’t sound good with one of these then something is probably wrong
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381
If you're a guitarist, drummer, and/or recording engineer/producer, you probably already have at least one.
What can you say about a legend that hasn't already been common knowledge for decades? We toss around the phrase "industry standard" for d@mn near anything these days, but this is one unit that's actually earned the title. If you want to hear what the SM57 sounds like, just listen to any of thousands upon thousands of of records (including countless hits that you're already familiar with) and take a second to notice the snare drum AND the electric guitar - chances are more than good that both were recorded with one or two of these. It's durable, it's affordable, and it sounds great. If I walked into a recording studio that didn't have an SM57 handy, I would just leave. You CAN do without it, but why?
174
Does a good job still on guitar cabs
Personally I think the world needs to move one from the SM57 and SM58, there are much better mic's, but each has a unique EQ profile needed on the desk. Poor high end, lacks clarity, you need to be right on top of the mic if you are not a well developed powerful singer for both mics.
This causes significant proximity effect. Yes its built well, but its inferior to more modern mics. I don't see this mic on guitar cabs often in studio sessions of major artists, or stage live sometimes.
922
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271
This mic can literally record anything.
You can record anything with it and it’s going to sound at least pretty good. I find myself coming back to it all the time. I love how it sounds on my voice and with electric guitar. Can’t go work with this work horse.
204
works on everything no matter what anyone says
I use it on guitar amps, bass amps, my Djembe, my Yamaha Trombone, shakers, percussion, claves, and yes even vocals. Fact is, you can find it in lots of old music videos and certainly tons of live applications with major artists like Metallica, Tom Petty or Trent Reznor singing through one. Gearslutz like to get all bent out of shape over oh no it should be a MD-421 on Trombone, an EV RE-20 on bass amps, a Royer R-121 on guitar amps, a stereo matched pair of Neumann KM-184s on percussion overheads with a Telefunken 251 on vocals, which is great if you have that super pro microphone locker, but if not, a great singer on an SM-57 will blow away a mediocre singer on a vintage U67. It takes massive SPLs, which is why you can put it inches from a metal drummer hitting a snare, or hats, or inches from a cranked Marshall full stack all while delivering neutral accuracy every time. This is all for $100, less when used and since they're all built to last for the long haul, it's a no brainer. Everyone should have one or several of them. I don't typically record vocals, so for me, it's my all arounder with no apologies.
153
Used to dream about it, then adore it, and now don't really miss it.
Used to use it in vocals. Good for it but very muddy. Always have to boost the high end. I have a Shure Unidyne IV 548SD Microphone that is a predeccor of Shure SM58 and it's more perfect and don't need any EQ. Yeah Lemmy and old school soul singers used 57 in vocals, but maybe Lemmy had more low tone and soul singers have so much soul they don't need EQ with any mic :D Good in snare low mic. Sennheiser MD-421 is better on top because other drums don't bleed so much. If you don't have a bass drum mic at a gig it will do fine, but blasting 100% it might brake it. As a jack of all trades I would go with Sennheiser MD-441 and not this.
569
The royalty of mics
Easy to use, amazing to record guitar, bass and to sing in live sessions, my quick to go mic, legendary.
Artist usage
Add artist
In this Sound on Sound interview, Ken states of his recording microphones, "I have an AKG C414 TLII for vocals and acoustic guitar, a couple of Royer R121s and some Shure SM57 and 58s for guitars, and that's it."
Takeshi Ohtani frequently uses the Shure SM57 for live vocals, as evidenced by photos of his performances on stage, such as those featured on Poppressinternational.
In the August 1990 issue of Guitar Player Magazine, Poison Ivy confirmed that she uses the Shure SM57 microphone.
Visible at 0:22 in this video.
Used on the snare drum for John Mayer's Continuum, as stated by recording engineer Chad Franscoviak in this October 1, 2006 Mix Online interview.
Jordan's assortment of drums — which seemed to be endless, Franscoviak says with a laugh — were miked fairly conventionally: an AKG D 112, an RE20, a 421 or a Beyer M88 on the kick; snares got 57s on top and bottom; M88s on the toms; an AKG 451 on hi-hats; and on overheads, he either used a U67 or U87.
The only trick that Franscoviak used, which he fully admits stealing from Joe Ferla, was putting a Coles 4038 ribbon mic directly over the center of the kit, parallel to the ground and as close in as possible without impeding Jordan's playing. “I generally compressed the snot out of that and I would run it through a Fairchild,” he says. “That's a really interesting trick because you have all of your tight sounds, but you add that 4038 and it makes everything more exciting.”
He also put a U47 about 18 inches off the ground and four to seven feet in front of the kick drum for a very specific sound. “At some point, we were going to hit that low-end waveform just right and it was going to fill that kick drum out,” Franscoviak explains. “I would compress it a lot with an 1176, a lot harder than the overhead, because I wanted that low end to be there for every hit.”
Used for the snare drum on Icky Thump, as stated by recording and mixing engineer Joe Chiccarelli in this October 2007 Sound on Sound interview.
“The close mic setup for recording the drums was pretty standard: Shure SM57 on the snare, AKG D12 and Neumann U47 on the kick, a pair of ribbon Coles 4038s or Neumann U67s as overheads. I often fed the drums into a reverb chamber, or would overdrive the preamps, or fed them through a guitar amp. The preamps we used for the drums were the 1073 and a Neve BCM10."
This is restated by Chiccarelli in this October 1, 2007 Mix Online interview.
As far as miking Meg White's kit, Chiccarelli kept things straight ahead: An AKG D-12 on the kick and a U47 as an overhead run through a Fairchild compressor. It was rare that he miked the snare, but when he did it was a U47 through a Fairchild. When she used a bigger kit, Chiccarelli put a 57 on the snare top and a Sennheiser 441 on the bottom. The toms were not miked, but he used an assortment of mics as overheads and in the room. “I set up a lot of different room mics, maybe eight,” Chiccarelli explains. “Depending on the song, I could go smaller, tighter and punchier, or wide and open. Sometimes, I would use old funky cheap mics as room mics and distort them. Other times, it was a pair of Coles, maybe combined with a pair of 87s far up in the room. We did things with drums like pumping them through the reverb chamber or pumping them through guitar amps.”
According to a post by user No-Reach-9412 on Reddit, Clay Parton uses the Shure SM57 microphone, as mentioned in his speech.
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.
A transformerless SM57 was used for some of the snare drum on Only by the Night, particularly on "Sex on Fire", as stated by producer Jacques King in this December 2008 Sound on Sound interview.
"The microphones on the drums changed a lot from song to song. On the kick it could be a Beta 52, sometimes it was an RE20, or a [Sennheiser] 421, or a [Neumann] FET 47, or an NS10 [i.e. the driver from a Yamaha NS10 monitor used as a mic], or a combination. It depends on what I was trying to achieve. The mics were usually in front of the kick, or just barely inside. On one song, 'Crawl', I did put a U87 on the batter side of the kick, next to the pedal, which gives a very attack-orientated sound, with a Led Zeppelin-ish quality. On 'Sex On Fire' I used the 52, FET 47 and NS10 on the kick. I had all the kick mics on a Neve BCM10 sidecar and I'd submix them and run them through a GML EQ and then to one track on the tape. I didn't want to keep them separate. It was a matter of get the sound, make the decision, and move on.
"The snare was recorded in similar fashion to the kick. I had the option of various mics that all went through a BCM10 and were submixed, through a GML 580 EQ, then a [Empirical Labs] Distressor, just to give it some control and make sure the snare hit the tape at the right level. On the track sheet a transformerless Shure SM57 is indicated. It was something I read about a couple of years ago, and it's a really good thing. It gives a nicer, more transparent, usable sound that requires less EQ. You lose a bit of level, but typically the things that you record with a 57 are so loud anyway that it doesn't matter. So I asked the people at Blackbird to take the transformer out of one of their 57s and they were gracious enough to do this. After recording I also ran the snare and kick through an Eventide DSP4000 on a Big Muff setting, and recorded that in Pro Tools during the transfer to the computer.
"The toms were recorded with three Josephson E22S mics, which are a modern type, and they're fantastic on the toms. There were a rack of toms plus two floor toms, and I also submixed the tom mics via a BCM10 to a stereo pair, panning the toms as was appropriate for the track. The overheads were recorded with a Telefunken Elam 251 going through a Neve 1081 preamp/EQ, then an Urei 1176, and then to tape. The ride cymbal and the hi-hat were recorded with RCA77 ribbon mics, the ones that David Letterman used to have on his show. When I use a mono overhead, as I did in this case, I like using ribbons, for a good stereo spread between ride and cymbal.
"I had half a dozen mics up for the room sound: a Neumann U67, M49, AKG C12, RCA 44, and/or a Royer SF12 in the echo chamber. I'd leave the door to the echo chamber open so the sound of the drums was happening in there as well, and I'd move the room mics around to get the sound that I wanted for a particular song. I would then bus different combinations to the two room tracks, depending on the song. In the case of 'Sex On Fire' I used a U67 and an RCA 44 for Room 1, and an RCA4 4 and an SF12 for Room 2. Some of these mics went through Neve preamps, some through an old RCA tube mic that Blackbird customised. The combination of room mics was bussed through a Fairchild 670."
In the music video for "Stars", he's seen singing in a Shure SM57
In this music video [https://www.youtube.com/watch?v=oOWBsmgjmPo at 0:32, 0:44, 0:51, etc] Yung Blud can be seen using the Shure SM57 Dynamic Instrument Microphone.
Album Usage
The Shure SM57 has been featured on the following albums:
I Barely Know Her
Sombr (2025)
back to friends
Sombr (2024)
Every Breath You Take
Stewart Copeland & Stewart Copeland (2023)
Norm
Andy Shauf (2023)
Noviembre
Los Bunkers (2023)
Use Your Illusion (Super Deluxe)
Guns N' Roses (2022)
Ants From Up There
Black Country, new road (2022)
Chris King Robinson
Chris King Robinson (2021)
Persona Non Grata
Exodus (2021)
Father of All...
Green Day (2020)
Monument
Keaton Henson (2020)
As Long As You Are
Future Islands (2020)
10 Songs
Travis (2020)
A Ghost
Travis (2020)
Fobia MTV Unplugged
Fobia (2020)
Bubble Gum
De Staat (2019)
Volumen 5
Jorge Stojan (2019)
Cuz I Love You
Lizzo (2019)
Call The Comet
Johnny Marr (2018)
Little Dark Age
MGMT (2018)
One Bad M.F. Live!!
Marty Friedman & Marty Fried (2018)
Old Is New
Toto (2018)
Anthem Of The Peaceful Army
Greta Van Fleet (2018)
Forever
Taska Black (2018)
The Cars at Live Aid (Live at John F. Kennedy Stadium, 13th July 1985)
The Cars (2018)
Fatherland (Original Music From The Stage Show)
Karl Hyde & Matthew Herbert (2017)
Get Out Of Your Own Way
U2 (2017)
Dos en Uno
Steve Jordan (2017)
I'm A Harmony
Linda Perhacs (2017)
Midnight Roses
Drum & Lace (2017)
Kickinit Alone
Kiefer (2017)
Pathos and Logos
Ethan Meixsell (2016)
Graffire
Jorge Salán (2016)
Drones
Muse (2015)
No Closer To Heaven
The Wonder Years (2015)
A Head Full of Dreams
Coldplay (2015)
O Melhor de Elis (Ao Vivo)
Elis Regina (2015)
Repentless
Slayer (2015)
Would You Fight For My Love?
Jack White & Jack White (2014)
Mind Over Matter
Young the Giant (2014)
Shattered
Reigning Sound (2014)
Redeemer of Souls (Deluxe)
Judas Priest (2014)
Solar Echoes
Nigel Stanford (2014)
Random Access Memories
Daft Punk & Daft Punk (2013)
Get Away (feat. Lennart A. Salomon)
Tocadisco (2013)
Falling Bough Wisdom Teeth
Kiev (2013)
Volume 3
She & Him (2013)
Take Me to Church EP
Hozier (2013)
13
Black Sabbath (2013)
TimeScapes
Nigel Stanford (2013)
Lonerism
Tame Impala & Kevin Parker (2012)
Forever Dolphin Love (Erol Alkan's Extended Rework Version 2)
Connan Mockasin (2012)
The 2nd Law
Muse (2012)
Blunderbuss
Jack White & Jack White (2012)
I'm Shakin'
Jack White & Jack White (2012)
Unorthodox Jukebox
Bruno Mars (2012)
Destruye Hogares
Fobia (2012)
The Tragic Evolution of Desire
Warmer (2011)
Headlines
Drake (2011)
Forever Dolphin Love
Connan Mockasin (2011)
No Time for Dreaming (The Instrumentals)
Menahan Street Band & Charles Bradley (2011)
Going Back (2010)
Phil Collins (2010)
InnerSpeaker
Tame Impala & Kevin Parker (2010)
Permalight
Rogue Wave (2010)
Congratulations
MGMT (2010)
Farm
Dinosaur Jr (2009)
Sex On Fire
Kings of Leon (2009)
Graffiti Soul (Deluxe Edition)
Simple Minds (2009)
Professor Satchafunkilus and the Musterion of Rock
Joe Satriani (2008)
Only By The Night
Kings of Leon (2008)
Sleep Through The Static
Jack Johnson (2008)
Indestructible
Disturbed (2008)
Because Of The Times
Kings of Leon (2007)
Icky Thump
The White Stripes & Jack White & Jack White (2007)
Hi-teknology - Volume 2
Hi-Tek (2006)
Death By Sexy
Eagles of Death Metal (2006)
Ganging up on the Sun
Guster (2006)
Straight To Hell
Hank Williams III (2006)
Three Cheers for Sweet Revenge
My Chemical Romance (2004)
Tubular Bells 2003
Mike Oldfield (2004)
Take This to Your Grave
Fall Out Boy (2003)
The Odyssey
Symphony X (2002)
Bloodflowers
The Cure (2000)
Californication
Red Hot Chili Peppers (1999)
Mule Variations (Remastered)
Tom Waits (1999)
System Of A Down
System of a Down (1998)
This Is My Truth Tell Me Yours
Manic Street Preachers (1998)
Stratosphere
Duster (1998)
Homogenic
Björk (1997)
The Colour And The Shape
Foo Fighters (1997)
On Avery Island
Neutral Milk Hotel (1996)
Pulse (Live)
Pink Floyd (1995)
Slaughter Of The Soul
At the Gates (1995)
Second Coming
The Stone Roses (1994)
Linger
The Cranberries (1993)
Nevermind
Nirvana (1991)
Violator (Deluxe)
Depeche Mode (1990)
Mosquitos
Stan Ridgway (1989)
Cosmic Thing
The B-52's (1989)
Pretty Hate Machine
Nine Inch Nails (1989)
Prison Bound
Social Distortion (1988)
Peter Gabriel 4: Security (Remastered Version)
Peter Gabriel (1982)
Toto IV
Toto (1982)
Eye Of The Tiger
Survivor (1982)
QE2
Mike Oldfield (1980)
In The Nick Of Time
Nicolette Larson (1979)
Rumours
Fleetwood Mac (1977)
Agents Of Fortune
Blue Öyster Cult (1976)
Nighthawks At The Diner (Remastered)
Tom Waits (1975)
Toys In The Attic
Aerosmith (1975)
Good Times
Elvis Presley (1974)
Genre Usage
Based on how artists on Equipboard use this gear, it is most commonly found in the following genres.
Used With
Based on how musicians on Equipboard use Shure SM57, it is most commonly used with the following gear.
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equipboardGear IQ 4934
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