The legendary Shure SM58 vocal microphone is designed for professional vocal use in live performance, sound reinforcement, and studio recording. Its tailored vocal response for sound is a world standard for singing or speech. A...
You Can See Psy Is Using An SM57 In This Image
1994 in Woodstock, Billie Joe Armstrong uses an SM58 as a sort of percussive instrument, demonstrating that it takes about 21 licks to get to the center of (and kill) the SM58 - a testament to their rugged construction. In the 'Basket Case' video, a dented SM58 can be seen. These have been their microphones of choice whenever [on stage](http://upload.wikimedia.org/wikipedia/commons/1/19/Billie_Joe_Armstrong_at_mic_in_Cardiff.png). The SM58 is undeniably the most ubiquitous mic on the market today; almost every musician/artist has used one in his/her life.more
[This article on the making of Marr's 2018 *Call the Comet* album by MixOnline.com](https://www.mixonline.com/recording/johnny-marr-finds-his-voice-on-call-the-comet) touches on some of the gear used during the recording process. "The Shure SM58 is the preferred microphone for his vocals for its grittiness, run through the 1081 into a Tube-Tech CL 1B with low compression ratios to even everything out." (While the engineer is providing this feedback, the gear is housed in Marr's own Crazy Face studios, which contains gear he's collected over his decades in the music industry.)more
Solid as a rock. The indestructible microphone of choice!
From the Sound On Sound March 1994 article "Robbie Adams: Recording U2's Achtung Baby & Zooropa": > Bono's vocals were largely recorded with an SM58 and compressed with a Summit compressor. Adams: "Instead of using the Summit, what we did on several of the tracks on Achtung Baby was to record his vocals on tape with Dolby SR and play it back without Dolby SR. It tightens up the vocal sound and gives it more brightness and presence. It makes his voice sit really nicely in the mix and easier to balance."more
In this photo you can see Win's microphone. According to this [article](http://acltv.com/2012/09/28/gear-blog-arcade-fire/) from *Austin City Limits TV*, "Win Butler’s mic might look ancient, but only the housing is vintage. Actually, its a quite contemporary Shure SM 58 on the inside".more
In [this transcribed interview](http://music.hyperreal.org/artists/brian_eno/interviews/sos90b.html) from the October 1990 issue of *Sound On Sound* magazine, Eno's acquisition and use of a Shure SM-58 is described in detail. "For Eno, a sense of urgency in music making is paramount, the kind of urgency that says: ‘if a demo tape is exciting enough, then use that as the core of a track and avoid endless mixes and takes’. Wrong Way Up is about this kind of urgency. Take for example Eno’s use of an 'old beaten up Shure SM58 microphone'". “'I found this microphone that I think is sort of a magic microphone. When we were working on 'Carmen Miranda' and 'Words For The Dying' at the Strongroom, we tried this mic, and that mic, and they all sounded terrible. And there was this Shure, which is the cheapest basic rock’n’roll mike you can get. John didn’t want to use it ‘cos he didn’t like it, he thought. I said ‘John, try this Shure, you might as well’. He just said four words through it and I said to the studio engineer, ‘I’ll buy this mic.’ (laughs) And I bought it on the spot.”more
Flowers recorded a lot of his lead vocals with a handheld Shure SM58, sometimes cupping the mic while he sang. He is comfortable with a 58 as he uses it onstage, and he chose its familiarity over the sonics of a high-end studio vocal mic. In this shot from Battle Born, Flowers is singing into his SM58, Price is on bass,? Lanois on guitar, and Darren Beckett on drums.more
"Bryan would be standing somewhat in the middle of the room because he'd also be singing a rough vocal into an SM58... We actually used a Shure SM58 for a couple of the tracks because we wanted a real edgy sound" - Bob Clearmountain in Sound On Sound about the making of Run To You & the Reckless album.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](https://equipboard.com/items/akg-c414-tlii) for vocals and acoustic guitar, a couple of [Royer R121s](https://equipboard.com/items/royer-r-121-ribbon-microphone) and some [Shure SM57](https://equipboard.com/items/shure-sm57-instrument-vocal-mic) and 58s for guitars, and that's it."more
In [this article](http://www.mixonline.com/news/tours/all-access-switchfoot/367770) on Switchfoot, it says, "All three vocalists are on Shure SM58s. Tim [Foreman, bassistand vocals] and Jerome [Fontamillas, guitarist, keyboards and vocals] are on cabled mics for backing vocals…"more
Used "occasionally" in the studio, particularly on "Don't Hurt Yourself", as mentioned by producer Stuart White in this this September 24, 2016 *AudioTechnology* about the production of *Lemonade*. > “We started in August 2014 at the Record Plant in Los Angeles. We were there for a month and had booked every single room; producers were everywhere writing songs. After that we took a break, then went to Paris for 45 days, where we lived in a hotel and set up two studios in two different hotel rooms. The identical setups consisted of ProAc Studio 100 monitors, an Avid Omni converter, Telefunken Elam 251 mic, an Avalon 737 mic pre, Tube Tech CL1B compressor, a Shure SM58 which she likes to use occasionally, and matching Pro Tools sessions." > (...) "Jack White sent his stuff in for the song *Don’t Hurt Yourself*, which was recorded on eight-track analogue, with tons of bleed. I love bleed, as it helps glue the track together and creates depth. The thing was, they’d taken all the effects off in the transfer to digital. It was a lot of work for me to get it to fit in our sonic world and make it rock at the same time. We added some samples to beef up the drums and make them fit in our big bass world. Bey sang through a Shure SM58 with distortion and the speakers turned up really loud, like Bono. The 8-track definitely gave it a colour and a mood, then we brought it into our more modern production aesthetic.”more
“At the moment we use Shure’s SM58 for Matty, Adam and Ross and a Shure Beta 56 for George. Guitar microphones are standard Shure SM57’s and the drum microphones are a mixture of Shure and Sennheiser," reads [this article](http://www.tpimagazine.com/production-profiles/2445429/the_1975.html).more
Tom's on-stage presence and stage performance can be seen through the way he handles his microphone. In this picture you can see that Tom uses a Shure SM58. @com123 was also able to locate three more pictures of Tom using this mic [here](http://www.themonograph.co.uk/wp-content/uploads/2011/01/tom-meighan-wrestler-header.jpg), [here](http://i1.cdnds.net/14/22/618x429/music-radio-1-big-weekend-tom-meighan-kasabian.jpg), and [here](http://www.aceshowbiz.com/images/wennpic/kasabian-hackney-weekend-day-1-04.jpg).more
"NILES, Ill., November 8, 2016—The 50th Country Music Association Awards were broadcast live on ABC from a sold-out Bridgestone Arena in Nashville on Wednesday, November 2. . . . After Vince Gill started the show on a KSM9 transmitter, it was SM58 microphones powering performances by Brad Paisley, Alan Jackson, Charlie Daniels, Roy Clark, Charley Pride, Clint Black, Ricky Skaggs, and all three members of Alabama." https://www.shure.com/americas/news-events/press-releases/cma-awards-and-shure-sm58-both-50-and-better-than-evermore
"Re–amping and distortion are likewise more important to Craig Potter's own keyboard sounds than experimentation with synthesis or sampling. 'I don't have many old analogue synths, I have a few, but I usually just use piano and bits of organ,' he says. 'I suppose I'm just a big fan of distortion, really. I distort everything! Piano distortion I love. We just chuck a 58 or a 57 in the piano and then we run that out, make sure there's plenty of doors in the way so it doesn't feed back, crank it up through an amp — I love that sort of thing. So it is basically piano that I play, bit of organ, some synths. We've got the Microkorg we used for the bass on 'Bones Of You' and we've got a Nord, little bits and bobs.'"more
"... a music stand with some of my lyrics on it, some candles burning, and instead of using a hand-held microphone like I usually use, I was using a really nice microphone. I just stodd there and let loose. It was something I'd never done. I think that's how singers usually record, but on the first record I recorded everything live with the band in the room, with a little Shure 58 microphone." - via an archived Circus magazine [article](http://www.oocities.org/sunsetstrip/hall/5023/articles/circus98.html) from 1998. Unfortunately, the original PDF is not available. Other sources are welcome.more
The solo was recorded at my own studio that I used to have when I lived in a village in Hertfordshire. I played it on my Steinberger with the trans trem through a Trace Elliot TVT9 160 watt valve top though one of those weird 3 speaker reflector cabs they used to make. It was miked with an SM58.more
> Although we had a beautiful pair of tube U47s at Wessex, when I put one in front of Johnny for his overdubs it sounded awful and died after about 30 seconds of being gobbed at... I put him back on the SM58 and thereafter always used that. It tended to bring out a lot more in the voice... (Bill Price discussing the Anarchy In The UK recording sessions in Sound On Sound magazine.)more
Occasionally the ambient mic does more than just pick up idle chatter--it can give him a good scare as well. "I got a bit of a shock the other day," Dolby said with a laugh. "I was on the same bill as George Clinton; I saw him briefly in the dressing room before the show and I mentioned that for my encore, I was doing a song, 'Hot Sauce,' which I co-wrote with him. So later on, I was playing it, and suddenly I heard this very strange sound; it turned out that George had wandered on stage, spotted my ambient mic which is just an SM58, picked it up and started wailing into it! I was hearing him very loud and the audience couldn't hear him at all, so I had to quickly sweep that away from him and replace it with a radio mic."more
"Screen Memories was the first time I actually built a little sound proof tent and tried to do it right (recording the vocals for all the tracks in one go), I used an SM7B and a SM58... I guess the microphone thing isn't as crazy as you'd think, for vocals at least, I mean I hear that even the top of the pops will often just use a plain old 58."more
"The transmitter has a Shure SM58-type capsule, but we've had problems getting the particular high frequencies and transparency required, so this isn't the regular capsule. Even now, we have to choose between being loud (and my vocal sounding horrible) or being quiet (and my vocal sounding like it should). The problem is not feedback onstage - it's feedback between the microphone and the main PA speakers when the high end is boosted sufficiently to convey the nuance and intended perceived pitch of the vocal. At the moment we're pursuing the quieter-but-better policy. I was getting too tired of having a boomy and muddy vocal which I couldn't hear above the guitars anyway. The overall live experience might have been more powerful, but the me part of it it wasn't quite me. No offence to Big Pete the mixing engineer: it's my fault for not being able to sing as loudly as anybody else."more
Dynamic vocal microphone with cardioid characteristic With its warm, clear sound and frequency response optimised for vocals, the SM58 is the legend among the vocal microphones worldwide. The Shure SM58 is a dynamic microphone for lead and back-up vocals at live performances, professional sound reinforcement, and studio recordings. An integrated, highly effective filter prevents breathing and wind noise, while the cardioid characteristic isolates the signal source and reduces unwanted background noise. The robust design, the tried and tested shock absorber system, and the steel mesh grille ensure that the SM58 always works reliably even in the rough and tumble of everyday stage life. Whether in the open or in a hall, for singing or speaking - the SM58 has been the undisputed number one among professionals all over the world for decades.more
Mentioned in this article from the official Shure website. > The SM58 has been the microphone of choice for Roger Daltrey, Paul McCartney, Henry Rollins, Patti Smith, Alice Cooper, Buddy Guy, Cheap Trick, G. Love, Martina McBride, Megadeth and countless other musicians. In fact, it would be difficult to name a major entertainer who has not used the SM58 at some time in their career.more
Visible in this photo of Cotton's harmonica setup, as featured in [this article from the official C. A. Seydel Söhne website](https://www.seydel1847.de/epages/Seydel1847.sf/en_US/?ObjectPath=/Shops/Seydel/Categories/Made_in_Germany/News/NewsArchiv/News_archive_2013/James-Cotton-SAMPLER).more
The legendary Shure SM58 vocal microphone is designed for professional vocal use in live performance, sound reinforcement, and studio recording. Its tailored vocal response for sound is a world standard for singing or speech. A highly effective, built-in spherical filter minimizes wind and breath "pop" noise. A unidirectional (cardioid) pickup pattern isolates the main sound source while minimizing unwanted background noise.
Rugged construction, a proven shock-mount system, and a steel mesh grille ensure that even with rough handling, the SM58 will perform consistently, outdoors or indoors.
I've thrown this mic, I've dropped this mic, I've dented this mic, I've left this mic at venues... and it still works! Its durable, its solid, its great for performing, great sound, and great for heavy handed musicians.
Perfect capture of voice frequencies for live performances and for rehearsals recordings. It could also be used for recordings of the bass amplifier, snare and guitar amplifier.
Hands down best live vocal microphone.
Everything about the SM58 is perfect. It's frequency response, it's polar pattern, it's construction, it's looks.
The SM58 should be everybody's go-to microphone for live events and certain cases in the studio. I own four of these because I love them so much, and used to use them to record a podcast.
If you can't get a good vocal sound out of a sm58 then you should just quit. I can pretty much ring out any monitor rig with this in a matter of minutes. ONE thing I wish they would change though, I want a pitch black one. lol t
I read a lot about how higher quality mikes can be better for singing, but I've always found THIS to be the one. A historic classic for an amazing bargain price.
I have used this microphone in lots of live applications, as well as a secondary microphone to pick up background noise in all sorts of recording applications. I also used to use two of them to record my accordion. I own four of them and most have been dropped and thrown around and they still work as good as they did when I purchased them
My band and I when we bought our 3 Shure Mics decided to do a closed practice set and gained up all of our mics to see what our gain to volume limits needed to be these mics can be gained nearly all the way to 11 without giving you that very common feedback that is a plus in my book. Also the tone! The spectrum that this mic is able to pickup is great nearly perfect to an actual amplification of the voice. Yes mics are supposed to do that I'm aware but most mics tend to cut out natural tones when not near the 'sweet spot.' Just buy this and see for yourself