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...
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](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 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
“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
"... 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
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
"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
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.
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