Sure SM 58'S & SM 57's

[Guest Sundaram]

Can someone explain to me the differences between these two microphones?

Also, which is best for flute and for saxophone?

[Tav]

The sure site has a comparison thing where it shows you the differences and tells you which mic's are good for what instruments/uses.

[Guest Sundaram]

The sure site has a comparison thing where it shows you the differences and tells you which mic's are good for what instruments/uses.

Thanks Mr Tav!

[spellchecker]

typically, sm58s are used for vocals, and sm57s are used for guitars. however, i think sm57s are just generally described as "instrument mics". both have a lot of crossover uses really, i've seen a lot of people using sm57s for vocals, especially distorted/fx vocals. it's not unusual to also see both sm57s or sm58s being used to mic up snare drums.

personally i would try recording your flute with the sm57 first. i find the sm58 has a naturally over-bassy response, but that may just be my experience.

[Alex]

I've used Sennheiser MD421s which are really good all round mics for about the same price, but sharper than the shures.

[Guest Sundaram]

typically' date=' sm58s are used for vocals, and sm57s are used for guitars. however, i think sm57s are just generally described as "instrument mics". both have a lot of crossover uses really, i've seen a lot of people using sm57s for vocals, especially distorted/fx vocals. it's not unusual to also see both sm57s or sm58s being used to mic up snare drums.

personally i would try recording your flute with the sm57 first. i find the sm58 has a naturally over-bassy response, but that may just be my experience.[/quote']

It more for live playing... 57's have been good in my experience for mic'ing up the sax, but the flute, hmmm, well I'm not so 'shure' about that!

Where is soundian when you need him?

[soundian]

typically' date=' sm58s are used for vocals, and sm57s are used for guitars. however, i think sm57s are just generally described as "instrument mics". both have a lot of crossover uses really, i've seen a lot of people using sm57s for vocals, especially distorted/fx vocals. it's not unusual to also see both sm57s or sm58s being used to mic up snare drums.

personally i would try recording your flute with the sm57 first. i find the sm58 has a naturally over-bassy response, but that may just be my experience.[/quote']

There's not a hell of a lot of difference between the two except for the diaphragm cover. The 58 has a much better pop shield than the 57. You can get closer to the diaphragm on a 57 as well which is probably one reason you see them on vocals.

The other reason for using a 57 on vocals would be if you didn't need the bottom end, i.e. high backing vocals. The 57s bass rolloff starts about an octave higher than the 58 (although not as steep)

That bass thing with the 58 is mostly due to the bass proximity effect, which is inherent in all dynamic mics. Moving more than about a couple of inches away will make the source sound thin.

Personally, for a flute I'd use a condenser with a good windshield by choice or, more commonly, a 58 (just cos that's normally all I've got) rather than a 57 because of the better windshield in the 58.

[spellchecker]

That bass thing with the 58 is mostly due to the bass proximity effect' date=' which is inherent in all dynamic mics. Moving more than about a couple of inches away will make the source sound thin.[/quote']

yeah, i read about that somewhere. i always find it relatively good for vocals, as long as there is some distance and i use a pop shield. it was when i used it for mic'ing up a guitar amp that i found it quite bassy... i think it needed more "soar" on it. but then i was close mic'ing the amp, so ergo i suppose.

[soundian]

I've used Sennheiser MD421s which are really good all round mics for about the same price' date=' but sharper than the shures.[/quote']

Depends what you're looking for, personally, live, I try to tone down the top end of the brass (especially trumpet) to leave that area clear to get clarity in the vocals.

I've not experimented too much but if there's a tom mic lying about and brass on the stage I'll often swap out. I like 504/604 on brass and seem to get more gain before feedback in the monitors with them.

[soundian]

yeah' date=' i read about that somewhere. i always find it relatively good for vocals, as long as there is some distance and i use a pop shield. it was when i used it for mic'ing up a guitar amp that i found it quite bassy... i think it needed more "soar" on it. but then i was close mic'ing the amp, so ergo i suppose.[/quote']

I don't like them without the bass proximity effect, too brittle for me. You would've got slightly less bass with a 57 but not a huge amount.

While we're on the subject of 58s:

IF ALL IT TOOK TO MAKE A 58 SOUND BETTER WAS PUTTING YOUR HAND ON THE BASKET WE MIGHT JUST HAVE FIGURED IT OUT BY NOW, WE'VE ONLY BEEN USING THEM FOR 40 YEARS.

IT CHANGES THE RESPONSE OF THE MICROPHONE MAKING IT SOUND COMPLETELY SHIT AND CHANGES THE POLAR PATTERN TO OMNI, GREATLY INCREASING THE CHANCES OF FEEDBACK, ESPECIALLY IN THE FREQUENCIES YOU'VE JUST EXACERBATED BY CUPPING IT YOU MONKEY BRAINED FUCKWITS.

And relax.

[Guest Sundaram]

Depends what you're looking for' date=' personally, live, I try to tone down the top end of the brass (especially trumpet) to leave that area clear to get clarity in the vocals.

I've not experimented too much but if there's a tom mic lying about and brass on the stage I'll often swap out. I like 504/604 on brass and seem to get more gain before feedback in the monitors with them.[/quote']

What about the angle of the mic, sometimes it sounds affa windy, I've noticed that some flute players have it up high and facing down towards the flute head/ as opposed to blowing in to the mic!?

like this:

Would this result in a loss of volume, but better sound?

[soundian]

What about the angle of the mic' date=' sometimes it sounds affa windy, I've noticed that some flute players have it up high and facing down towards the flute head/ as opposed to blowing in to the mic!?

Would this result in a loss of volume, but better sound?[/quote']

The sound of a flute comes from both the embouchure (sp?) and the first open fingerhole, placing the mic between them is recomended. That should reduce wind and if you buy a foam popshield this should solve that problem (and if it's doubling as a vocal mic you can be sure it's only you you're pressing your lips against)

Sorry, I've just seen the picture. That position, coupled with a foam popshield would be best for loud backline sounds (maximum volume but loss of tone), whereas the one above would be best for gentler moments imo.

[Guest Sundaram]

The sound of a flute comes from both the embouchure (sp?) and the first open fingerhole' date=' placing the mic between them is recomended. That should reduce wind and if you buy a foam popshield this should solve that problem (and if it's doubling as a vocal mic you can be sure it's only you you're pressing your lips against)[/quote']

Sorry, I'm meaning in a live context... volume is quite an issue when playing in a 7 piece band!!! hehehe.

[soundian]

I've amended my reply after seeing the photo.

For the Simon Gallstone band you're definitley lokking for max vol.

[Guest Sundaram]

I've amended my reply after seeing the photo.

For the Simon Gallstone band you're definitley lokking for max vol.

Cool, thanks for the tips Mr!

[soundian]

Cool' date=' thanks for the tips Mr![/quote']

No probs.

I see you've changed your name. Unfortunately every time I see that word my brain says underarm. Weird.

[spellchecker]

While we're on the subject of 58s:

IF ALL IT TOOK TO MAKE A 58 SOUND BETTER WAS PUTTING YOUR HAND ON THE BASKET WE MIGHT JUST HAVE FIGURED IT OUT BY NOW' date=' WE'VE ONLY BEEN USING THEM FOR 40 YEARS.

IT CHANGES THE RESPONSE OF THE MICROPHONE MAKING IT SOUND COMPLETELY SHIT AND CHANGES THE POLAR PATTERN TO OMNI, GREATLY INCREASING THE CHANCES OF FEEDBACK, ESPECIALLY IN THE FREQUENCIES YOU'VE JUST EXACERBATED BY CUPPING IT YOU MONKEY BRAINED FUCKWITS.

And relax.[/quote']

on this entertaining note, i tried making a mic from a telephone a while back, and it really didn't work very well. admittedly it was a fairly cheap phone, but i didn't think that would matter. i extracted the mic piece and wired it to a mono jack, and plugged it straight into the desk. even with the pre-amp right up and the volume right up, it hardly picked up anything. any ideas? i tried wiring it both ways. i had a great new enclosure for it as well, as the little microphone fitted snuggly into a copper pipe.

edit: the only thing that did spring to mind was that the A + B wires on a telephone socket provide 50v when the handset is off the latch.

[Guest Sundaram]

No probs.

I see you've changed your name. Unfortunately every time I see that word my brain says underarm. Weird.

Your brain needs seeing to!

[soundian]

on this entertaining note' date=' i tried making a mic from a telephone a while back, and it really didn't work very well. admittedly it was a fairly cheap phone, but i didn't think that would matter. i extracted the mic piece and wired it to a mono jack, and plugged it straight into the desk. even with the pre-amp right up and the volume right up, it hardly picked up anything. any ideas? i tried wiring it both ways. i had a great new enclosure for it as well, as the little microphone fitted snuggly into a copper pipe.

edit: the only thing that did spring to mind was that the A + B wires on a telephone socket provide 50v when the handset is off the latch.[/quote']

If you've put it in a mono jack the desk will be expecting a line level signal. Wire it up to an XLR (pin 1 and 2) and stick it in a mic input. That should give you more level.

[imprinted]

on a similar side related note - how difficult would it be to do something similar but attach it to a gas mask say? (like a half mask if you will?)so it would still be vaguely musical and with a decent signal so i don't need to do more than whisper into it?