Fantastic! You’re very welcome! The 57 will never let you down. Cheers!

TBH the difference in brightness in this example is also less than the variance I've heard between two different SM-58s.

Exactly...I own 1 mike, the SM58. WHEN I BOUGHT MY FIRST MINIATURE STUDIO 1 MIKE, HEADPHONES, 5" SPEAKERS AND USING CAKEWALK I needed vocals and instrument miking I Knew it was essentially the same mike as 57 but thought I heard or read there was a different different freq. curve due to a capacitor or something to cut a freq. but knew I could EQ IT BACK IN IF NEED BE but seems to sound the same when I record an amp I use it bare-naked like the 57 NO foam or grille.

The sm7 capsule is similar. It’s true that it is a unidyne iii, but it never was identical. That said, the optional sm82ws foam windscreen will get you close to the sound of an sm7.

Haha. Thanks so much!

Hey thanks so much!

Oh yes. I’ve used 58s for more than 30 years on stages all over the place. I would trust nothing else. What a great and often overlooked mic!

Hey man. Thanks! Oh yes. GAS is real! I’m spending upwards of thousands on mics. Ugh. But that SM57. What a mic! What a price! Ifs funny. I did a comparison last week with the Fifine K669D against the 57, 58, RE320, and the SM7B. Check it out! kzfaq.info/get/bejne/js5_gLNjs9CvfnU.html

Haha. Thanks, Jacob! Isn’t Romulus a hauntingly beautiful song? It gets me every time. I’m so glad you found it! Thanks for watching!

Haha. Thank you! Perhaps one day I’ll get a ton of followers! Thanks for watching! Greetings from Canada!

Damn right! It’s a great mic that you’ll have forever. The A2WS is also often used on the 57’s that many US presidents have used since the 60s. Thanks for watching!

Haha. Well thank you! And thanks for watching!

Hey thanks, Jorge! Cheers!

Haha. I always do the measuring tape bit when something can be measured. Haha. I think I only forgot one time. Thanks!

I agree! Much more articulate. Thanks for watching!

Woo hoo! Congrats!

Hey thanks! I really appreciate it! Cheers!

You’re very welcome!

Haha. No prob! They’re bother excellent mics-each for their own reasons. Thanks for watching!

Hahaha. Thank you kindly! I appreciate the comment! Cheers!

Thanks! And I agree!

Thank you, sir!

Haha. You’re very welcome! I usually do a measuring tape bit in every video! Cheers!

No matter how far we might wander from the good ole’ 57 and 58 mics, we always come back and realize they just can’t be beat! And I think they have neodymium magnets in there these days. Thanks for the great comment!

@@TheRecordist You have me curious about the magnets ... recording org says the SM57/8 are alnico. Shure forums (?) say the beta 57/8 are neodymium which accounts for the brighter/hotter signal. Note I've never looked that up before - just assumed because the EVs were so crispy to my hearing - like frying bacon. In the past I've listened to magnet comparisons in humbucking pickups, and prefer the warmth of Alnico 2 over 5 and ceramic. Back when I did those listening sessions, I remember reading that neodymium in guitar pickups is difficult as they're too strong and therefore hot to control (my interpretation anyway). Note that I'm not trying to be a know it all and hope I don't come off that way - my sensitivity to 'sizzle' has a lot to do with 50 years of tinnitus thanks to a dumb teenager standing in front of an too loud amp for too long. PS - live long and prosper, bro.

@@ilblues hey! Well I’m also a guitar player who played live for years. I toured and had my stack by my left ear blaring on stage for hundreds of nights. But I think I somehow escaped the tinnitus or severe hearing damage. I have no idea how. Sorry to hear that it got you. As for the magnets, I just did a quick cursory lookup and a site I went to said neodymium. But it could be wrong. In my guitars, I use Texas Special Singles and Anderson H2+ Hum in my Strat, and Fender V-Mod II in my Tele. I’m not even sure if the magnet types in those. Live long and prosper! 🖖🏻

Hahahaha! Cheers!

I agree. I also like the SM57 bore for sound reasons. But live on a stage, you can’t find better than a good old classic SM58. But you’re right about the 57 and the foam. Check out the A2WS pop filter: www.bhphotovideo.com/c/product/68595-REG/Shure_A2WS_BLK_A2WS_BK_Black_Foam_Locking.html Thanks for watching!

You know, I’m going to be doing a video in the next few weeks trying to get an SM57 to sound like an SM7B. I’ll even try it to an SM58. While the A81WS will help, it will not get the 57 to sound like a 7B. There are some huge differences. But an EQ curve will help. I’m going to attempt that. Thanks for watching!

Haha. Well thanks! I’m growing slowly I guess!

Hahah. Hey Carlos! Thanks so much! The pleasure is all mine, my good man!

Thanks!

Haha. Thanks so much! I’m Nate.

Hahaha! It’ll turn up. They seem to enjoy playing with the quantum field. Hahaha. Cheers!

@@TheRecordist That is so uncanny, my SM57 popped in and out of existence numerous times and I suspect it was due to a portals!

Haha. Actually, when you put them together, even without the pop filter (which is incredibly thin) the 58 is a bit bassier. And that’s by design, I think. Less shrill for live PA situations. Less prone to high end feedback which is the most ear-piercing. But I would have thought the same thing you did! Thanks for watching!

Hi there. Louder amp and placing the mic further away. Or using a guitar amp de-noise plugin. Or a gate. Or a legal ground lift device (sometimes). For my review or versus videos, I can’t do that because it wouldn’t be an accurate review. So I can’t use any processing or anything and it’s just raw.

Hi there. Most audio interfaces will do just fine with an SM57. A lot of people like the Focusrite Scarletts. I’m partial to Universal Audio Apollo units. But if you’re looking for a lot of clean gain, a Sound Devices MixPre 3 II recorder can be used as an audio interface. Hope this helps!

I'll throw in a Motu M2/M4 recommendation (m4 if you need more input/output). I bought one to replace my old unit from 2004 and the quality is amazing, and it has direct monitoring. A selling point for me was that it has super low round trip latency, for example you can play and listen software synths in realtime with no delay.

@@tommythecat4698 oh that’s great! I haven’t had a chance to play with a Motu. Perhaps I’ll review one in the future. Thanks for chiming in!

You’re very welcome!

I will be connectig the mic to the zoom h5. Also my original idea was to get a setup that would allow me to shoot a podcast with 2 mics in an untreated room.

Hi there. I watched some of your video. The room reverb isn’t terribly bad but I see what you’re saying. First things first, the SSH6 cartridge is not the greatest sound. It’s also a shotgun mic, which won’t sound ideal indoors. If I may, I would recommend the Shure SM57 along with a fethead and a foam pop screen. Not only will this greatly improve your audio, it will help reduce your room sounds. Of course, nothing is ever 100%. You may still get a little room sound, but it should be improved. The SM7B is also a great choice but much more expensive. The Shure SM58 is a less articulate mic. The high end sounds a bit more muffled. The SM57 is a much more alive mic. Same price. Also, two SM57s along with two pop filters is still cheaper that one SM7B. But if you don’t mind spending the money, the SM7B is a great mic. You’ll need to use a dynamic mic the same way as you’re using the shotgun mic - right in front of your mouth, but a little off the side. 45 degrees on axis. Hope this helps!

@@TheRecordist wow, many thanks for your help. Do you think there would be an audible difference in echo / reverb between the sm7b and the sm57 with a pop filter?

@@FutureVegan hey no worries. Well, the SM7B might do a little better in that department due to the way it’s made. Also, the SM7B comes with two pop filters and is already internally shockmounted. So it’s kind of a complete solution. As long as you have a FetHead, you’re good. If not, I’d go for the SM7dB. It has an in-line preamp built in. Hope this helps!

Oh yes. The 57 is a fabulous but often overlooked mic for spoken word. It’s actually the mic that every US president has used since Johnson on their lecterns. It just needs a little finessing and it’s crazy good. And so cheap!

The 57 is an all-round great multipurpose microphone. It’s a great choice!

Somewhat true. But there are a few differences. The headbaskets have a lot more to do with the sound of mic than a lot of people realize. I’ve done these exact things and still I could tell the difference. But close.

@@TheRecordist “basically” and “close” being the operative words

@@APMTenants of course. Understood.

Hey. Well, I really am partial to the SM57, but live it will really pick up a lot of your plosives unless you also purchase a pop filter that goes over it. You can’t go wrong with either but for me? I’d pick the 57 because I do a lot of recording. If you do more live, then the 58 is great. The 58 can be used to record with also, and it’s really nice. Just a bit darker. Hope this helps!

Between the Shure SM57 and SM58 I would go with the SM57. But ideally, I would use a condenser mic. Either the Line Audio CM4 (or two for stereo) or bigger like a Lauten Audio LS-208. This is assuming your interface or recorder has phantom power of course. Hope this helps!

It sure does! What a great and cheap mic!

I don’t know who told you that you can’t record your poetry with a dynamic. You absolutely can. Perhaps they were telling you that a condenser is preferred. This is true but your also need a very quiet location to record without any reverberation in your space. You said yours is not sound proof, so I assume you also mean it’s not acoustically treated. A dynamic mic will help with that. For you, the Audient ID4 is more than enough, a Shure SM58 will also work. The Shure 240 is kind of junk. I’d save some money on the interface and go with Audient Evo and then get the Sony MDR-7506 headphones instead. Unless, you won’t be mastering your own stuff, in which case it really doesn’t matter about your headphones. Just make sure they’re closed back. You might also want to invest in a pop screen to help with plosives. If you do get a pop screen, an SM57 will be slightly better for your voice work. Also, make sure the Shure mic comes with a cable. If not, you’ll need to get one. I hope this helps!

Hey thanks! Well, they are two very different sounding mics and all due to the placement of the cartridges and the resonator grille. It doesn’t seem like it’ll make a huge difference but it does. The 57 has a much more pronounced proximity effect and also a higher output at about 5khz. The comparison is mainly because they’re exactly the same price and people what to know which one they should buy of the two. Since one is more articulate (57) and the other is more rounded and with better plosive control (58), they each have their purposes. Here’s an article explaining better. www.shure.com/en-US/performance-production/louder/faq-whats-the-difference-between-the-sm58-and-the-sm57 Hope this helps!

@TheRecordist thanks! So kind for the reply! I have a podmic for singing but sounds a little too harsh but im keeping it cuz it looks so cool on stage :) sm7b is too expensive so was considering buying a sm57 with the foam. Thank you!

@@seok84 hey no problem! Glad I could help! Cheers!

Hey. No worries! I would not personally get a KSM109. Maybe a KM137 instead. But these are SDC mics and compared to the SM58 or SM57, the KSM109’s are completely different than the dynamic, as I’m sure you know. I’ve found that by saving a little longer to spend a little more, you can get something you truly love. And not settle on a mediocre mic. I’m sorry if you had your heart set on it, but that’s my own experience. Yours may be different. Thanks for watching!

Hi. Well that’s an unusual request that most people wouldn’t enjoy, so I don’t think that’s how I would do videos in the future. Sorry about that.

Hey. Well, that’s to be expected. The SM57 has a low output. You need a lot of gain to get a good signal. The best way is to get more gain is to use an in-line preamp such as a Triton FetHead, sE Dynamite, or a Cloudlifter. This goes between the mic and the recorder. You then use phantom power to power it up. This will boost your signal with a clean 30dBs. Hope this helps!

@@TheRecordist But I just watched your review of the CL-1. You know the video you end with "Go f**** yourself San Diego". In this video you also talk about the noise problem with the in--line amps. Does this mean I can't get a good voice recording with the sm57 and the Zoom H4? This makes me feel a little sad in fact.

@@Thestripper1 oh. So sorry. I had some noise issues with my particular CL-1. They’re not inherently noisy. Also, the CL-1 is the most expensive of them all. Try for a FetHead or Dynamite. Much cheaper and not noisy at all. I just had a dud. But I must say, the preamps in the H4 are terrible and very noisy anyway. The in-line preamp will not cure the recorder of its own noise, but it will help reduce it by making sure it doesn’t need to work as hard.

​@@TheRecordist The CL-1 noise seems to be a very common issue. If they are all duds then by definition none of them are duds, it's just the way they are then. Perhaps a Zoom u24 and recording on a phone would be the better choice for me? Or another battery powered interface perhaps? I'm very new to this and my head is spinning from all the new information I've learned. I just want to use the sm57, in field, to record mostly speech. I thought it would be a simple task since we are in the future and all you know :)

I'm surprised, I'd really happily use my 58 on guitar cabs, which I'd previously thought it was less suited to.

Haha. A lot of people are surprised by the results. But fear not! They both can and have been used for everything all over albums for 50 years - including guitar cabs. I know you might hear this a lot, but it really is whatever you prefer. There is no master engineer who hears a song where the guitar cab was miked with a 58 and said, “it would have been better if they had used a 57”. Haha. You can do anything with anything, as long as the gear doesn’t suck or is otherwise crappy. Thanks for the comment!

@@TheRecordist thanks, yeah, I love my sm58, and I've done some great recordings with my Dad's 1960s Sennheiser MD421s, mostly acoustic grand piano, which nobody "recommends" them for, but their tolerance of high SPLs that makes them a famed drum overhead also saves them clipping on the piano, and setting them as a stereo pair was fantastic. I've also got a lot of live recordings Dad made with the 421s of church services and concerts which, while they have a lot of "room sound", hold up very well for things done in the 70s and 80s on open reel recorders.

@@genghisbunny oh yes! 421s are fantastic! Jealous!

Merhaba! Her iki mikrofon arasında Shure SM57'yi seçerdim. Çok daha açık sözlü. İzlediğiniz için teşekkürler! (Hello! Between both microphones, I would choose the Shure SM57. It is much more articulate. Thank you for watching!)

Ding ding! You got it!

In my 30+ years of working with pro audio - both recorded and live - I have never heard of that ever. I have a 57 from 1993 that still kicks ass and has even had beer spilled on it back in the day. That’s so strange.

Pretty similarly, actually-with the exception of having zero plosive control. It does increase a bit of the highs with the ball screwed off, but not as much as you’d think. Thanks for watching!

@@TheRecordist Thanks for the quick reply! I thought the only difference between these two is just the grill (and that you get a "free" SM57 twisting the cage off). But you say the 57 still has more heights? Sounds like you have to make a new video :)

@@paganmadnessYT haha. Good idea!

Hmm. To my ears it sounded crisper on the 57. Which speakers are you using?

@@TheRecordist I... may have had a moment of auditory dyslexia when you revealed what Mic A and B were. (Either that or I'm highly suggestible when someone replies direct!) Anyways, today I'm hearing more bass on the 58 (mic B to be clear!) through two different pairs of headphones (Sennheiser 350BT and some Source special, not that it matters at this point) and old Akai speakers handed down from my grandpa. Anyways, sorry, and thanks for the reply!

@@wychwoodmusic oh hahaha. No worries! Don’t be sorry! I have to double and triple check sometimes myself. I often get listening fatigue and that’s when I know I’ve got to take a break and do something else for a while. Even listen the next day. It’s no problem!

Perhaps so. But even the head basket imparts its own characteristics. Thanks for the comment!

Which one?

For youtube setup

Haha. Thanks so much! Cheers!

Oh I love the SM57! It’s an industry standard for a reason! You can’t ever go wrong getting one. Cheers!

No. These are raw recordings. Though, I did use a limiter on the MixPre recorder due to the amount of times I was trying to ram plosives into the mic. And the MixPre limiter is analog. So perhaps you’re detecting some analog saturation from the limiter?

Yes. I am insane. I ask people if they have any Grey Poupon whilst whispering creepily. 🤓

Correct!

Hahaha. I love when people find my Easter eggs! Cheers!

It’s darker for sure! I like them both for different applications.

Nailed it!

Woo hoo!

Hey. So sorry. I don’t understand. Are you asking a question?

It’s an awesome mic!

Nailed it!

Of course. But you can really hear the difference the head basket can make in a microphone.

You got it! Cheers!

Well said! That's why my choice between the two is definitely the 57! Thanks for watching!

@@TheRecordist Thanks for your videos, especially the part about Shure history

@@yaoguangtang1759 hey no problem!

Hahaha. Cheers!

B is SM58 I think. Haha.

Hahaha. You know it!

It was the opposite! Haha.

Haha. How so?

​@@TheRecordist I'm very glad you asked. I understand that it may seem like a joke or Merry making to some, but it is quite serious. I'm glad you are interested to know more. That shows you are on the right track. Representation and Gender Bias: The music production and audio engineering industry has historically been male-dominated. Women are often underrepresented in technical roles, including sound engineering, microphone design, and production. Lack of representation can perpetuate gender biases and stereotypes. When women don’t see themselves reflected in these fields, it can discourage their participation and limit their opportunities. Product Design and Marketing: Microphone design, including the SM57, has traditionally catered to male voices and preferences. This bias can affect microphone features, such as frequency response curves and sensitivity. Marketing materials and endorsements often feature male artists and engineers, reinforcing the idea that these products are primarily for men. Gendered Language and Assumptions: Technical discussions around microphones sometimes use gendered language. For example, terms like “warm,” “bright,” or “aggressive” may subtly reinforce gender stereotypes. Assumptions about vocal characteristics based on gender can influence microphone choices. Women may feel pressured to conform to certain vocal norms. Workplace Environment and Harassment: Women working in audio production, including live sound and recording studios, may face gender-based discrimination and harassment. Hostile work environments can deter women from pursuing careers in audio technology. Microphones like the SM57 are often used in these settings. Visibility and Role Models: Lack of visible female role models in the industry can hinder progress. When women don’t see successful female sound engineers, producers, or microphone designers, it becomes harder to envision themselves in those roles. Celebrating and promoting the achievements of women in audio can inspire future generations. Equitable Access and Opportunities: Women need equal access to training, education, and resources related to audio technology. This includes workshops, mentorship programs, and networking opportunities. Ensuring that women have a seat at the table during product development and decision-making processes is crucial for creating inclusive and gender-neutral equipment.

@@edwardk3 all of that was well said. I’m 100% on board with all of that. I must admit, when I started this channel, I thought I would have more women who watch, but when I started seeing my demographics, I was dismayed to find more than 95% male viewers. I realized that this is indeed a male dominated industry and I wondered how I could change that. I’m a dude, after all. And it’s just me. I do follow as many women in the audio industry as I can on social media, and I fully support women progressing, and even surpassing, men in this field. When it comes to SM57 vs SM58, I would pick the 57 for my own voice. It should be based on that and that alone. What sounds best for your own voice. But thank you very much for your thorough explanation here. I had wrongly assumed your intention was the opposite, hence the laugh. Thanks for this!

​@@edwardk3that's quite a stretch in mental gymnastics, which is why I stopped associating with other musicians years ago. Inundated with insane commies. Have fun being a mental case.

​@@TheRecordistyou're f'd in the head too for agreeing with this madness. Bunch of clowns ruined the hobby with your perverse world views.

Hey man, that’s what it’s all about! If it works for you then that’s all that matters! And for the record, I still have yet to try a better live performance vocal mic than the good old SM58. Good stuff!

@@TheRecordistYep, what works for you. Why pay for a name when a copy works