SM57 For Studio Vocals

[WildVines]

I've been testing an SM57 for recording studio vocals. It seems that it's very difficult to get a consistent recording with this mic without singing very close and straight into the mic. Am I correct? Thank you

[shufflebeat]

Find a nice space with an ambient sound that will incorporate well into the recording or a dead space that will give you a clean sound - then sing at a slightly greater distance.

It will be natural and un-hyped but should be even and pleasant - assuming your voice is even and pleasant.

[amanise]

Your experience seems to resonate with my own with the SM57 - it's really much more sensitive to off axis than (for example) the SM58. My one can be quite 'hummy' as well if you're not careful. However, it can be a really good basic signal for feeding effects with as it's not as toppy. If I'm using outboard distortion or chorus on a vocal line I'll most likely use my SM57 to bawl into.

You can get good results with one - but you also need to pay more attention to mic technique while you're singing. In my experience anyway.

I'm of the 'use what sounds good and what you can afford' school.

[Sam Spoons]

Interesting that, AFAIK the SM57 and SM58 differ only in the grill fitted, the capsules are identical but the grill on a 57 allows the vocalist to be closer to the diaphragm than the basket on a 58. Not sure if the windshield on the 58 affects it's free field performance more than the more open grill on a 57.

[Wonks]

The grille makes a surprisingly big difference to the upper frequency response (unlike the Beta 57A and 58A where the basket grilles are far similar styles and any differences in sound are really minimal indeed).

[Sam Spoons]

Yes, I believe they do, the advice if using a 58 for miking a guitar cab in a studio was to remove the basket (it served no useful purpose in that job). OTOH the Beta 57 and 58 do have different capsules and sound very different to the SM57/58.

[Wonks]

Yes, I believe they do, the advice if using a 58 for miking a guitar cab in a studio was to remove the basket (it served no useful purpose in that job). OTOH the Beta 57 and 58 do have different capsules and sound very different to the SM57/58.

In the sense they have different capsules to the SM57/58 (neodymium magnets for
a start and a few dB more outout). but the Beta 57A and the Beta 58A use a common capsule. Yes, a different sound and a wider frequency range.

[Wonks]

But back to the topic. An SM57 wouldn't be my first choice as a dynamic vocal mic, though I know a lot of people have used them on stage. I find them far more prone to breath noise than a lot of other mics. The SM58 is far better in that respect.

I'd either use it at a distance or use it with a foam windshield if I had to use one for vocals. Shure do one for the 57 that gives it a very different appearance.

You could always use a pop-shield set some way away from the mic and keep your mouth close to that to help keep a set distance from the mic. It's not the best way to use a pop shield, but if it helps get a consistent sound, it's worth a go.

[Arpangel]

I'm using an SM57 right now, for vocals, sounds fine, slightly pronounced upper mid peak, but nothing serious, probably my voice.
Compared with an SM58 it's smooth and nice.

[The Elf]

57s and 58s are the U87s of the lo-fi world. You can rely on them, but you have to accept that they produce a bit of a 'thinned out' representation. Close in they will begin to sound fuller, but then you're into the world of plosives and wild variations in dynamics.

I often use a 57 for rock/pop backing vocals, and sometimes for lead vocals, but I place the pop shield at a distance to keep the talent away from the mic.

Whenever I think 57/58 these days I often replace that idea with an AKG D5 - it's like a 58, but I feel it deals better with sybillance and generally sounds less upper-mid-heavy.

[amanise]

Interesting that, AFAIK the SM57 and SM58 differ only in the grill fitted, the capsules are identical but the grill on a 57 allows the vocalist to be closer to the diaphragm than the basket on a 58. Not sure if the windshield on the 58 affects it's free field performance more than the more open grill on a 57.

It must do. Whenever I used to see a 57 in a rehearsal room I noticed that the grill was slightly concave - and assumed that they were damaged in some way - either dropped or punched by stroppy singers. When I bought one myself for my guitar cab I was surprised to see it come out of the box with a concave grille! I should think that sort of difference in grille shape as opposed to the 58 would make a difference. My 57 is definitely more prone to plosives - but used on axis with a pop shield its very handy to have permanently hooked up on the desk muted to capture odd bits of ideas or when comping up guide vocals before switching to a better mic and actually rehearsing the singing a few times before pressing the red button. I noticed that Paul Rogers used to use what looked like a 57 and a 58 taped together. That must have been interesting at the desk!

[Wonks]

That was before the days of easily available mic splitters, so one mic was for the PA and one was for the film sound. I assume the 58 was the main mic with the 57 added for film as it's easier to add without it being too off-axis due its smaller grille diameter. Two 58s together would give a significantly bigger angle between the mics.

[amanise]

That also explains the lack of phase problems if they were connected to different systems.

[SafeandSound Mastering]

Lots of sense written here. I used to enthusiastically take my Sennheiser MD441 that I used to own into recording sessions (there were not so many great mics available) and it was amazing with some voices. Typically male and ideally deepish ones.

Certainly one of the best but also one of the most expensive dynamic mics available so they should sound good.

57/58 can work with the right voices, typically the 'shoutier' the better. Beyer M201 can work well also, though need very good pop filtering in place, a bit smoother and more refined than a 58/57.

[The Elf]

I still love my MD441 on female vocals and as a snare under-mic!

[SafeandSound Mastering]

Probably at the top of the pile for classy sound for a dynamic. As always you try them out if not only takes a mo to try another. Sometimes you really think something will work and it does not.

I did try on a sax and it was not happening on that sax anyway. I felt if I recall from about 15 years ago that people need to stay right on axis otherwise you get a lot of drop off, they are pretty tight.

On the right source 441 is class. Can sound warm, rich and smooth.. which actually makes them quite good value, especially second hand. Physically weighty and well built mic.

[twotoedsloth]

Hello,

One time, due to bad luck, I was locked out of my mic cabinet (my colleague changed the lock) so all I had was 3 SM57s.

I was recording a bass baritone who frequently sings with the Metropolitan opera in NYC, a real class act.

So I put two SM57s in the piano, and one about a foot away from him without a pop shield. Amazingly, he was very happy with the sound. His agent was also pleased with the results.

What I'm saying is you can make great recording with an SM57, if you have great performers on great instruments - in this case his voice is the instrument, but one could probably obtain a good violin recording with a Stradivarius in the hands of a professional.

I wouldn't want to do this again, as I have access to some truly excellent mics (I would probably use a TLM 193 on operatic voice), but in a jam, it was fine.

Best of luck!

Peter

[tea for two]

I was recording a bass baritone who frequently sings with the Metropolitan opera in NYC, a real class act.

So I put two SM57s in the piano, and one about a foot away from him without a pop shield. Amazingly, he was very happy with the sound. His agent was also pleased with the results.

What I'm saying is you can make great recording with an SM57, if you have great performers on great instruments - in this case his voice is the instrument.

^^^^
+ venuu recorded in
+ skill ears of engineer.

I would sound as an aardvark on a TLM 193.

I feel an appropriate query is : my voice is carp tenor, my mic technique is pants.
Is there a mic you would recommend that might help me mask these somewhat.

[Lou_Hela]

I'd either use it at a distance or use it with a foam windshield if I had to use one for vocals. Shure do one for the 57 that gives it a very different appearance.

I've been using the 57 for live vocals for years with the foam windshield. It allows me to keep the perfect distance without bashing my lips like with a 58.