Sm58 microphone classic

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The Shure SM58 is a global icon for live vocal capture, renowned for its durability and classic sound for over five decades.

About this subject

Introduced in 1966 by Shure Brothers, the SM58 is a dynamic microphone with a cardioid polar pattern, designed for professional use on stage and in studios. Its rugged build, steel mesh grille, and shock-mounted capsule withstand drops and heavy handling, making it the world's best-selling microphone for live vocals.

Its frequency response is purposely tailored to enhance vocal clarity, with a slight boost in the midrange and presence, resulting in a natural and intelligible sound. The cardioid pattern rejects sound from the rear, reducing feedback and minimizing ambient noise. This combination of durability and performance made it an industry standard, used by artists like Freddie Mercury, Bono, Mick Jagger, and hundreds more.

Interestingly, the external design of the SM58 has remained virtually unchanged since its launch. Minor internal updates have been made over the years, but the capsule and circuit are essentially the same, testifying to the original design's correctness. Beyond music, the microphone is often used for lectures, political speeches, and public address systems, cementing its role as a versatile and reliable tool.

Frequently Asked Questions

Why is the SM58 so popular?

Its popularity stems from the combination of extreme durability, natural vocal sound, and affordable price. It is the standard microphone in live venues, stadiums, and studios worldwide.

What is the difference between the SM58 and SM57?

The SM57 has a flatter frequency response and is more commonly used for instruments like snare drums and guitar amps, while the SM58 has a built-in pop filter and a response tailored for vocals.

How to clean and maintain an SM58?

Remove the threaded grille, wash it with warm water and mild soap, and dry it thoroughly. Wipe the body with a dry cloth. Avoid blowing or using compressed air on the capsule, as it can damage it.

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