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shure sm 57 or sm 58

Discussion in 'Amps and Cabs [BG]' started by bill h, Nov 4, 2002.


  1. bill h

    bill h

    Aug 31, 2002
    small town MN
    Hi.

    I have a swr 2004 head and a avatar 2x10 with horn cab. I need to get into the PA. When I use a cord with the xlr plugs it sounds so bad. Thats why I want to mic it.

    With that said, I am a big fan of Shure mics for the buck. Will a sm 58 work (so I can have it for vocals with when not in use with gear) or do I need to use a sm 57? thanks to all with any info


    Maninbox
     
  2. try em out.. i know quite a few singers that are happy singing through a 57.
     
  3. Aussie Mark

    Aussie Mark I come from a land down under Supporting Member

    Oct 26, 2002
    Sydney, Oz
    Endorsing Artist: Fender; O'Neill Amps; Cave Passive Pedals
    Go with the 57 for miking your cab. It has a tighter cardioid pattern than the 58 so you'll pick up less stage bleed. This is the main reason why the SM57 is a great all purpose mic (vocals included). The 57 and 58 cover the same frequency range but the 57 is less prone to feedback.
     
  4. bill h

    bill h

    Aug 31, 2002
    small town MN
    Aussie Mark thanks for the info Thats what i needed to know
     
  5. They're the same mic except for the ball on the 58. The slight difference in frequency response between them can be attributed to the foam pop filter in the 58.
     
  6. Jon Burnet

    Jon Burnet

    Jan 21, 2001
    Memphis, TN
    yup same mic different end. no difference
     
  7. First of all I would suggest the 57. It is an instrument mike to start with. You don't need a pop filter to mike a cab. I would also suggest using a combination mic and direct out. I work with a couple of pretty decent sound guys at a Casino in Chester WV. They always like to mic my cab and take a direct out and then mix the 2. They use a Audio Tech. bass drum/bass guitar mic. I really don't know if it is any better than the shure but I like the way things sound through the sound system. 4x18's subs 4 EAW tops. Allen Heath boards using Crown Macro tech. Yea Baby:D
     
  8. lneal

    lneal

    Apr 12, 2002
    Lee County, Alabama
    Well, really the AKG D112 is a great bass mic as far as bang for the buck. Most sound guys agree with this. I have used it on bass cabs with excellent results. I don't like the SM 57/58 on bass cabs. You get much better low end with the D112 and a nice 4 kHz presence bump, too. You'll be a lot better off. You can find them used on ebay for around a buck-fifty or less all day. IMO, YMMV, IME.......:cool:
     
  9. one point worth mentioning is that the 57 has an extreme proximity effect when used for vocals. if your mouth is within 1/4" of the screen, you get lots of gain and bottom end when you sing. and lots of "p" pop (i recommend the shure foam windscreen made specifically for the 57, when singing. it tames the "pop" and keeps the low end of vocals consistent.)

    some singers love to sing thru a bare 57, but they roll off the lows to prevent the pop, and they have excellent mic etiquette (knowing how to position their mouth in relation to the mic at all times, keeping the response consistent.)

    i used a bare 57 on my previous bass cab (1 x 15) and it sounded good... not d112 great (twice the money), but good.

    b
     
  10. SuperDuck

    SuperDuck

    Sep 26, 2000
    Wisconsin
    Fun fact for the day: These are called "plosives". As opposed to EXplosives.
     
  11. DigMe

    DigMe

    Aug 10, 2002
    Waco, TX
    Before I bought a mic I would experiment liberally with the board while having another bassist play your bass. My experience with SWR has been that their DI's are excellent. My bass always sounds good in the PA when I use the DI on my SM-500 and it always sounded good when I used the DI on the Workingman's 15 that I used to have. I would say that either the pa system is not up to par, the soundman is incompetent (at least when it comes to mixing your bass signal) or the DI on the Workingman's series has taken a severe dive in quality (this is all given that your tone sounds good out of your amp).

    The DigMe rule of thumb: Always exhaust all options before making a purchase to resolve tone problems.

    brad cook
     
  12. Brooks

    Brooks

    Apr 4, 2000
    Middle East
    I would also suggest to try and get a hold of something like SansAmp DI, and take DI from there into the board.
     
  13. RebelX

    RebelX Guest

    Oct 27, 2001
    Merrimack, NH
    As DigMe pointed out, it's worth exhausting all options before parting with hard earned cash (even though we're only talking $70 or so for a new 57). According to the owners manual for the 2004, the DI is a "pre" only. This means the only sound being passed to the board is that of your bass. None of the EQ settings or volumes settings count. If you do heavy EQ'ing on the amp, then try to replication those settings at the board. Your EQ controls appear to be 80 Hz (Bass), 800 Hz (Mid Range), 2KHz (Treble) and 5KHz (Transparency). Make note of where they are set and try to mimic them at the board. If you can, bring your bass right up to the board and plug in, this will allow you to set the EQ up while listening to the PA. Then plug the XLR back in and let the soundman workout the gain.

    Good Luck!
     
  14. DigMe

    DigMe

    Aug 10, 2002
    Waco, TX
    Why didn't I think of that? Better idea than having someone else play it and set.

    brad cook
     
  15. bill h

    bill h

    Aug 31, 2002
    small town MN
    thanks for all the info guys!!! I have played my bass at the board, (but I still can't get the same sound as out of my cab). I get a very flat sound with my SWR. (compaired to what the cab sounds like) If i plug in my Ampeg practice amp in the board that sounds the same as the amp. So is it better to get a sm 57 or a SansAmp DI box? thanks

    maninbox
     
  16. See if you can borrow one or the other to try first.

    I know the 57 is an extremely popular mic, shouldn't be hard to find someone who'd let you borrow it for awhile. The Sans DI - may not be easy to find a loaner, but surely someone could loan you some sort of DI to try...

    Good Luck!

    B
     
  17. i've heard that the proximity effect is greatly reduced on the 57, and in fact is more prominent on the 58, because a lot of singers like to make use of it.
     
  18. IMO given the choice between the SABDDI and the SM57 the Sansamp wins hands down if the quality of you bass tone is more important than the price difference. You will spend over $100 for the Sansamp depending on if you go new or used and the SM57 can be had new for $79. The SM57 is a great mic and it's very versatile. It's great for miking guitar cabs, vocals and miking drums (with the exception of kick) but it is not the best choice for miking a bass cab. For live sound applications you really need to use a kick drum mic like an AKG D112 or something similar. When I see the soundman grab a 57 and mic up my rig I just wince, shake my head and ask if I can give him a signal from the DI in my preamp instead. I'd just as soon not go through the PA at all if my rig can handle the room than use a 57 to get my sound to the board.

    I suspect that your Ampeg's DI is post EQ and that is why it sounds the same through the PA.
     
  19. RebelX

    RebelX Guest

    Oct 27, 2001
    Merrimack, NH
    Mainbox - When you say "flat" are you talking sonically like all frequencies are present and equal, or are talking flat as in dull, lifeless? I've never had much of a problem getting "my" sound out of a PA, but I've used Post EQ DI's and generally set the board's EQ flat (maybe a little EQ if the room needs it, maybe a little compression).

    Given what you've said it sounds like the SWR DI is not going to be an option for you. You can try the 57 on your cab, but I think you'll find what ZoomBoy has said to be true, the 57 is a great all purpose mic, but may not the best suited. If you want to stay with a mic option, look at the AKG D112 or a Shure Beta 52 which will give you more bottom end then the 57. However, having run sound before I find that having yet another open mic on the floor is annoying, I prefer DI's from bass whenever possible. Grab a SansAmp and send the processed side to the board and the unprocessed out to your amp for stage volume.

    Of course you could just go get that new Ampeg rig you've been drooling over :D
     
  20. BFunk

    BFunk Supporting Member

    DI's are great unless you use distortion/fuzz/overdirve. Then you need to mic up the cab. So use both if you can.

    My mic choice is an Sure Beta 52.