Which Type of Dynamic Mic Do You You for Vocals

[Chienmortbb]

We have had the discussion on here about what mics we use/prefer, but what do the other members of your ensemble use? It is multi choice so you can vote for both.

Edited December 18, 2024 by Chienmortbb

[BassmanPaul]

I switched to Condenser microphones in the early Seventies. I gave all my dynamic microphones away.

[Chienmortbb]

I did think about adding condenser but you are still the exception for vocal mics on stage. 

[Bolo]

Sm58 or SM7b. I own both and am happy to use either in rehearsal, on stage or in the studio.

 

I sing lead and play bass in a metal band. Context is important with these kind of questions I think. Mic is always on a stand so no cupping.

Edited December 18, 2024 by Bolo

[ossyrocks]

Shure SM58.

 

By coincidence, I've just had to repair mine today. At the last gig, on pulling the mic cable, the male XLR connector pulled out from the bottom. Now I know it should be a matter of putting it back and adjusting the grubscrew, but the screw was seized solid. I've had this mic since the late 1980's, and it has never failed me. It's had a couple of new screens over the years, and I put a new one on this year too, but it has never actually broken. Anyway, after an hour soaking with WD40, I was able to free the grubscrew and it is now back together ready for my gig tomorrow. It lives to fight another day, and I'm sure it will outlast me!

 

I also still have the SM57 I bought at the same time, and it is equally indestructible.

 

Rob

[Chienmortbb]

Mods = can you move this to the PA sub thread

[BassmanPaul]

On 18/12/2024 at 15:27, Chienmortbb said:

I did think about adding condenser but you are still the exception for vocal mics on stage. 

As just about every mixer out there provides Phantom power there's no difference in actual use. You just plug in the microphone cable and you're off to the races.

 

[Bankai]

On 18/12/2024 at 20:27, Chienmortbb said:

I did think about adding condenser but you are still the exception for vocal mics on stage. 

Ultimately, a condenser would still generally be cardioid or super/hypercardioid anyway, so you wouldn’t need a third option on the poll.

Edited Saturday at 13:09 by Bankai

[Stub Mandrel]

I get a surprising amount of grief for settling for an SM58 for my feeble bvs. Used a Proel copy in the 90s. I suspect a 1970s cassette recorder microphone would be ample.

 

As to the question, cardioid is best for live as you are likely to be moving around a bit.

[Chienmortbb]

On 15/03/2025 at 13:52, Stub Mandrel said:

I get a surprising amount of grief for settling for an SM58 for my feeble bvs. Used a Proel copy in the 90s. I suspect a 1970s cassette recorder microphone would be ample.

 

As to the question, cardioid is best for live as you are likely to be moving around a bit.

Why do you get grief? Admittedly there are microphones that others prefer but the SM58 is not a bad mic. 

[Stub Mandrel]

11 minutes ago, Chienmortbb said:

Why do you get grief? Admittedly there are microphones that others prefer but the SM58 is not a bad mic. 

 

I got it as "no-one ever got fired for singing into an SM58". The proper singists in my other bands show me their Sennheisers etc. and point out I could have bought a better mic for less 😞

[Lozz196]

I saw a thing about The Sex Pistols on YouTube and their recording of Never Mind The Bollocks. Apparently the studio tried loads of different (and expensive) mics for Johnny Rotten, none worked, so they tried an SM58 and there it was, the sound wanted. 

[Chienmortbb]

21 hours ago, Stub Mandrel said:

 

I got it as "no-one ever got fired for singing into an SM58". The proper singists in my other bands show me their Sennheisers etc. and point out I could have bought a better mic for less 😞

I can understand your purchase, as you say, “no one ever got fired for buying” happens in every industry. I was in broadcast video for a while and it was Sony, anything Sony. 
 

Is the SM58 the best live vocal mic for live work? IMHO no but it is perfectly usable, robust and spares are easily obtained. 
 

I think the problem is that some people think that the SM58 is the mic that makes them sing well. No mic can do that. When it was introduced, there were few mics around suitable for live performance and it was the best. It is still probably the best seller and that means Shure can keep the price high. In my band we have SM58 (singer) Behringer X8500 ( lead guirarist), Sennheiser 935 (rhythm fatalist) and Sontronics Slolo (me). All are more than acceptable, especially with the right EQ. 
 

 

 

[Lozz196]

Yep I use the Behringer XM8500, good mic at not much money, less mid focused than the SM58 so imo better suited for backing vocals than lead.

[Minininjarob]

I read this topic a few days ago and made the effort to speak to a pro live audio engineer and producer I know who confirmed that a SM58 is pretty much the standard and anything else just add uncertainty to them. They know the characteristics of them, they are tough, sound great and easily replaceable. For a studio session other options may be better but for a live situation why get anything else?

[Dood]

SE V7 👍

[Ed_S]

22 minutes ago, Minininjarob said:

I read this topic a few days ago and made the effort to speak to a pro live audio engineer and producer I know who confirmed that a SM58 is pretty much the standard and anything else just add uncertainty to them. They know the characteristics of them, they are tough, sound great and easily replaceable. For a studio session other options may be better but for a live situation why get anything else?

 

That's something I've been pondering just recently. I provide a mic for our lead singer who is an operatic soprano and therefore not used to needing a mic, but now fronting a metal band. Whilst the Sennheiser e838 (cardioid) she's been using sounds great for her voice and was very forgiving while she was developing her mic technique, I've noticed that some sound guys seem to have a hard time working with it. I was considering just getting her an SM58 for all the reasons given, but then couple of months ago I played alongside another metal soprano who was using an SE V7 (super-cardioid) and it both sounded great for the style and didn't seem to cause undue headache at the desk, so I've actually got one of those arriving tomorrow to try out at rehearsal next week.

[BassmanPaul]

Find whatever microphone suits the singers voice and stick with it.

 

[Dan Dare]

2 hours ago, Minininjarob said:

I read this topic a few days ago and made the effort to speak to a pro live audio engineer and producer I know who confirmed that a SM58 is pretty much the standard and anything else just add uncertainty to them. They know the characteristics of them, they are tough, sound great and easily replaceable. For a studio session other options may be better but for a live situation why get anything else?

 

Substitute "Fender P bass" for SM58 in the above and would you still agree? The 58 was a great mic' in its day and it's still serviceable, but the model was first introduced in 1966. At the time, it was pretty well the only show in town (as was the P bass in its heyday) at its price, but technology has moved on. A lot.

Edited 4 hours ago by Dan Dare

[Stub Mandrel]

3 hours ago, Dan Dare said:

 

Substitute "Fender P bass" for SM58 in the above and would you still agree? The 58 was a great mic' in its day and it's still serviceable, but the model was first introduced in 1966. At the time, it was pretty well the only show in town (as was the P bass in its heyday) at its price, but technology has moved on. A lot.

 

The Shure SM58, introduced in 1966, has undergone numerous changes and improvements throughout the years, primarily driven by advancements in manufacturing and the need for greater consistency and durability, while retaining its core design and sound. 

Here's a breakdown of key changes and improvements:

Component Updates:

Shure historian Michael Pettersen estimates that the SM58 has gone through anywhere from 40-50 changes in components, mainly due to the microphone outliving its suppliers and the need for longevity. 

Impedance:

The original SM58 had dual low-impedance ratings (150 ohm and 50 ohm) to cater to broadcast standards, but Shure now uses a single 150-ohm impedance. 

Production Processes:

The SM58 has benefited from more precise tooling, new materials, and better production processes, resulting in greater consistency and increased durability. 

Rigorous Testing:

Every SM58 undergoes rigorous testing to meet all specifications before leaving the factory, ensuring consistent quality and reliability. 

Wireless Systems:

Shure has also developed wireless SM58 systems, allowing artists more freedom and flexibility on stage. 

SM58 LC:

The SM58 LC (formerly SM58 LCE) is a version without a switch, emphasizing robust simplicity and is common for pro-level microphones designed for the stage. 

Grille Design:

The grille is designed to dent when dropped, absorbing energy like a crumple zone on a car body. 

Unidyne III Element:

The SM58 is based on the Unidyne III microphone element developed in the late 1950s by Shure engineer Ernie Seeler. 

Military Specifications:

Shure adheres to rigid military specifications, ensuring the toughness and reliability of the SM58. 

Adaptability:

The SM58 has been embraced by various musical genres, from rock and pop to hip-hop and beatboxing.