Saxguy's Full Review: Shure SM57 Professional Microphone
The Shure SM 57 was one of the microphones I used on my first gig with me providing professional sound a couple of months ago.
When acquiring the mikes for my sound system, I sought out microphones that would deliver quality reproduction for my band members and me (I play soprano and tenor sax, my colleagues on electric or acoustic bass, guitar and drums) at a reasonable price. I knew that I would need up to 6 mikes for a quartet, as the drummer gets 2 (one for the cymbals and the toms, one for the bass or kick drum), plus an announcement mike in addition to my wireless mikes for sax and one each for the bass and guitar.
Several years ago, I decided to build a sound system slowly. I initially got the monitor speakers, which are used by a band to hear themselves, a mixer, and a wireless mike system for myself. Then, I figured the mikes and mike cords were next. What I had would be powerful enough for small gigs and there were stores I could use to rent the speakers for large crowds.
I was surfing Ebay for months a couple of years ago, looking for mikes that would fit my needs. Early on, I hoped that I could get some Shures, because of their strong reputation in live sound for both their SM57 and SM58. The difference is that the 57 is primarily for instruments and the 58 is primarily for vocals, although it can be used for instruments. I was drawn to the 57 because of it’s ability to handle saxophones, guitar, bass, tom-toms and the bass drum as well, not only according to the Shure web site but also some product reviews I found.
I checked out the specs on the SM57. It is a cardiod, dynamic mike, which means that it has heightened sensitivity to the sound source it is miking with less sensitivity to extraneous background noise. The microphone has solid response from 40 – 15000 hertz and is extremely durable.
I saw a used mike lot on Ebay, featuring a Shure SM57, a Shure SM58 and 2 Audix OM3XB mikes. I was not worried about buying them used, because the seller had a good feedback rating and because all of the models in the lot had a reputation for durability. The guy threw in a bunch of mike cords, which I needed, as well. The cost of the mikes was around $52.50 each.
The SM57 lists for $158, with a typical street price of $89.
So, I put this mike on the bass drum on the gig. Generally, bass drums do not need to be mixed real high because the drum itself is loud. However, there has to be enough amplification so that the band sound can be balanced and the balance can be maintained through changes in volume. The drummer I used is a very busy, very active drummer, so I knew having responsive mikes on the bass and the toms and cymbals would be a key to getting the sound I wanted. I had played with the drummer before and I didn't need to be reminded about his style when he said it would be hot and asked if he could wear shorrts.
My son, the sound guy, balanced the mikes initially and maintained the balance. I liked the sound I was getting out of the monitor speakers. Note: the monitors are smaller speakers on stage pointed back at the musicians so they can hear what the audience hears and blend and balance. I also got nice comments from the audience during the break, including from some musician friends of the bass player.
So the gig went REAL well, in part because I had good mikes and my son was SUPER as a sound man. Buying the mike lot with the SM 57 as the foundation was a good decision.
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