Really wanting to make my sound a bit more organic by adding in more live percussion and recording my own voice and music concrete.
Also I need to record music concrete stuff for my university course.
Just wondering if the SM57 is good at recording natural noises and also things like bongos or floor toms. I've heard that it's only really good for snares and guitar amps.
Could anyone offer an alternative at around the same price?
It should do really well at the bongos. Play around with placement to get a good balance between open tones and slap notes.
It should work pretty well on floor toms. Micing from the edge, the angle used will greatly influence how much fundamental tone you get. Aimed closer to the rim will bring out more overtones, although a lot depends on how much space you have to place the mic under the cymbals. If I have a lot of space, I like to hang it about 1-2 inches in from the rim aimed diagonally through the tom to the rim of the opposite side on the bottom head. I'll then adjust the angle to get a balance of the fundamental and the overtones (more overtones help the attack come through).
All that said, if I had a choice, I wouldn't go with the 57 on toms.
I've used 57s for kick, snare, toms, bongos, vocals, guitars, bass cab, natural random noises, steel guitar, etc. it works for anything...but there's always other choices
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A beer is often described as being better than or worse than Budweiser.
For any application, the SM57 is potentially a valid choice. You can use it on literally anything and there's a chance that its your best option based on the source and your mic locker.
With an unlimited selection, there is almost always a better choice for any application and source, but there are almost no other mics that are potential "yes"s to every single situation presented.
So, if you had unlimited money to have the "best" mic for each application, you would never actually need one, but because money is an object, they always make sense to have around because the less money you have, the higher the chances of you not having a better mic option around are.
There will always be better options than an SM57 for each situation, but they are almost always "one trick pony" mics.
But, since we're on the subject, I really like pencil condensers for each situation you mentioned specifically. Perhaps a pair of Samson CO2s at about the same price as an SM57 actually make more sense. For music concrete, you are going to need an extremely strong preamp for a 57.
Other notable options that also warrant investigation on your end are:
Sennheiser e835, really competes with the SM58 but I've used it before and it's less midrange heavy, slightly scooped sound might actually be more pleasing to the ear.
Audix i5, I prefer this to an SM57 for most traditional SM57 jobs like guitars and snares. Not sure I love it as a vocal mic the way the 57 can be really beautiful with the right EQ touches but I find this sparkles in the high end where the sm57 can sound hyped and piercing.
A good audio technica shotgun mic, hear me out, nobody uses these in the studio, they're totally untried and they're used for dialog on films constantly. I use mine mostly for music concrete gathering. They're highly directional and extremely unique sounding.
A PZM mic, like the crown ones. These things exist for omnidirectional, ambient sound gathering. They make great drum room mics and if positioned on a hardwood floor, it's what they use to pick up sweeping noises , foot noises etc for theater productions. There's a lot of unexplored territory here too.
A beer is often described as being better than or worse than Budweiser.
For any application, the SM57 is potentially a valid choice. You can use it on literally anything and there's a chance that its your best option based on the source and your mic locker.
With an unlimited selection, there is almost always a better choice for any application and source, but there are almost no other mics that are potential "yes"s to every single situation presented.
So, if you had unlimited money to have the "best" mic for each application, you would never actually need one, but because money is an object, they always make sense to have around because the less money you have, the higher the chances of you not having a better mic option around are.
There will always be better options than an SM57 for each situation, but they are almost always "one trick pony" mics.
But, since we're on the subject, I really like pencil condensers for each situation you mentioned specifically. Perhaps a pair of Samson CO2s at about the same price as an SM57 actually make more sense. For music concrete, you are going to need an extremely strong preamp for a 57.
Other notable options that also warrant investigation on your end are:
Sennheiser e835, really competes with the SM58 but I've used it before and it's less midrange heavy, slightly scooped sound might actually be more pleasing to the ear.
Audix i5, I prefer this to an SM57 for most traditional SM57 jobs like guitars and snares. Not sure I love it as a vocal mic the way the 57 can be really beautiful with the right EQ touches but I find this sparkles in the high end where the sm57 can sound hyped and piercing.
A good audio technica shotgun mic, hear me out, nobody uses these in the studio, they're totally untried and they're used for dialog on films constantly. I use mine mostly for music concrete gathering. They're highly directional and extremely unique sounding.
A PZM mic, like the crown ones. These things exist for omnidirectional, ambient sound gathering. They make great drum room mics and if positioned on a hardwood floor, it's what they use to pick up sweeping noises , foot noises etc for theater productions. There's a lot of unexplored territory here too.
There's not many beers worse than bud, and there's plenty of worse mics than a 57!
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A beer is often described as being better than or worse than Budweiser.
For any application, the SM57 is potentially a valid choice. You can use it on literally anything and there's a chance that its your best option based on the source and your mic locker.
With an unlimited selection, there is almost always a better choice for any application and source, but there are almost no other mics that are potential "yes"s to every single situation presented.
So, if you had unlimited money to have the "best" mic for each application, you would never actually need one, but because money is an object, they always make sense to have around because the less money you have, the higher the chances of you not having a better mic option around are.
There will always be better options than an SM57 for each situation, but they are almost always "one trick pony" mics.
But, since we're on the subject, I really like pencil condensers for each situation you mentioned specifically. Perhaps a pair of Samson CO2s at about the same price as an SM57 actually make more sense. For music concrete, you are going to need an extremely strong preamp for a 57.
Other notable options that also warrant investigation on your end are:
Sennheiser e835, really competes with the SM58 but I've used it before and it's less midrange heavy, slightly scooped sound might actually be more pleasing to the ear.
Audix i5, I prefer this to an SM57 for most traditional SM57 jobs like guitars and snares. Not sure I love it as a vocal mic the way the 57 can be really beautiful with the right EQ touches but I find this sparkles in the high end where the sm57 can sound hyped and piercing.
A good audio technica shotgun mic, hear me out, nobody uses these in the studio, they're totally untried and they're used for dialog on films constantly. I use mine mostly for music concrete gathering. They're highly directional and extremely unique sounding.
A PZM mic, like the crown ones. These things exist for omnidirectional, ambient sound gathering. They make great drum room mics and if positioned on a hardwood floor, it's what they use to pick up sweeping noises , foot noises etc for theater productions. There's a lot of unexplored territory here too.
Two things on here I reply to:
I also have C02s, how do you like them? I haven't used them on much besides overheads. Why do you specifically recommend this mic?
Second, working in live sound I've come to adore SM58s and loathe basically any sennheiser for live application. I think my ears just prefer the smooth mids and not so brittle mid-highs
To keep the topic rolling (sorry) Id say get a C02 set or some sort of condenser. You would probably need a preamp with plenty of gain for certain recordings. But hell, 57s are so useful.
i'd say that modded 57 is a versatile for percussion, but stock one.. naaaah, too pronounced resonance at high mids. I like to use modded 57 and 58 even at hi-hat or cymbals - they have pretty nice rolloff without harsh highs, sound very natural.
As for alternatives on toms - try Cad 411, nice and cheap.
For concrete music i'd prefer some condencer mikes, but it depends on a task, as you may want some ambient stuff to record, or record some metal scrap as percussion, and so on, too wide task. For concrete music percussion 57 is ok, but i'd choose a modded version, as it have more linear frequence response.
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Gaining which he considers no other gain to be superior to that and abiding therein, he is not shaken even by the greatest of the sorrow.
Somebody's got some money! I'm also betting you haven't had a lot of beer from someone who decided to try home brewing just once.
Haha not really - there's also plenty of cheaper but better beer in the UK! As for the home brewing, funny you should mention that, I have a kit donated by the brother in law waiting for me to try....I also have a friend who's really good at it though, so hopefully won't be a disaster!
As for the original question (before I get too OT!) - I also like the i5 in place of a 57 a lot of the time, can't stand 57 for vocals (even if you get a good performance as a scratch vocal, I've never found that the sound can't be bettered by recording it with a nicer mic). I've always found 57s and 58s to be a bit thin on toms - hence the more usual Senn 421 or EV RE20.
I'd also rather have an SM7 or RE20 as a "one mic catches all" type option - they can do the close micing thing for percussion fine, but also sound better on voice and high percussion (tamb/shakers).
A good audio technica shotgun mic, hear me out, nobody uses these in the studio, they're totally untried and they're used for dialog on films constantly. I use mine mostly for music concrete gathering. They're highly directional and extremely unique sounding.
A PZM mic, like the crown ones. These things exist for omnidirectional, ambient sound gathering. They make great drum room mics and if positioned on a hardwood floor, it's what they use to pick up sweeping noises , foot noises etc for theater productions. There's a lot of unexplored territory here too.
Those are two tips I want to thank you for. Excellent!
A beer is often described as being better than or worse than Budweiser.
For any application, the SM57 is potentially a valid choice. You can use it on literally anything and there's a chance that its your best option based on the source and your mic locker.
With an unlimited selection, there is almost always a better choice for any application and source, but there are almost no other mics that are potential "yes"s to every single situation presented.
So, if you had unlimited money to have the "best" mic for each application, you would never actually need one, but because money is an object, they always make sense to have around because the less money you have, the higher the chances of you not having a better mic option around are.
There will always be better options than an SM57 for each situation, but they are almost always "one trick pony" mics.
But, since we're on the subject, I really like pencil condensers for each situation you mentioned specifically. Perhaps a pair of Samson CO2s at about the same price as an SM57 actually make more sense. For music concrete, you are going to need an extremely strong preamp for a 57.
Other notable options that also warrant investigation on your end are:
Sennheiser e835, really competes with the SM58 but I've used it before and it's less midrange heavy, slightly scooped sound might actually be more pleasing to the ear.
Audix i5, I prefer this to an SM57 for most traditional SM57 jobs like guitars and snares. Not sure I love it as a vocal mic the way the 57 can be really beautiful with the right EQ touches but I find this sparkles in the high end where the sm57 can sound hyped and piercing.
A good audio technica shotgun mic, hear me out, nobody uses these in the studio, they're totally untried and they're used for dialog on films constantly. I use mine mostly for music concrete gathering. They're highly directional and extremely unique sounding.
A PZM mic, like the crown ones. These things exist for omnidirectional, ambient sound gathering. They make great drum room mics and if positioned on a hardwood floor, it's what they use to pick up sweeping noises , foot noises etc for theater productions. There's a lot of unexplored territory here too.
This is the best description of the SM57 I have seen. I would second the comments on the audix i5 as well. Nearly as universal, but it opens the highs up a bit more.
If you can find one on sale maybe check out a beyer m201 which is a great and versatile mic. They are more new but I picked up a pair on sale for a little more then the sm57 and they have become one of my favorite mics on all kinds of sources. Other then that either stay with the 57/58 or the i5 as already mentioned. Both are fine choices.
It might sound odd, but I have never tried a 57 on vocals before.. I have plenty so I might just have to try it. I've done the 58 on vox, but never the 57.
I was thinking about this earlier today, then saw this topic and decided to give it a read.
The 57 is one of the few microphones that you pretty much can record anything with. I've seen them used on everything from BD to Double Bass, vocals, percussion, banjo's, you name it. For "ambient" low level recording I think it would be a struggle.
Other microphones that fall into this catagory (i.e. one mic that can do it almost all) are things like the Beyer 201, RE20, U87, AKG 414. I'm sure there are a few others, but those I just listed, I've seen, used, on almost every source imaginable by good pro's.
It might sound odd, but I have never tried a 57 on vocals before.. I have plenty so I might just have to try it. I've done the 58 on vox, but never the 57.
They're almost indistinguishable from each other.
You have to use a pop filter for a 57 if you're getting remotely close.
I actually had a pair of SM57s stolen from me in an extremely long story involving a local recording school.
A long time ago, I made a Youtube Video about how to make a small amplifier sound great. At the time, I used the tiniest amplifier ever, the battery powered marshall. Doesn't really sound great but it sounds a LOT better than the source. I used an SM57 there too.
I caught flack on Youtube because I went with such a crummy sounding amp (it was a demonstration) and it was suggested that I 'doctored' the sound somehow with all of the equipment I wasn't using to create the sound. Add in amateur photography and a college kid without a real sense of presentation, and you have my only example of an SM57 that I can show.
Keep in mind, the rig is considerably different these days. This was my college dorm room setup.
For toms, bongos, or other percussion, an SM57 would be fine but an ATM25 or ATM250 would be better. A shotgun with a Rode Blimp would be better for natural sounds. I don't think there's a good 1-mic solution for you.
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Thinking that I'll go for the 57. In terms of musique concrete stuff we can rent m-audio portable mics, i'd use the 57 for specific noises (hand clap, door opening) rather than ambience (although I would move onto that) and then prolong the noises in pro tools.
The sound doesn't have to be perfect, just honest, with good isolation.
But, since we're on the subject, I really like pencil condensers for each situation you mentioned specifically. Perhaps a pair of Samson CO2s at about the same price as an SM57 actually make more sense.
Is right, I also use mics like these and give good results, often deliver a more open and lively sound on percussion instruments.
For the situation you're describing, I'd suggest a pair of GLS ES-57 mics, which are basically an SM-57 knock-off. It's not EXACTLY the same as an SM-57, but just because it's a knock-off doesn't mean it isn't a really nice microphone. I believe just about anyone who's tried one would back me up on this. It is a good quality mic with very similar characteristics to the Shure, but it's less than a third of the price.
So, for just over half the price of a single SM-57, you could buy two ES-57s and record in stereo. If what you're after is adding some organic and natural sound, always keep stereo as an option.
I also have the Samson CO2s and would not hesitate to recommend them where pencils are concerned.
Last edited by foetus66; 20th October 2012 at 09:16 AM..
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I use SM58's live so I keep "Borrowing" them from the studio and forget to put them back.
