BillFitzmaurice.info

dswpro wrote:Another vote for the e835, I buy three at a time on Ebay for $211.00 (US$)
For me, simply the best balance of sound quality, durability and low handling noise.

Do you / others use them for duties other than vocals? The frequency response seems good on the low end, though they're not pitched as 'instrument' mics.

Chris_Allen wrote:Next time I'm in Ramsbottom, I'll drop my remaining SM58 off so you can have a play. I typically only use it in an emergency.

Thanks Chris.

doing an A/B to compare mics is the only real way to find whats most pleasing to your ear. It was very common in the studio with our singer….moving between a Neumann U-87 and AKG-414, as far as dynamics mics are concerned live, i ill move the 58s aside and reach for the EV 767s for the vocals. Its just my nature to buy good mics and not skimp. i would rather have one good mic than 3 cheap ones. i am a firm believer that "the proof is in the pudding" …..if it sounds good, use it. The bottom line is don't let your lack of funds decide what mic you should get. Just wait a little longer and save for the better gear.

I have used the 835 on guitar cabs, and drums but I own so many microphones any more ( over thirty at last count ) that my half dozen 835s are usually on whatever vocals aren't wireless. The wireless mics I use most are Sennheiser as well; XSW 35, EW 135, which have the 835 capsule.

58s may not be the best sounding mic, but they're roadworthy.

You can shingle an entire roof using a 58 as a shingling hammer, and it'll likely still work afterwards, and still sound more or less the way it did from the factory.

Most other mics will not stand up to this abuse; that's what makes the 58 an industry standard mic.

byacey wrote:58s may not be the best sounding mic, but they're roadworthy.

You can shingle an entire roof using a 58 as a shingling hammer, and it'll likely still work afterwards, and still sound more or less the way it did from the factory.

Most other mics will not stand up to this abuse; that's what makes the 58 an industry standard mic.

To contradict that, out of all my mics the Shures are the only ones that have broken. One SM58 Beta and one SM58. Both died with the same fault - a damaged cable to the capsule.

Chris_Allen wrote:

byacey wrote:58s may not be the best sounding mic, but they're roadworthy.

You can shingle an entire roof using a 58 as a shingling hammer, and it'll likely still work afterwards, and still sound more or less the way it did from the factory.

Most other mics will not stand up to this abuse; that's what makes the 58 an industry standard mic.

To contradict that, out of all my mics the Shures are the only ones that have broken. One SM58 Beta and one SM58. Both died with the same fault - a damaged cable to the capsule.

Sounds like someone's been peeking inside too often and not properly backwards-winding the capsule a little before screwing 'em back together.

All good suggestions and just to add another that I have used and personally like better than any sm58 is the AT 2010. It costs the same ($100) as a 58 and is a handheld condenser mic with plenty of gain before feedback and no proximity effect. In my experience its frequency response helps vocals to be more present in the stage mix.
http://www.sweetwater.com/store/detail/AT2010

Bruce Weldy wrote:Sounds like someone's been peeking inside too often and not properly backwards-winding the capsule a little before screwing 'em back together.

Actually, the Beta had the plastic surround holding the capsule snap which ultimately led to the failure of the connector cables. I'll post some pictures.

Bruce Weldy wrote:
Sounds like someone's been peeking inside too often and not properly backwards-winding the capsule a little before screwing 'em back together.

That would be a design flaw - something not constrained in the appropriate degree of freedom. But on the contrary, they're pretty sure of themselves over on their blog: http://blog.shure.com/sm58-facts-vs-fiction/

Watch for the guy in the blue shirt's loaded questions.

I think they sound shit, the more I listen to them.

Charles Jenkinson wrote:

Bruce Weldy wrote:
Sounds like someone's been peeking inside too often and not properly backwards-winding the capsule a little before screwing 'em back together.

That would be a design flaw - something not constrained in the appropriate degree of freedom. But on the contrary, they're pretty sure of themselves over on their blog: http://blog.shure.com/sm58-facts-vs-fiction/

Watch for the guy in the blue shirt's loaded questions.

I think they sound shit, the more I listen to them.

I found everything they said to be true.....

There's nothing wrong with 58s. They do what they are supposed to do. There are certainly worse microphones out there and there are better.....most important is to get one that matches the vocalist's voice the best. Unfortunately, there isn't usually time to test different mics on the fly - so having a go-to for various voices is good.

And a little tip for all you newbie soundmen out there. Know your polar patterns on the mics you own....and those that show up that the artists want to use. If you know the polar pattern, you will be able to better locate the monitor in the null zone of the mic.

Note that cardiod mics have a null in the back. Hyper and super cardioid mics have a bump in the back and will feed back if the monitor is directly behind the mic. I always try to stay about 30 degrees off axis from the rear of the mic - good null zone there.

But, google the polar patterns of the mics that you use and pay attention to them - it will make life easier.

I use this site for all my microphone data:

http://microphone-data.com

It requires a login but has loads of information.

Hey Bruce, I like to think of myself as a sound guy newb, and the polar pattern tip was great, thanks. But as a newb, I don't see the SM58 heritage as being sufficient to make it a go-to solution, not least as mentioned already, the price and all the knock offs. One could also cite confirmation bias for me with respect that I've just bought an e835.

Their pod cast videos are however propaganda-rous - no factual data presented. Only if they still have a patent on the pneumatic isolation mount could no one have yet copied theirs - if my memory serves, patents only last 25 years. As to running one over with a tour bus, clearly the upper flaired part of the solid handle body is supporting the load from the relatively stiff tyre - failure modes are specific, as the deformable mesh screen indicates.

Bruce Weldy wrote: And a little tip for all you newbie soundmen out there. Know your polar patterns on the mics you own

Great advice, will remember it myself.

Funnily enough, Beta58's are now shipped with a cardboard template to place over the mike so you can position monitors appropriately. Without even having to know what a polar pattern is

Charles Jenkinson wrote:Hey Bruce, I like to think of myself as a sound guy newb, and the polar pattern tip was great, thanks. But as a newb, I don't see the SM58 heritage as being sufficient to make it a go-to solution, not least as mentioned already, the price and all the knock offs. One could also cite confirmation bias for me with respect that I've just bought an e835.

Their pod cast videos are however propaganda-rous - no factual data presented. Only if they still have a patent on the pneumatic isolation mount could no one have yet copied theirs - if my memory serves, patents only last 25 years. As to running one over with a tour bus, clearly the upper flaired part of the solid handle body is supporting the load from the relatively stiff tyre - failure modes are specific, as the deformable mesh screen indicates.

That’s not to say that if I had an SM58 I wouldn’t feel nostalgic and have a smile on my face. Of course I would. But I’m not paying £80 new for something that isn’t as good as something else for £60 or less, and even then, people expect to reach 60 quid second hand for genuine 58’s, and they get it! Time for a reality check. The only conclusion is that Shure should drop the price, and the problems in this specific budget-pro mic market (which they’re obviously not able to see) will go away, they’ll sell more product and probably make more money, and there’ll be less copies going around. That extra 20 quid (30+ percent) they are still pulling is largely hype – trading on heritage and naivety.

Nevertheless, at least mic’s are reasonably equivalent value (i.e. $100 approx £60) across the pond.

Grant Bunter wrote:

Bruce Weldy wrote: And a little tip for all you newbie soundmen out there. Know your polar patterns on the mics you own

Great advice, will remember it myself.

Funnily enough, Beta58's are now shipped with a cardboard template to place over the mike so you can position monitors appropriately. Without even having to know what a polar pattern is

Yeah, Betas are not the same as regular 58s. They have the lobe in the back. I don't hear any real difference in the two mics - the Beta is just higher gain. Adjust for that and they sound pretty much the same - a little more hype on the high end for the Beta.