Shure SM58S manual Model SM58 Unidirectional Dynamic Microphone, Applications and Placement

Model SM58 User Guide

MODEL SM58

UNIDIRECTIONAL DYNAMIC MICROPHONE

The Shure SM58 is a unidirectional (cardioid) dynamic vo- cal microphone designed for professonal vocal use in sound re- inforcement and studio recording. A highly effective, built-in, spherical filter minimizes wind and breath “pop” noise. A cardi- oid pickup pattern isolates the main sound source while mini- mizing unwanted background noise. The SM58 has a tailored vocal response for a sound which is a world standard. Rugged construction, a proven shock mount system, and a steel mesh grille ensure that even with rough handling, the SM58 will per- form consistently. Outdoors or indoors, singing or speech—the SM58 is the overwhelming choice of professionals worldwide.

Features

SFrequency response tailored for vocals, with brightened midrange and bass rolloff

SUniform cardioid pickup pattern isolates the main sound source and minimizes background noise

SPneumatic shock-mount system cuts down handling noise

SEffective, built-in spherical wind and pop filter

SSupplied with break-resistant stand adapter which rotates 180_

SLegendary Shure quality, ruggedness, and reliability

Variations

APPLICATIONS AND PLACEMENT

The SM58 is ideal for close-up vocals and can be held in the hand or mounted on a stand. Some of the most common applica- tions and placement techniques are listed in the following table. Keep in mind that microphone technique is largely a matter of personal taste—there is no one “correct” microphone position.

APPLICATION	SUGGESTED MICROPHONE	TONE QUALITY
	PLACEMENT
Lead &	Lips less than 150 mm (6 in.)	Robust sound,
Backup	away or touching the wind-	emphasized
Vocals	screen, on axis to microphone.	bass, maximum
		isolation from oth-
		er sources.
Speech	150 mm (6 in.) to .6 m (2 ft)	Natural sound,
	away from mouth, just above	reduced bass.
	nose height.
	200 mm (8 in.) to .6 m (2 ft)	Natural sound,
	away from mouth, slightly off	reduced bass
	to one side.	and minimal “s”
		sounds.
	1 m (3 ft) to 2 m (6 ft) away.	Thinner; distant
		sound;
		ambience.

STAGE MONITOR & P.A. LOUDSPEAKER PLACEMENT

Place the stage monitor directly behind the microphone (see Figure 1). Locate the P.A. loudspeakers so that they point away from the rear of the microphone. With the speakers located in these positions, the possibility of feedback is greatly reduced. Always check the stage setup before a performance to ensure

optimum placement of microphone and monitors. 90°

STAGE

MONITOR

P.A.	°	0°
LOUDSPEAKERS	180

SM58

MICROPHONE

SOUND

SM58S (With On/Off Switch)

PROXIMITY EFFECT

When the sound source is less than 6 mm (1/4 in.) from the microphone, the microphone boosts bass frequencies (by 6 to 10 dB at 100 Hz), creating a warmer and richer bass sound than when farther away. This effect, known as proximity effect, happens only in unidirectional dynamic microphones like the SM58. The SM58 low-frequency roll-off provides greater con- trol, allowing the user to take full advantage of proximity effect.

SOURCE

90°

RECOMMENDED LOUDSPEAKER PLACEMENT

FIGURE 1

GENERAL RULES FOR MICROPHONE USE

1.Aim the microphone toward the desired sound source and away from unwanted sources.

2.Locate the microphone as close as practical to the desired sound source.

3.Work close to the microphone for extra bass response.

4.Use only one microphone per sound source.

5.Locate microphones at least three times as far from other microphones as from the sound source.

6.Use as few microphones as practical.

7.Place microphones far from sound-reflecting surfaces.

8.Add a windscreen when using the microphone outdoors, for closeup speech, or vocals.

9.Avoid excessive handling to minimize mechanical noise.

E2001, Shure Incorporated	Printed in Mexico
27A2902 (AH)