I have been teaching this exact thing for 30 years, and I could’ve saved so many months of time over those three decades, put my time in students, and apprentice engineers, if I would’ve thought of making a tool exactly like this. Even without the video, we could’ve thought of that, but we didn’t and you did. You’ve made the future decades of my life much easier every time I have to teach this to somebody. I am extremely stingy with my praises, and you have them all.
I looked this up some months ago when I wanted to build a podcasting setup. I ended up buying four SM57’s because I wanted the slightly more versatile build, and with the windscreens, all four of those cost less than properly outfitting a single SM7B. And the audio sounds fantastic!
Thanks Curtis, another fascinating historical view of the development of the Shure mics... and of course, fabulously helpful advice on how to improve your sound for video.
It's delightful to see this. I have dreamt of the SM7B cleaning up my computer audio, but just found two SM57 mics I bought years ago and they are GREAT. I was still hesitant that maybe my ears weren't trained well enough, but hearing your comparison puts me at ease. Very timely. Thanks Curtis!
The surprise to me is that when hearing the comparisons is how good the sm57 sounds in comparison. I actually think your voice sounded the best on the sm57 - the first lady was not as appealing with it when in the comparison. But I think these videos show that the more expensive options have their place, but if you can't afford the SM7B, the alternatives for a fourth of the price are really a great option.
I've used sm57 & 58 for years. Standard for me. Love'em! One can always find them on sale too. Usually around the $70 U.S mark. They can take a beating as well. I've replaced the Ball on the sm58 countless times. Wouldn't be afraid to buy either used. Found this review helpful as I know nothing of the sm7b. Nice work.
I ask a question in the last video about what mic setup to get for a 4-person podcast setup and BOOM here you go again with another knowledge bomb. Thank you Curtis for all you do! I'm going with 4x SM57 and the Zoom Podtrak P8 to get that extra gain you need. If money allows later I might spring for the SM7Bs. Need to order more sound blankets though to fully complete my mobile sound fortress of solitude.
Hi Curtis. That was a fantastic video. I'm looking for a mic solution to reduce the echo in my studio. Currently I'm using a zoom h5 with the zoom ssh6 capsule. From what I've seen and read it seems that perhaps the SM58 might be the best option to reduce echo and noise. I already got 2 fetheads thinking I would buy the SM7B, but now I don't know what to do. If you watch my last video you'll see how the sound currently is (and it is a treated small studio room with 10 sound panels). Any help / feedback would be much appretiated. Thanks!
I will be connectig the mic to the zoom h5. Also my original idea was to get a setup that would allow me to shoot a podcast with 2 mics in an untreated room.
Hi Curtis! Thank you for your (again) overwhelmingly helpful comparison of these three classics. Have you tested the Shure A55M shock mount for the SM57 and SM58? I chose the SM7B not only because of the easier handling if I move my head and body a lot but also because the internal shock mount is so incredibly efficient. I can reposition the microphone without worrying too much about causing noise. But maybe the A55M does (more or less) the same magic at a better price point - what do you think?
I have a sm58 with open headphones (hd599), do you think it is possible to use them together in a context like twitch where I have the game and my voice in the headphones? Because I feel forced to move the microphone a few centimeters so as not to pollute the microphone from the headphones thus still increasing the normal background noise
The A81WS windshield rolls off those harsh high frequencies and "veils" the sound perfectly imo. And, yes, you can absolutely fit an SM58 into the sleeve, even though most people will tell you that it won't fit. It will. And it sounds lovely.
Great video on these mics Curtis, thanks. BTW -23 LUFS loudness area is working very well. You and I talked back and forth over this recently. I was able to get down to -22 LUFS from a too hot input Aux from the main mixer. Stacking a few plug-in compressors on my Studio One Artist 6 DAW did the trick. Still have good dynamics and nice audio quality as well.
i feel terrible asking for one more comparison! but... i'm gonna do it... would you say that the 58a Beta is somewhere in the mix between these microphones, or is it more different from these 3 than they are compared to each other? my sense from reading online is that the 58a beta is very similar to the SM58, but a little more lively at the high end in particular, and requires a bit less gain overall. now that i'm hearing you describe the SM57, i wonder if the 58a beta lives somewhere in the neighborhood between the SM58 and the SM57. early on in 2020, i bought an SM58 on ebay but the seller accidentally sent me a 58a beta, and while i've been happy with it in general... i sometimes wonder if i would get a slightly more pleasing result if i got an SM58 (or, now, i'm wondering, an SM57). or if the 58a beta is similar enough that your ultimate advice (that you'd kinda need to do a side-by-side comparison to notice very apparent differences) still holds. i'm definitely dwelling on finer details than the bigger issues i need to address in my space (ahem, acoustic treatment), but i like having a functional intuition of the pros and cons of what i'm working with, even if i don't have all the other options on-hand to try out. even if you can't answer this, thanks so much for this resource as it is. i feel like this gives an unparalleled breakdown of the SM7b vs numerous alternatives that people might actually prefer.
Great comparisons! Rule of thumb has typically been 57 for music/cab mic; 58 for vocals; SM for podcasting/spoken word. I was shocked at the 57 and how great it sounded on video. I have a couple already for guitar cab mics and I think I'll try it out on my boom to see how it fits my voice. You have arguably the best sound channel on RU-vid - just incredible content Curtis. Thank you again.
Thanks for the nice comparison, Curtis. Regarding the SM7B: technically the presence boost is not a 'boost', it removes a passive 1st order LC bandstop presence filter, which in flat position smoothens the intrinsic Unidyne III capsule presence boost. Frequency response of the SM7B with this bandstop removed ('presence boost' on) is similar to the other two, minus the distortions introduced by the internal transformers in SM57 and SM58. One other important difference between the SM7B and the other two is the additional humbucking coil (introduced already with the SM7A version) - it gets apparent when used in close proximity of guitar amps, or any other EMV source. The one big reason the SM7 is so highly regarded for higher end studio use is that, having no built-in transformer, it leaves a lot more sound flexibility up the signal chain, just by choosing a specific preamp.
I was thinking about bypassing filters and connect the capsule directly to xlr connector - for that reason. Because that presence boost filter is in fact a “dip” in frequency response, to make it flat. Anyway, sm7b sounds better with presence boost on.
@ yes - 'on' ist a good choice when combined with the right preamp - 'presence boost' on, and no low cut - than you connect directly to the capsule, no need for modifications.
Fascinating to realize they all use the same capsule. The differences make sense with the physical design around the capsule. 57 - brighter, basically no foam in front of capsule. 58 - little darker, built-in pop filter in front of capsule and more distance to front of grille 7B - darker still, way more distance to front of capsule, but also EQ filtering that can change the response.
What's a large windscreen that would work with the Behringer Xm8500 and the SM58? I've got both and have had problems with using them outside with normal foam windscreens. Something like the A81WS?
Thank you for great video and perfect information form. Curtis, what you mean about SM48? I think It is lower budget variant and have very well sound for vocal and podcasts. I used it for recording vocal
how do you compare the Shure MV7X XLR only to the SM7B for podcasting/streaming? What are you thoughts, both being dynamic mics and all, which one do you feel would be more suited to this application? Love your videos, keep it up! Liked and subbed!
I haven't used the MV7X but I assume it is the same as the MV7 when used via XLR and we addressed how it compares to the SM7B in our MV7 review: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-fhFCsL7bq6Q.html
I have an SM57 but my audio interface maxes out at + 24dB gain. Does Microsoft Teams do any kind of software auto-levelling that will compensate for this?
I'm not sure, but if it does, it won't compensate without raising the noise floor substantially because all it has the ability to do it digitally raise the levels vs. analogue amplification.
Thanks for the help Curtis! Would you by chance have the ability to review the sE Electronics V7? I’m looking for a handheld voice over mic for podcasting. Currently considering the SM58, Samson Q2U, and the sE Electronics V7.
I use an old low budget Samson - think it was the S7, something like that - handed down from my dad. Getting a mixer with compression/EQ etc. really made it sound a lot better. So much clearer now. Just need to work on my mic technique now I think. Probably a little too close to it.
The SM7 is just a flex and look mic that was originally designed for radio studios. I listen to a podcast nearly daily that is recording with SM58s and it sounds absolutely great, and they handhold the mics... so they get really close to their mouths and it sounds fantastic and adds a great dynamic! I personally feel the boom floor stands that people use when they're sitting in chairs just looks so strange, especially after watching/listening to that podcast. Most people just need two mics, two cables and a recorder to start a great podcast. That's it. We get so caught up in gear tunnel vision. Just get your idea and personality out there!!
@@curtisjudd I wouldn't say so no, there is a bit of a hiss sound i think it comes from my audio interface but also when i type on my keyboard or even click my mouse in the background its really loud unless i bring the gain to the 40ish range but then my voice is also quiet...
Good video Curtis ! I was wondering if i should turn on the boost switch on my SM7B because i had a SM58 beta and i thought that sounds much brighter, much pleasant.
Thank you Curtis for the wonderful comparison and explanation of these microphones. The practical noise floor test is only 1 dB difference from the tests you did with the Rode NT1. Do you have any idea why the difference is so small?
Dynamic mics are generally very good in terms of self noise vs condenser mics. When it comes to dynamic mics, the preamp self-noise spec is more important.
@@curtisjudd Thank you Curtis. Is it perhaps an idea to not only give an indication of the total noise in the 'practical self noise test' but also to indicate roughly which part is caused by the microphone itself, the rest of the setup (for example cabling and preamp) and the environment? An indication of the accuracy or uncertainty in the method may also be important. I think this does better justice to the performance of the microphones in particular that produce almost no noise themselves, such as the Shure SM57 and the Rode NT1.
What do you mean? Microphones that have switchable polar patterns use the two capsule method with great results. In fact, some very high end microphones do this.
So many people in Vo have said stay away form the SM57 and go for a large condenser, but as I don't have a fully treated space, a dynamic seemed a better choice. Honestly, to my untrained ear, the SM57 sounds great for spoken word and would work well for VO, what do you think?
@@curtisjudd thanks Curtis. I’m trying to decide between the RE20, SM7B, and the SM57 for my VO storytelling RU-vid channel. I don’t make money from VO so I don’t consider commercial products, just a nice smooth sound where it doesn’t eventuate my sibilance or deep voice. What are your thoughts on the SM57 compared to the other 2, any major pros and cons for my use case. Lastly, what made you use the SM57 for your course(s)?
@@ChroniclesofGhoul The SM57 and RE20 both tend to emphasize sibilance in my voice. So I used the SHURE A81WS wind shield which mellows out the sibilance. I'd advice against the RE20 if your have a lot of sibilance in your voice. The SM7B is fine, but also substantially more expensive. In essence, the A81WS makes the SM57 sound very, very close to the SM7B.
@@curtisjudd thanks again Curtis, you always come through with great advice. I think I’m gunna go with the SM57. I currently have the Lewitt 440 pure but being a large condenser, it just picks up too much from my space. Do you feel the SM57 would pick up less ambient noises than a condenser?
Great round-up. Agree that SM58 sounds better with your voice. I think these all sound great with male voice, warmth but with a pleasant crispness. For female voice, I think Oktava MK-012s sound better, they add a little warmth but not at the expense of clarity in the higher range. With the foam shield and a pop-filter, the SM57 can also work great for male voice. With shields/filters and careful EQing, these can all be made to sound very similar. Julian Krause has a good video on setting up and EQing the SM57 to sound like an SM7B.
I have all of them plus the precluding models such as the 55SH, 545SD-LC, 565 etc or the updates such as the Beta range. They are all great. Different but great.
I have the Rode Podmic, the Shure 55SH, Senneheiser E835 and just bought the SM57 yesterday. It does require more gain. Inhave the AW3 foam windscreen and ordered the AW2. Wondering if the AW2 will be a little more open. Of all 4, can get almost similar tone out of each with some tweaking. The SM7B has the bragging rights I suppose 😂. Great info here and just re-affirmed i made a good decision for the SM57 for youtube vlogging. Actually sang with it today and get a pleasing tone as well out of it. The E835 has always been my preferred mic for live singing.
I have a audio video ? I just can not seem to fix. How can I take the audio sound out of my Mac Studio and have it sync with a camera shooting video of me playing a music keyboard. And a second camera showing me also in sync for that camera all going into OBS Studio for recording? I have a audio interface in fact two of them and I just can not get the two cameras and the sound from the Mac to be in sync and be able to monitor it back with headphones hearing all of it as I am recording?? I am thinking maybe the Tuscam SERIES 208i audio interface as it has 8 outs on the back I could send an output to each camera and it connects usb to the Mac to give me the Mac sound. Most every other audio interface dose not have the outputs to support a few cameras to feed to? I have the new new Lewitt Connect 6 sitting here I got in today and after a good six hours with it I can not do this so I will need to send it back it looks like. Thanks
@@curtisjudd That is what i am trying to avoide plus at times i will want to live streem as i get ready for that so need it all in sync. l am almost their using a newer Mac audio program called Caster i spent a few hours with it last night. It lets you controal the audio of any program on the Mac and asign them in a interface and then in OBS you can pull in any of the single audio feeds from any of them. I have all that setup and working good now. But i am getting a small delay on my talking mike and my Keyboard playing. I am working on using OBS to sync them up. I also set up a new output from OBS i learned about to send back to my Audio interface so i can hear the full recording output from OBS. So if i can get the two itmes in sync in OBS using the audio delay feature then the output i hear will be i sync with my voice and video and keyboard playing. I Hope.. working on that later today. I will be switching to many different views that have 3 to 4 video and or images boxes in them. So i want to have all them recorded at once with the audio synced so i have less work only need to go back and make a few cuts in places.
@@curtisjudd What i learned today is the new Lewiit connect 6 audio interface i had got in dose not work right on Mac. They did not know this - So much for testing a product before selling it.. I sent them in videos showing this and today they confurmed they recreated the same problem and it is a problem that needs to be fixed but could not give a time when it will be fixed. So if you are a Mac user stay away from it till it is fixed at some point. So i am sending it back today and ordered the Audient iD14 MKII i am going with. It has the outputs to send into OBS that are missing in the Connect 6 to make it easy to get the sound into OBS.
@@goactivemedia I was working on a review of the Connect 6 and yes, the app is still rough on Mac. I'm going to wait until they get that sorted out. But the device is quite good otherwise.
Unfortunately the A81SW wind screen is at least $50. It is needed for the sm57 though. It's just something that should be put into the equation when weighing the price to performance value.
Wow, Curtis, how long have you been around, Mate? I remember watching you years ago. Thanks to your explanation I finally get the SM7B gain controversy. But what did Shure really have in mind? Did they realise that modern mic preamps or interfaces might produce a better sound that running the singal through a transformer in the mic? Well it seems to have been a marketing success because the damn things are so popular. Luckily for Shure I wasn't on committee as I would have said, "Say what?" But seriously, most podcast listeners end up listening to their podcasts on smartphones -- actual surveys say that's 73%, and the figures for broadcast listeners on car radios is about the same. It's not like the old audiophile days when an audio aficionado would spend thousands on a stereo system and sit on a strategically placed chair for listening pleasure. So are the users of the SM7B just polishing their own egos listening to their podcasts/broacasts straight from their mixers with their up-market headphones? When my Rode NT-2 finally spat the dummy I used an AKG D330 BT with a windsock. It's a little better than the revered SM58 because it is a hypercardiod with adjustable high and low cut filters; you can get a little further away to reduce plosives without a loss of the proximity effect. I'll never go back. Cheers 😊😊
Glad they’re working well for you. I think most people getting started on a budget are going to get better results finding the mic that suits their voice vs spending thousands on top tier converters.
A very interesting video thank you. As far as I can see you have to have a SM7B if you do video talking head/podcast because then you place right in front of your face so that everyone knows you're professional 'cos you've got a 7B. I hasten to add, unlike the true professional we have just been watching.
The real professionals boom a shotgun or hypercardioid overhead, such as Curtis in most of his videos except where he’s specifically demonstrating a particular type of mic. I find it hilarious when I see SM7B’s everywhere when they really should be using shotguns, especially on the highly successful channels where money is not an object
@@CrackerboxPalace777 But then most of them would need to invest in some way to tame the reflections in their rooms and so many would rather buy a new electronic tool than some boring sound blanket or broadband trap. 😉
I love my XM8500 with a windscreen. The preamps are good enough on my Presonus Quantum 2626 for the XM8500, but with the Klark Teknik CT1 Mic Booster the noisefloor is even lower.
The 57 is a replacement for the 545, a silvered model from wayyyy back. The 545 also had a shock-mount-equipped brother, the 546. These go back a year or two.
@ken The SM57 was not a "replacement " for the 545 as the 545 is still made today. The 545 was introduced in 1959 and the SM57 in 1965. The 57 is very similar to the 545, the big difference is simply the non-reflective surface of the body and the elimination of the on/off switch. Buy the 545 if you need the on/off switch or if you like the silver and black look of it. The SM series mics were intended to compete with Electrovoice which already had mics that were non-reflective look which made them less of a problem with bright lights when in camera shot. The SM57 mics did not sell well initially certainly not managing to unseat Electrovoice in the TV or even the radio market (at least not until Shure came out with the SM5). As to the windscreens the A2WS is rather poor if you work the mic very closely and are a popper. Spend the extra money for the AW81.
24 minute video summary in 15 seconds: Get SM58's for your studio. Stop buying "Heil Audio" crap. The only reason that took off was because of Pat Flynn, and he took you all for a ride by being one of the first to drop affiliate links in content back in the day.
@@curtisjudd Between you and Hess, I'd rather work with you. The reason why I gave him a jab is because he dumps on his community when they slightly disagrees with him. Not even a "I disagree", it's a whole "That's why your production isn't worth making" type of line. Comment after comment in his comment sections, I unsubscribed from him.
