Shure SM57 User Manual

MODEL SM57
UNIDIRECTIONAL DYNAMIC MICROPHONE
The Shure SM57 unidirectional dynamic microphone is excep-
tional for musical instrument pickup or for vocals. With its bright,
clean sound and carefully contoured presence rise, the SM57 is
ideal for live sound reinforcement and recording. It has an ex-
tremely effective cardioid pickup pattern which isolates the main
sound source while minimizing background noise. In the studio,
it is excellent for recording drums, guitar, and woodwinds. For
musical instruments or vocals, the SM57 is a consistent choice
of professional performers.
Features
Frequency response tailored for drums, guitars, and vocals
Uniform cardioid pickup pattern isolates the main sound
source while reducing background noise
Pneumatic shock-mount system cuts down handling noise
Extremely durable under the heaviest use
Supplied break-resistant swivel adapter that rotates 180
Legendary Shure quality, ruggedness, and reliability
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 speak-
ers located in these positions, the possibility of feedback is
greatly reduced. Always check the stage setup before a per-
formance to ensure optimum placement.
STAGE
MONITOR
P.A.
LOUDSPEAKERS
MICROPHONE
RECOMMENDED LOUDSPEAKER PLACEMENT
FIGURE 1
1999, Shure Brothers Incorporated
27A2903 (SG)
90
0
180
SOUND
90
SOURCE
Shure Brothers Incorporated
222 Hartrey Avenue
Evanston IL 60202-3696 U.S.A.
Model SM57 User Guide
APPLICATION AND PLACEMENT
Some of the most common applications and placement tech-
niques for the SM57 are listed in the following table. Remember
that microphone technique is largely a matter of personal taste—
there is no single "correct" microphone position.
APPLICA- SUGGESTED MICROPHONE
TION PLACEMENT
Tom–Toms One SM57 on each tom, or
between each pair of toms, 25
mm (1 in.) to 75 mm (3 in.)
above the heads. Aim each
mic at the top heads.
On double head toms, remove
the bottom head and place a
mic inside aimed at the head.
Snare Drum 25 mm (1 in.) to 75 mm (3 in.)
above the rim of the top head
of the drum. Aim the mic at
the head.
If desired, place a second mic
just below the rim of the bot-
tom head.
Guitar & 25 mm (1 in.) from the speak-
Bass er, on-axis with the speaker
Amplifiers cone.
150 mm (6 in.) to 300 mm (12
in.) away from speaker and
on-axis with speaker cone.
.5 m (18 in.) to 1 m (3 ft) back
from the speaker, on-axis with
the speaker cone.
On-axis with the edge of the
speaker cone.
Brass & Brass: .3 m (1 ft) to 1 m (3 ft)
Woodwinds away, on-axis with bell of in-
strument.
Woodwinds: 25 mm (1 in.) to
150 mm (6 in.) away, on-axis
with bell of instrument.
Bell of the instrument 90 off-
axis from the front of the mic.
Vocals & 25 mm (1 in.) to 150 mm (6
Speech in.) from the vocalist's mouth.
PROXIMITY EFFECT
When the sound source is less than 6 mm (
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 in unidirectional microphones like the SM57. The
SM57 low-frequency roll-off provides greater control, allowing
the user to take full advantage of proximity effect.
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Product Information
TONE QUALITY
Medium attack,
balanced sound.
Medium attack,
balanced sound.
Most "snap"
from drumstick
impact
More "snare"
sound.
Most attack,
emphasized
bass
Medium attack,
full, balanced
sound
Softer attack,
thin, reduced
bass sound.
Thinner, re-
duced bass
sound.
Bright, clear
sound.
Bright, clear
sound.
Softer, mellow
sound.
Rich, warm
sound.
1
/ in.) from the
4
Printed in U.S.A.