Shure SM58 Manual Del Usuario

MODEL SM58
UNIDIRECTIONAL DYNAMIC MICROPHONE
The Shure SM58 is a unidirectional (cardioid) dynamic vocal
microphone designed for professonal vocal use in sound rein-
forcement 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
Frequency response tailored for vocals, with brightened
midrange and bass rolloff
Uniform cardioid pickup pattern isolates the main sound
source and minimizes background noise
Pneumatic shock-mount system cuts down handling noise
Effective, built-in spherical wind and pop filter
Supplied with break-resistant stand adapter which rotates
180
Legendary Shure quality, ruggedness, and reliability
Variations
SM58
SM58S (With On/Off Switch)
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 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.
1999, Shure Brothers Incorporated
27A2902 (SC)
Shure Brothers Incorporated
222 Hartrey Avenue
Evanston IL 60202-3696 U.S.A.
Model SM58 User Guide
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
Lead &
Backup
Vocals
Speech
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.
LOUDSPEAKERS
GENERAL RULES FOR MICROPHONE USE
1
/ in.) from the
1 Aim the microphone toward the desired sound source and
4
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.
SUGGESTED MICROPHONE
PLACEMENT
Lips less than 150 mm (6 in.)
away or touching the wind-
screen, on axis to microphone.
150 mm (6 in.) to .6 m (2 ft)
away from mouth, just above
nose height.
200 mm (8 in.) to .6 m (2 ft)
away from mouth, slightly off
to one side.
1 m (3 ft) to 2 m (6 ft) away.
STAGE
MONITOR
P.A.
180
MICROPHONE
RECOMMENDED LOUDSPEAKER PLACEMENT
FIGURE 1
TONE QUALITY
Robust sound,
emphasized
bass, maximum
isolation from oth-
er sources.
Natural sound,
reduced bass.
Natural sound,
reduced bass
and minimal "s"
sounds.
Thinner; distant
sound;
ambience.
90
0
SOUND
SOURCE
90
Printed in U.S.A.