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The Shure SM58: Why the 1966 Vocal Mic Is Still Worth Buying

The microphone almost every singer has used at least once. The story of the Shure SM58, why it survives drops and decades of gigs, which version to get and where to buy one.

By unknowndivide staff 3 min read
A Shure SM58 and SM57 microphone resting on coiled cables on a stage floor beside a monitor wedge
The Shure SM58 and SM57 on stage. Image: Shure

Walk into almost any club, rehearsal room or church hall and there is a good chance the microphone on the stand is a Shure SM58. It is not the newest or the fanciest vocal mic, but it is the one engineers trust to sound right and survive the night, which is why it has been the default for close to sixty years.

Here is what the SM58 is, how it got here, which version to pick and where to buy one.

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What it is

The Shure SM58 is a cardioid dynamic vocal microphone. Cardioid means it picks up mostly from the front and rejects sound from the back and sides, which keeps monitors and drums out of the vocal. Dynamic means it uses a moving coil element that needs no power, so it plugs straight into a mixer, audio interface or public address (PA) system.

Shure lists a frequency response of 50 to 15,000 hertz, tailored for vocals with a brightened midrange and a gentle bass rolloff. A pneumatic shock mount inside cuts handling noise, and the spherical steel mesh grille has a built-in wind and pop filter. The body is enamel-painted die-cast metal, the whole mic weighs about 298 grams and it connects with a standard three-pin professional microphone cable.

Where it came from

According to Shure's own history, the SM in SM58 stands for Studio Microphone. In the early 1960s the company saw a chance to sell into radio and television studios, and developed the SM series from its Unidyne III, a cartridge designed by Shure engineer Ernie Seeler in the late 1950s. The SM57 arrived in 1965 and the SM58 followed in 1966. The main difference between the two is the ball grille, which turns the SM58 into a vocal mic with built-in pop protection.

The broadcast market barely noticed. Shure says sales were so sluggish that both models nearly got discontinued around 1970, until the company's national sales manager suggested showing them to live sound engineers in Las Vegas. The mics were a hit with performers there, and from that point the SM58 spread to rock stages and then everywhere else. Seeler, who preferred classical music, reportedly never took rock and roll very seriously.

Why it is still worth buying

  • It survives anything. Seeler tested the original cartridge by dropping, cooking, freezing and submerging it, and Shure even designs the SM58 grille to dent on impact so the capsule inside stays protected.
  • It handles loud sources. Shure puts its upper limit somewhere between 150 and 180 decibels of sound pressure, far louder than anything safe for your ears.
  • It flatters voices. The midrange lift helps vocals cut through a band without harsh top end.
  • It is the reference. Every sound engineer knows how an SM58 behaves, so you get a predictable result on any stage.
  • It is easy to service. Grilles, stand adapters and even the R59 replacement cartridge are sold as parts, so one mic can last a career.

Which version to buy

  • SM58-LC. The standard mic with a break-resistant stand adapter that rotates 180 degrees and a zippered pouch, no cable. The one most people should buy.
  • SM58S. The same mic with an integrated on and off switch, handy for presenters, houses of worship and anyone without a sound engineer.
  • SM58-CN. Bundles a 25-foot cable for a ready-to-go setup.
  • Beta 58A. Shure's step-up option with a tighter supercardioid pattern, hotter output and extended response. Worth considering for very loud stages, but the SM58 remains the more forgiving all-rounder.

How it fits a setup

On stage the SM58 plugs straight into a mixer channel. At home it works with any interface that has a microphone preamp; our audio interface guide covers good matches, and the studio headphones guide helps you hear what you are recording. Dynamic mics need a bit more gain than condensers, so an interface with clean, strong preamps makes a difference for quiet singers and spoken word.

For a complete starter rig, see our home studio starter gear. Players who want to add a classic pedal to the chain can start with the MXR Phase 90.

Where to buy

Shure sells every version direct from its official SM58 page, where you can choose a switch and cable option. You can also pick up the Shure SM58-LC or the Shure SM58S with on and off switch. To be sure you get the genuine article, buy from Shure or a listing sold by an authorized seller.

More recording gear lives in our home studio hub.