Shure Sm57 Manual
- General Description. The Shure SM58 ® is a unidirectional (cardioid) dynamic vocal microphone for professional vocal use in sound reinforcement and studio recording. A highly effective, built-in, spherical filter minimizes wind and breath “pop” noise.
- The differences between the Shure SM57 vs. SM58 can be found right here in this informative comparison review!!
Model SM58® User Guide ©2006, Shure Incorporated 27B2902 (Rev. 3) Printed in U.S.A. GENERAL The Shure SM58® is a unidirectional (cardioid) dynamic vocal microphone for professonal vocal use in sound reinforcement.
The Shure SM57 is a low-impedance cardioid dynamicmicrophone made by Shure Incorporated and commonly used in live sound reinforcement and studio recording. It is one of the best-selling microphones in the world. It is used extensively in amplified music and has been used for speeches by every U.S. president since its introduction in 1965.[1] In 2004, honoring its four decades of 'solid, dependable performance', it was inducted into the first-ever TEC Awards TECnology Hall of Fame.[1]
Background[edit]
The origin of SM57 may be traced to 1937, when Shure engineer Benjamin Bauer developed the first single-element directional microphone, the Unidyne, which had a cardioid pickup pattern.[1] In 1959, another Shure engineer, Ernie Seeler, advanced the art of microphone design significantly with the Unidyne III.[1] Seeler torture-tested the Unidyne III during three years of research and development and thereby, produced the SM series of rugged and reliable Shure microphone capsules.[1] The 'SM' stands for Studio Microphone;[2] Seeler was an aficionado of classical music and expected the SM57 to be used for orchestras. Because he 'despised' rock music, the TEC Foundation said that it was 'ironic' that the microphone has become 'a mainstay of rock music.'[1]
Characteristics[edit]
The SM57 uses the same capsule as the popular SM58. Like the SM58, the SM57 is fitted with an XLR connector and features a balanced output, which helps to minimize electrical hum and noise pickup. According to Shure, the frequency response extends from 40 Hertz (Hz) to 15 kHz. The SM57 is manufactured in the United States, Mexico, and China.
The Shure A2WS is an accessory windscreen for the SM57 that attenuates wind noise and plosives ('pop' sounds), and protects the microphone capsule.
Use[edit]
The SM57 is a popular choice of musicians due to its sturdy construction and ability to work well with instruments that produce high sound pressure levels, such as percussion instruments and electric guitars. The School of Audio Engineering (SAE) recommends the SM57 (along with other makes and models) for four roles in a drum kit: kick drum, snare drum, rack toms, and floor tom.[3] The cardioid pickup pattern of the microphone reduces the pickup of unwanted background sound and the generation of acoustic feedback. SM57s have also been a staple when reinforcing the sound from guitar amplifiers.
Every U.S. president since Lyndon B. Johnson has delivered speeches through an SM57.[1] It became the lectern microphone of the White House Communications Agency in 1965, the year of its introduction, and remains so.[4]
Due to its popularity, the SM57 has been counterfeited frequently by manufacturers in China and Thailand.[5] Shure Distribution UK reports that the SM57, SM58, Beta 57A, and Beta 58A are their microphones that are most commonly counterfeited.[6] In 2006, Shure mounted a campaign against the trading of counterfeit microphones.[7]
Specifications[edit]
- Type
- Dynamic
- Frequency Response
- 40 to 15,000 Hz
- Polar Pattern
- Cardioid
- Sensitivity (at 1,000 Hz Open Circuit Voltage)
- −56.0 dBV/Pa (at 1,000 Hz)
- Impedance
- Rated impedance is 150 ohms (300 ohms actual) for connection to microphone inputs rated low impedance
- Connector
- Three-pin professional audio connector (male XLR type)
- Produced
- 1965–present
See also[edit]
References[edit]
- ^ abcdefgTECnology Hall of Fame: 2004Archived 2013-12-13 at the Wayback Machine
- ^History of Shure IncorporatedArchived 2008-04-28 at the Wayback Machine
- ^'Microphone Placement: Let's take a look at a standard drum kit'. SAE. Retrieved April 6, 2011.
- ^Charles J. Kouri; Rose L. Shure; Hayward Blake; John Lee (2001). Shure: sound people, products, and values. 1. Shure Inc. p. xiii. ISBN0-9710738-0-5.
- ^Home Recording. Joe Shambro, Spotting a Fake Shure Microphone: How to tell if your mic is genuine—or not
- ^Shure Distribution UK. What is a counterfeit?Archived 2009-03-03 at the Wayback Machine
- ^Shure Distribution UK. Shure Distribution UK Clamp Down on CounterfeitersArchived 2009-04-25 at the Wayback Machine
External links[edit]
Model sm57 user guide, Model sm57, Proximity effect
Model SM57 User Guide
©
2006, Shure Incorporated
27C2903 (Rev. 5)
Printed in U.S.A.
MODEL SM57
UNIDIRECTIONAL DYNAMIC MICROPHONE
The Shure SM57 unidirectional dynamic microphone is
exceptional 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
extremely 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
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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.
RECOMMENDED LOUDSPEAKER PLACEMENT
FIGURE 1
APPLICATION AND PLACEMENT
Some of the most common applications and placement techniques
for the SM57 are listed in the following table. Remember that mi-
crophone technique is largely a matter of personal taste-there is no
single “correct” microphone position.
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 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.
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 multiple 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 away 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.
180
°
90
°
0
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°
90
°
P.A.
LOUDSPEAKERS
STAGE
MONITOR
SOUND
SOURCE
MICROPHONE
APPLICATION
SUGGESTED MICROPHONE
PLACEMENT
TONE QUALITY
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.
Medium attack,
balanced sound.
On double head toms, remove the
bottom head and place a mic inside
aimed at the head.
Medium attack, bal-
anced sound.
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.
Most “snap” from
drumstick impact
Snare Drum
If desired, place a second mic just
below the rim of the bottom head.
More “snare”
sound.
25 mm (1 in.) from the speaker,
on-axis with the speaker cone.
Most attack,
emphasized bass
Guitar & Bass
Amplifiers
150 mm (6 in.) to 300 mm (12 in.)
away from speaker and on-axis with
speaker cone.
Medium attack, full,
balanced sound
.5 m (18 in.) to 1 m (3 ft) back from
the speaker, on-axis with the speak-
er cone.
Softer attack, thin,
reduced bass
sound.
On-axis with the edge of the speak-
er cone.
Thinner, reduced
bass sound.
Brass:.3 m (1 ft) to 1 m (3 ft) away,
on-axis with bell of instrument.
Shure Sm57 Manual For Sale
Bright, clear sound.
Brass & Wood-
winds
Woodwinds: 25 mm (1 in.) to 150
mm (6 in.) away, on-axis with bell of
instrument.
Bright, clear sound.
Bell of the instrument 90° off-axis
from the front of the mic.
Softer, mellow
sound.
Vocals &
Speech
Shure Sm57 Parts
25 mm (1 in.) to 150 mm (6 in.) from
the vocalist's mouth.
Rich, warm sound.