REVIEW SHURE 55SH SERIES II VOCAL MICROPHONE: A Sonic Titan of Sound

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I remember seeing microphones like these on the school stage when I was in the sixth grade (1964). The Shure 55SH Series II is a microphone that doesn’t just capture sound—it commands attention. With its unmistakable retro aesthetic and modernized performance, this mic is a bridge between the golden age of broadcasting and today’s demanding live and studio environments. Known as the “Elvis mic” for its iconic look and storied history, the 55SH Series II remains a standout choice for vocalists, podcasters, and performers who want to make a visual and sonic statement. In this review, we’ll dive into why it continues to shine as a titan in the microphone world.

Original 1940's 55-"Fatboy", Click to Enlarge

Origins and Design

The Shure 55SH Series II is a direct descendant of the original Shure 55 Unidyne, which made its debut in 1939. Designed by Shure engineer Benjamin Bauer, the Unidyne was a groundbreaking achievement, introducing the world’s first single-element directional microphone with a cardioid pickup pattern. This innovation reduced feedback and background noise, revolutionizing stage and broadcast applications. 

The 55SH Series II, introduced in 1989, retains the Art Deco-inspired chrome-plated die-cast casing of its predecessor (downsized in 1951 for its current form) while incorporating modern acoustic components to meet contemporary performance standards. The result is a microphone that looks like it belongs on a 1950s radio show but performs with the clarity and reliability expected in 2025.

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Performance and Sound

Plugging in the 55SH Series II feels like stepping into a time machine with a futuristic twist. Its tailored frequency response emphasizes vocal presence, delivering crisp, intelligible sound with a warm undertone that flatters a wide range of voices. The microphone’s cardioid pattern excels at rejecting off-axis noise, making it a go-to for live performances in noisy environments. Whether you’re belting out rockabilly or delivering a podcast monologue, the 55SH Series II captures every nuance with a character that’s both nostalgic and precise.

The mic’s shock-mounted cartridge minimizes handling and stand-transmitted noise, allowing performers to move freely without unwanted rumbles. Its rugged construction—built to withstand drops, swings, and the rigors of the road—ensures it’s as dependable as it is stylish. The self-tensioning swivel mount, offering 45° forward and 80° backward tilt, provides flexibility for positioning, while the built-in ON/OFF switch gives performers direct control over muting, a feature that’s both practical and empowering on stage.

Specifications

• Frequency Response: 50 Hz to 15,000 Hz. The 55SH Series II is tailored for vocals and speech, with a presence peak that enhances clarity and intelligibility. Compared to the SM57 (40 Hz to 15,000 Hz) and SM58 (50 Hz to 15,000 Hz), the 55SH has a slightly less extended low end than the SM57 but matches the SM58’s vocal-focused response.
• Directional Characteristics: Cardioid (unidirectional). This pattern minimizes rear pickup, reducing feedback in live settings. It’s identical to the SM57 and SM58, ensuring similar off-axis rejection but with a unique tonal character due to the 55SH’s grille and capsule design.
• Handling Noise: The shock-mounted cartridge significantly reduces handling and stand-transmitted noise, making it ideal for dynamic performances. This matches the SM57 and SM58’s pneumatic shock-mount systems, though the 55SH’s heavier die-cast body adds extra stability.
• Output Impedance: Rated at 150 ohms (270 ohms actual), compatible with inputs rated at 75 to 300 ohms. This low-impedance design ensures clean signal transfer and is consistent with the SM57 and SM58, making it versatile for various mixers and interfaces.
• Output Level: At 1,000 Hz, the 55SH’s open-circuit voltage is -58.0 dBV/Pa (1.3 mV). The SM58 is slightly more sensitive at -54.5 dBV/Pa (1.85 mV), and the SM57 matches the SM58’s sensitivity. The 55SH’s lower output requires a touch more preamp gain but delivers a distinct, slightly warmer tonal profile.

Likes

• Iconic Aesthetic: The chrome-plated, Art Deco-inspired design is a visual masterpiece, turning every performance into a statement. It’s not just a mic—it’s a prop that evokes the glamour of classic radio and rock ‘n’ roll.
• Vocal-Tailored Sound: The 50 Hz to 15,000 Hz frequency response with a presence peak delivers warm, clear vocals, ideal for singers and speakers who want a rich, musical tone without harshness.
• Effective Noise Rejection: The cardioid pattern excels at minimizing feedback and off-axis noise, making it a reliable choice for live stages, from dive bars to theaters.
• Rugged Build: The die-cast metal body is built like a tank, shrugging off drops and rough handling, perfect for touring musicians or energetic performers.
• Shock-Mounted Cartridge: The pneumatic shock-mount reduces handling and stand-transmitted noise, allowing dynamic stage movement without unwanted rumbles.
• ON/OFF Switch: A practical feature that empowers performers to mute the mic instantly, helping manage feedback or create dramatic pauses during shows.
• Flexible Swivel Mount: The self-tensioning mount (45° forward, 80° backward) offers easy positioning, accommodating a variety of stage setups and performer preferences.
• Nostalgic Appeal: Its association with legends like Elvis Presley and Billie Holiday adds a layer of prestige, making it a favorite for retro-themed gigs or artists channeling vintage vibes.

Dislikes

• Lower Output Level: With an output of -58.0 dBV/Pa, it’s less sensitive than the SM57 or SM58 (-54.5 dBV/Pa), requiring more preamp gain, which can be a hassle in low-gain setups or noisy environments.
• No Built-In Pop Filter: Unlike the SM58, the 55SH lacks an integrated pop filter, making it prone to plosives (“p” and “b” sounds) without careful mic technique or an external windscreen.
• Weight and Size: At 656 grams, it’s heavier and bulkier than the SM58 (298 grams), which can feel cumbersome for performers used to lighter mics or those with smaller hands.
• Limited Versatility: While excellent for vocals and speech, its tailored response and larger grille make it less ideal for instrument miking (e.g., drums or amps) compared to the SM57.
• Price vs. Performance: The 55SH’s premium price reflects its design and heritage, but its audio performance is arguably outshone by the more affordable SM58 in purely technical terms.
• Grille Vulnerability: The exposed chrome grille, while stunning, is prone to dents or scratches with rough handling, potentially marring its aesthetic appeal over time.
• Not Studio-Grade: The dynamic capsule prioritizes stage character over the pristine accuracy of condenser mics, limiting its appeal for high-end studio vocal recording.
• Switch Misuse Risk: The ON/OFF switch, while useful, can be accidentally toggled by inexperienced users, leading to unexpected muting during performances.

Technological Evolution

Since its introduction in 1939, the Shure 55 series has seen significant updates while preserving its core identity. The original Unidyne used a single-element dynamic capsule, a leap forward from the omnidirectional mics of the era. The 55SH Series II, launched in 1989, modernized the design with a refined cartridge and improved shock-mounting, aligning its performance with Shure’s SM series. While some sources suggest the 55SH uses a capsule similar to the SM48, which is less advanced than the SM58’s Unidyne III, Shure has optimized the 55SH for vocal clarity and stage reliability.

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Technological Changes

• Capsule and Electronics: The 55SH Series II incorporates a modern dynamic cartridge with better sensitivity and frequency response than the original 1939 model. It’s not as transparent as high-end condenser mics, but it’s not meant to be—its character is its charm.
• Shock-Mounting: The pneumatic shock-mount system, pioneered by Shure engineer Ernie Seeler for the SM series, was adapted for the 55SH, reducing handling noise compared to early models.
• Impedance: The shift to low-impedance (150 ohms) from the dual-impedance options of older models ensures compatibility with modern audio systems.

While the 55SH Series II doesn’t boast cutting-edge tech like Shure’s Nexadyne series, its blend of vintage aesthetics and reliable performance keeps it relevant. It’s less about pristine studio accuracy and more about delivering a bold, musical sound with unmatched stage presence.

Notable Users

Frank with a 55, Click to Enlarge

The Shure 55 series has been gripped by legends across decades. Elvis Presley immortalized its look in the 1950s, swinging it on stage during his electrifying performances. Other notable users include:

• Frank Sinatra, who used the 55 for its clarity in live settings.
• Billie Holiday, whose emotive vocals were captured by its warm tone.
• Charles Bradley, who embraced the 55SH for its retro vibe in soul and funk performances.
• Dave Grohl, spotted using the 55SH in Foo Fighters’ “Best of You” video, cementing its modern rock cred.

From rock to soul to hip-hop, the 55SH has been a staple for artists seeking both sound and style. Its use in theater productions, like the Buddy Holly musical, further underscores its versatility, even if some swapped its internals for SM57 capsules for specific tonal needs.

Comparison to SM57 and SM58

The 55SH Series II, SM57, and SM58 share a cardioid pattern and low-impedance design, but their applications and tonal profiles differ:

• SM57: Known for instrument miking (snare, guitar amps), it has a brighter high end (boost around 6 kHz) and extended low end (40 Hz). Its output level (-54.5 dBV/Pa) is higher than the 55SH, requiring less gain. The 55SH, with its vocal focus, sounds warmer and less crisp, making it less ideal for instruments but more forgiving for voices.
• SM58: The industry-standard vocal mic, it matches the 55SH’s frequency range (50 Hz to 15 kHz) but has a built-in pop filter and slightly higher output (-54.5 dBV/Pa). The 55SH’s grille lacks this filter, requiring careful technique to avoid plosives, but its unique presence peak gives it a distinct, gritty character that some vocalists prefer.

The 55SH trades the SM58’s utilitarian design for show-stopping aesthetics and a slightly less polished sound, ideal for performers who want to stand out visually and sonically. It’s not as versatile as the SM57 for instruments or as forgiving as the SM58 for vocals, but it carves its own niche with style and personality.

Epilogue

Today, the 55SH Series II is better than ever. The metalwork is beautiful, like art, gleaming under stage lights with a chrome finish that feels both timeless and luxurious. The ON/OFF switch gives talent (smart enough to use it) their own built-in control for mute and feedback issues, a rare feature in pro mics that adds practical flair. A titan in the world of microphones, the 55SH Series II isn’t just a tool—it’s a statement, blending history, craftsmanship, and performance into a package that’s as inspiring to hold as it is to hear. Whether you’re channeling Elvis or carving your own path, this mic ensures you’ll be seen, heard, and remembered.

55SH II, A Visually Stunning Beast of Metal, Click to Enlarge

ONE MORE THING -

QUICK COMPARISON of the Shure Super 55 Deluxe Vocal Microphone and the Shure 55SH Series II Vocal Microphone, highlighting key differences and similarities in design, performance, and use. 

Shure Super 55 Deluxe Vocal Microphone, Click to Enlarge

Shure Super 55 vs. 55SH Series II: Quick Comparison

Feature	Shure Super 55 Deluxe	Shure 55SH Series II
Design & Aesthetics	Satin black and chrome finish with vibrant blue foam interior; modernized retro look, sleeker profile.	Classic chrome-plated Art Deco design; bold, vintage radio-era aesthetic, slightly bulkier.
Frequency Response	60 Hz to 17,000 Hz; slightly broader range, brighter high-end for enhanced vocal clarity.	50 Hz to 15,000 Hz; warmer, vocal-tailored response with pronounced presence peak.
Output Level	-53.0 dBV/Pa (2.24 mV); higher sensitivity, needs less preamp gain.	-58.0 dBV/Pa (1.3 mV); lower output, requires more gain.
Directional Pattern	Supercardioid; tighter pickup, better feedback rejection in loud environments.	Cardioid; good off-axis rejection but less focused than supercardioid.
Handling Noise	Improved shock-mounted cartridge; excellent reduction of handling and stand noise.	Shock-mounted cartridge; good noise reduction but slightly less advanced.
ON/OFF Switch	None; fixed operation, no risk of accidental muting.	Built-in ON/OFF switch; offers performer control but potential for misuse.
Weight	656 grams; hefty but balanced for stage presence.	656 grams; identical weight, feels solid but heavy for some users.
Grille & Durability	Robust grille with internal foam for some plosive protection; durable die-cast body.	Exposed chrome grille, prone to dents; rugged die-cast body.
Best Use Case	Live performances in noisy venues, modern vocalists seeking a refined retro vibe.	Retro-themed gigs, theater, or performers wanting classic look with vocal warmth.
Price	Higher price point due to supercardioid capsule and modernized design.	More affordable, reflecting simpler cardioid design.

Key Takeaways

• Super 55: A premium, modernized evolution with a supercardioid pattern and brighter sound, ideal for loud stages and vocalists needing maximum feedback rejection. Its sleeker look and higher output make it versatile for contemporary settings but pricier.
• 55SH Series II: A faithful nod to the original 1939 Unidyne, with a warm, cardioid sound and iconic chrome aesthetic. The ON/OFF switch adds stage control, but its lower output and exposed grille suit it best for nostalgic or less demanding environments.

Which to Choose?

Pick the Super 55 for high-energy live shows or modern productions where clarity and feedback control are critical. Choose the 55SH Series II for its unbeatable vintage charm, budget-friendliness, and warm vocal tone in theaters, retro gigs, or podcasting.

Thanks for reading High on Technology, Good Music To You!

©April 2025 by Mark King, It's not ok to copy or quote without written permission from the author.