A Star is Born: Market Entry and Famous Users
The Shure SM-58 hit the market in 1966, crafted by Shure Incorporated, a company with deep roots in audio innovation. Following closely on the heels of the SM-57 (introduced in 1965), the SM-58 was purpose-built for vocal applications, featuring a windscreen and grille designed to handle the nuances of the human voice. Its arrival marked a turning point in live sound, offering a tool that could withstand the rigors of the stage while delivering exceptional audio quality.
The SM-58’s resume reads like a who’s-who of music royalty. Paul McCartney has used it to belt out Beatles classics, while Roger Daltrey of The Who turned it into a prop, famously twirling it during performances. Punk pioneer Henry Rollins, rock legend Alice Cooper, and soulful powerhouse Patti Smith have all relied on its clarity and toughness. Beyond music, it’s been spotted in the hands of everyone from U.S. presidents addressing the nation to comedians commanding intimate venues, proving its versatility across disciplines.
Technical Excellence: Frequency Response, Handling Noise, Impedance, and Pickup Pattern
At the heart of the SM-58’s appeal is its finely tuned technical performance. Its frequency response spans 50 Hz to 15 kHz, with a tailored curve that emphasizes a bright midrange and rolls off low frequencies. This voicing cuts through dense mixes and reduces muddiness, while the proximity effect—boosting bass when close to the source—adds richness that vocalists love. It’s a recipe that flatters the human voice without requiring excessive EQ.
Handling noise is virtually nonexistent, thanks to an ingenious internal shock-mount system. A pneumatic design with a soft rubber balloon isolates the capsule from vibrations, ensuring clean audio even when the mic is jostled or swung around—a boon for dynamic performers. This contrasts with more rigid mounts found in lesser mics, giving the SM-58 an edge in chaotic live environments.
With an output impedance rated at 150 ohms (though actual impedance is closer to 300 ohms), the SM-58 provides a robust signal that resists interference over long cable runs, a must for sprawling stages. Its cardioid polar pattern is another key feature, capturing sound from the front while rejecting off-axis noise and minimizing feedback. This focused pickup makes it a sound engineer’s dream on loud, unpredictable stages.
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| SM-58 with optional On-Off Switch |
Switch or No Switch: A Model for Every Need
The SM-58 comes in two flavors: the standard SM-58-LC (no switch) and the SM-58S, which includes an optional on-off switch. The switch version is handy for smaller gigs or situations where the user needs direct control, like speeches or karaoke nights. However, the no-switch model dominates among professional entertainers working with sound engineers. Without a switch, there’s no chance of an accidental mute mid-performance, leaving the audio in the capable hands of the mixing desk—a preference that has made the SM-58-LC the go-to for touring acts.
The SM-58’s popularity stems from a trifecta of durability, sound quality, and affordability. Its steel mesh grille and solid construction can survive drops, swings, and the occasional tumble off a stage, earning it a reputation as indestructible. Sonically, it delivers a warm, clear tone that flatters voices without needing much tweaking, making it plug-and-play perfection. Priced competitively, it’s accessible to everyone from bedroom crooners to arena headliners.
What makes it special? It’s the total package—rugged yet refined, simple yet sophisticated. The built-in pop filter reduces plosives and wind noise, a thoughtful touch that enhances its vocal focus. Its consistency is legendary; an SM-58 from the 1960s sounds remarkably similar to one made today, a testament to Shure’s commitment to quality.
Unique Identity: How It Differs and the SM-57 Capsule Question
The SM-58 stands out for its vocal optimization, distinguishing it from peers like the SM-57. But are they really the same under the hood? Yes and no. Both mics share the same Unidyne III dynamic capsule, a design pioneered by Shure engineer Ernie Seeler. However, the SM-58’s larger grille and internal windscreen alter its response, giving it a smoother top end and better plosive protection compared to the SM-57’s tighter, flatter profile, which excels on instruments. The difference isn’t just cosmetic—it’s tuned for purpose.
Manufacturing Shift: From Chicago to Mexico
Shure began moving some of its manufacturing from Chicago to Juarez, Mexico, in the late 1980s and early 1990s, with the transition largely complete by the early 2000s. This shift was driven by cost efficiencies, but Shure has maintained strict quality control to preserve the SM-58’s integrity. Audiophiles occasionally debate whether the mics sound different post-move, but most agree there’s no audible change. The capsule design and assembly standards remain consistent, and any perceived differences are more likely due to aging components in vintage units than manufacturing locale.
Shure Today: Still American? Company Value?
Shure remains an American company at its core. Headquartered in Niles, Illinois, it was founded in 1925 by Sidney N. Shure and is still privately held—a rarity in today’s corporate landscape. While some production has gone global, its engineering, design, and identity are firmly rooted in the U.S. Estimating its dollar value is tricky for a private firm, but industry analysts peg Shure’s worth in the range of $1-2 billion, reflecting its dominance in pro audio and consumer markets like wireless systems and earphones.
Epilogue: The King Holds Court
In an era where knockoffs and competitors have gotten impressively close, the Shure SM-58 continues to reign as the king of live sound reinforcement. Copies may mimic its look or specs, but they can’t replicate its legacy, reliability, or the trust it’s earned from generations of performers. From smoky clubs to stadiums, the SM-58 remains the gold standard—a microphone that doesn’t just capture sound, but defines it.
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©April 2025 by Mark King, It's not ok to copy or quote without written permission from the author