SM-57 Vocal Neurosis

[floid]

I too used a 57 on my vox for years. I'd put up something 'better' and it just wouldn't sound right. And I think a lot of it was to do with knowing what the 57 would hear when I handed it some specific combo of angle/ distance/ styling, and being comfortable with that. These days I don't sweat it as much though, and have found several mics I enjoy. It still always comes out sounding like me, though.

[losthighway]

Morespaceecho had the challenge of mastering this crazy african drum/jazz album that was cut mostly live at my place. There were like a million hand drums, PA monitors and live vocals in a fairly small live room.I opted to use very few condensers, so my dynamic mics got used up fast. I gave the fella an sm57 for vocals (which he unfortunately did some hand held performing with) and the lady an re10.

Mixing the two vocal tracks was night and day. Her's were smooth enough, kind of vintage sounding in a cool mids grit kind of way, his had plosives and silibants that would take your head off.

I did more automation to make those tracks hold together than I ever have. It might have been the singer, but I vowed to buy another old EV for those situations. If not another RE20/SM7.

[ubertar]

his had plosives

Sounds to me more like you need a pop filter more than another mic, unless this was in spite of a pop filter.

[apropos of nothing]

I think this tip is on the right track. I'm using an RE-20 for things that I want a little 57 vibe on, but not so much as to actually us a 57 on it.

[Scodiddly]

So if a 57 sounds best, use it. Maybe play some tricks on your insecurity, like buying a fresh SM57 and reserving it for studio vocals only. Get a fancy little hardwood box for it when you're not using it.

And of course it's generally possible to put up two mics at once, record both, and pick the winner during mixing.

[vvv]

There is a huge psychological effect in general at work for recordists - we all prob'ly need to be in therapy!

That said, do consider the SM7 as previously suggested; it really is fairly described as a SM57 on steroids.

OK, mebbe Red Bull.

[Studiodawg]

I've been putting two mics up on vocals lately (one dynamic and the other condenser). I use an Shure SM7B and Shure KSM42. We have a Shure Beta58 and KSM32 on another person. I'd stick with the 57 and try to find another complimentary mic by swapping out the 2nd mic until you find "it"...

[lyman]

So if a 57 sounds best, use it. Maybe play some tricks on your insecurity, like buying a fresh SM57 and reserving it for studio vocals only. Get a fancy little hardwood box for it when you're not using it.

I love it. Life is full of little opportunities to trick ourselves into the place we want to be, mentally.

Sometimes it's not about the gear. It's about how we think about the gear. If it achieves the artistic end you're seeking then use it without reservation. I'd say that for any piece of equipment, across all media (music, painting, photog., etc.).

[mn412]

A cry for help.

I made my first 'home' recordings of my own singing, 34 years ago with an SM-57 and a Mackie board. Every so often, I happen upon some old tapes and ADATs of my younger self and I always come back to a truth that I have been unable to face. Seriously

I have always, deep down, preferred the sound of my vocals through an SM-57. There, I said it. And I have never been willing to admit it.

I have spent thousands of dollars on pres and mics because I just -refused- to believe that a $100 beer-smelling stage mic could be the best choice.

And yes, I've seen engineers -choose- the 57 over the U67 or C12 so I -know- it's a go-to vocal mic for certain big shot artists.

I -like- to consider myself a practical person, but in this one regard, I have been completely irrational... I've never taken it to the point of buying a $5,000 Neumann, but if I -had- $5,000? I probably would do it.

I am constantly telling my guitar students to NOT give in to GAS. For my own work, I generally play 'cheap' guitars... and with pride.

But I put the '57 on a mic stand and I feel -bad-... like I'm doing something 'wrong'... even though I have decades of taped proof that it's -right-.

How does one get over that feeling? It's a sincere question. I feel like it's some audio version of 'anorexia'... I can't see 'reality' in this regard.

I'll grant you that this is probably not weird enough to get me on Jerry Springer, but it seriously does bug me.

OK, I'm done.

If it makes you feel better you could send it to me along with a check for what ever value makes you feel better, you know the worse you feel the more money. Then I can Mod it (not do anything to it) and send it back to you and you will feel much better. Just kidding of course. Don't let it bug you its a great mic and if it works on your vocals use it with pride. Its been good enough for every president of the US to use going back to JFK.

[dennisjames]

I did a "solo" project a little while back that was a big departure for me artistically where I also made a conscious decision to change my process of recording. I wanted to act fast(er), be decisive, trust my instincts at a far deeper level, and myriad other little personal battles. As part of that decision, I somehow opted to track some of my vocals with a 57. For whatever reasons, it fit the bill and I'm still quite happy with the results. I've got a very modest space that I use to record my duo with my wife but I've hobbled together enough gear to make it work and I've accepted that my gear list will likely always be humble. I too felt that insecurity up until the aforementioned project. However, my outlook has changed dramatically. As a matter of fact, I recently bought 2 of the Blue encore mics from GC during a BOGO deal for our live rig. I ended up trying one on one of my wife's lead vox parts for our new recording and it just blew me away. It was just the perfect ingredient for that song. I've got far "better" mics but I'm really happy that I ventured into this new territory with my own approach to recording. Her vocal take on that $40 mic might be my favorite capture of her voice I've ever gotten. Haven't been able to replicate it on other songs but it certainly taught me to try new things.

And FWIW, I think we all have scars from 80's. Hell, the last issue with David J sent me down memory lane recalling how I tried to learn Saudade to impress a girl. Chalk up your misgivings about your mic to living through that hellish decade and embrace your closeted feelings towards the maligned 57 -- be your truer self!