- Tested performance, industry standard
- Uniform cardioid pickup pattern for maximum gain before feedback and excellent rejection of off-axis sound
- Frequency response tailored to your voice, with a lit midrange and bass roll off to control the proximity effect
- Advanced pneumatic mounting system that minimizes the transmission of mechanical noise and vibrations
- Steel mesh grid and enameled metal construction resist wear and abuse
- Built-in effective pop filter reduces wind and unwanted breathing noise
- Furnished with zippered bag and break-resistant stand adapter
- On/Off switch (SM58S only)
- Extremely durable in heavier use
- Shure quality, ruggedness and reliability
- General rules for use
- Point the microphone at the desired sound source (such as the speaker, singer, or instrument) and away from unwanted sources.
- Place the microphone as close as possible to the desired sound source.
- Work close to the microphone for extra bass response.
- Use a single microphone to pick up a single sound source.
- Use as few microphones as possible.
- Keep the distance between microphones at least three times the distance between each microphone and its source.
- Place the microphones as far away from reflective surfaces as possible.
- Add a windscreen when using the microphone outdoors.
- Avoid excessive handling to minimize the collection of mechanical noise and vibration.
- Do not cover any part of the microphone grille with your hand, as this will adversely affect microphone performance.
Applications and placement
The following table lists the most common applications and placement techniques. Keep in mind that the microphone technique is largely a matter of personal taste; there is no "correct" microphone position.
Recommended application Microphone placement tone quality
Vocal lips less than 15 cm (6 in.) away from or in contact with the windshield, in axis with the microphone. Robust sound, emphasized bass, maximum isolation from other sources.
15 to 60 cm (6 in. to 2 ft.) away from your mouth, just above nose height. Natural sound, low bass.
20 to 60 cm (8 in. to 2 feet) away from the mouth, slightly off to one side. Natural sound, low bass, and minimal "s" sounds.
90cm to 1.8m (30-inch to 1.8m) away. Thinner, more distant sound; audible ambient noise levels.
Avoid picking up unwanted sound sources.
Position the microphone so that unwanted sound sources, such as monitors and speakers, are directly behind it.
To minimize feedback and ensure optimal rejection of unwanted sound, always test the microphone placement before a performance.
Unidirectional (cardioid) microphones progressively amplify low frequencies from 6 to 10 dB below 100 Hz when the microphone is about 6 mm (1/4 in.) away from the sound source. This phenomenon, known as the proximity effect, can be used to create a warmer, more powerful sound. To avoid explosive low-frequency sound during close use, the bass response is gradually reduced. This provides more control and helps you take advantage of the proximity effect.
Dynamic (voice coil)
From 50 to 15,000 Hz
at 1 kHz, open circuit voltage: -56.0 dBV/Pa  (1.6 mV)
1]1 Pa=94 dB SPL
Positive pressure on diaphragm produces positive tension on pin 2 relative to pin 3.
0.33 kg (0.72 lb)
Professional three-pin audio (XLR), male
Dark gray, enamel painted, die-cast metal; matt finish, silver color, spherical mesh steel grid