As it turns out I'm in need of a new microphone for home recording. I was using a borrowed Shure SM57 that I was happy with. I especially liked how room acoustics didn't affect recording quality with this mic and I didn't mind keeping the mic close to the bell during recording.

Also my new mic has to be analog with either an XLR or 1/4" plug.

I was thinking about purchasing another SM57 then noticed Shure makes another less expensive cardioid mic the PGA57. Has anyone had experience with this mic? Some say it is Shure's "entry level" cardioid mic. So then it's just made with lower quality components? My question is if the recording quality is equivalent to the SM57 then why pay more? I don't need a really durable mic as far as handling. Just something that will last a few years and has good sound quality.

Any input would be helpful.

Cheers,

Robert

You'll find a lot of comparisons online between the SM-series and the PG/PGA-series. Consensus is go with the SM if you can afford it.

SM57's are built like tanks; you'll find videos of people doing terrible things to SM58's (the SM57's sibling) and the mic just keeps on working.

No experience with the PGA57, but I have experience with the Shure PGA clip on mic. Not nearly as good.

If you can afford a 57 I always recommend this bundle from Guitar Center. You can't beat it.

$110 for SM57/mic stand/xlr cable

<LINK_TEXT text="https://www.guitarcenter.com/Shure/SM57 ... 57&index=3">https://www.guitarcenter.com/Shure/SM57-Stand-Cable-Package.gc?rNtt=sm57&index=3</LINK_TEXT>

And for a difference of $40-50, you'll be happy you purchased the SM57 over the PGA57 in a few years. Maybe sooner

When I had a PA for my big band I used nothing but SM57s for the instruments and SM58s for the vocalists. I bought all mine used from Craigslist and other places like that. Beware of new counterfeits, though, especially on eBay. If it's new and priced too good to be true, it usually is. There are plenty of youtube videos on how to tell the difference if get the chance to buy in person.

I've personally never been a fan of Shure, but I know a lot of people who LOVE them. I personally like SE electronics, which are an incredible brand of microphone, and recently have come to like Maono as a solid budget option. Luckily there are lots of comparison videos on YT. Best of luck finding what works for you!

[quote="JLivi"]No experience with the PGA57, but I have experience with the Shure PGA clip on mic. Not nearly as good.

If you can afford a 57 I always recommend this bundle from Guitar Center. You can't beat it.

$110 for SM57/mic stand/xlr cable

<LINK_TEXT text="https://www.guitarcenter.com/Shure/SM57 ... 57&index=3">https://www.guitarcenter.com/Shure/SM57-Stand-Cable-Package.gc?rNtt=sm57&index=3</LINK_TEXT>

And for a difference of $40-50, you'll be happy you purchased the SM57 over the PGA57 in a few years. Maybe sooner[/quote]

That is a good deal :good:

I have a Shure Beta 57A and I can't be more happy, if you can spend the extra $20 or so for it.

[quote="BflatBass"]As it turns out I'm in need of a new microphone for home recording. I was using a borrowed Shure SM57 that I was happy with. I especially liked how room acoustics didn't affect recording quality with this mic and I didn't mind keeping the mic close to the bell during recording.

Also my new mic has to be analog with either an XLR or 1/4" plug.

I was thinking about purchasing another SM57 then noticed Shure makes another less expensive cardioid mic the PGA57. Has anyone had experience with this mic? Some say it is Shure's "entry level" cardioid mic. So then it's just made with lower quality components? My question is if the recording quality is equivalent to the SM57 then why pay more? I don't need a really durable mic as far as handling. Just something that will last a few years and has good sound quality.

Any input would be helpful.

Cheers,

Robert[/quote]

Hi Robert,

I used the Shure SM57 live in stage for years. One of the best overall mics for live stage performance in my opinion. For Recording I think for the RODE NT1 works great for vocals and vocal layering. It’s affordable and gives superb quality sounding recordings for beginning to advanced vocalists.

<LINK_TEXT text="https://www.ebay.com/itm/305519771385?m ... media=COPY">https://www.ebay.com/itm/305519771385?mkcid=16&mkevt=1&mkrid=711-127632-2357-0&ssspo=c4macq3ttqa&sssrc=4429486&ssuid=hcxsbnmprac&var=&widget_ver=artemis&media=COPY</LINK_TEXT>

Does this one look like a scam?

[quote="JayceA"]<LINK_TEXT text="https://www.ebay.com/itm/305519771385?m ... media=COPY">https://www.ebay.com/itm/305519771385?mkcid=16&mkevt=1&mkrid=711-127632-2357-0&ssspo=c4macq3ttqa&sssrc=4429486&ssuid=hcxsbnmprac&var=&widget_ver=artemis&media=COPY</LINK_TEXT>

Does this one look like a scam?[/quote]

Yes. There are copies out there that are hard to tell from the real deal - until you use them. Yes, they accept returns, but YOU pay for shipping, so if you get a fake you will be out most of what you paid by the time you ship them back.

I have 4 of the SM57 beta mics. They are fantastic!

Shure has a particular timbre that you can't EQ out. I like it but if you don't it is not the mic for you. I have used sm and pg series shure mics. I find that the pg mics don't quite have the high frequency response that the sm mics do. I use an SM-58 to record. The SM-58 has the same internal components as the 57, it just has the ball on top instead of being flat. Somehow, the ball on top gives it a high frequency boost.

I send the signal from the SM58 into a Zoom H5 or a Native Instruments Komplete Audio 2. I have recorded the majority of my content using the Zoom H5 but the Komplete Audio 2 makes a cleaner recording.

Because shure mics are so popular there are lots of counterfeits. I try to buy from a trustworthy retailer. Not sure if I am allowed to list who I buy from or not on the forum.

We like to publicize good vendors here. If you have a reliable source for good quality merchandise by all means mention them. I prefer you not name somebody with a semi questionable rep, but somebody with a really bad rep should also be publicized as a warning.

I had a bad experience with microphones. We did a brass quintet gig and each had a mic in front of us (in back for the French Horn). I found no matter what I did, I seemed to have a percussive attack. It is probably something I do, but I couldn't figure out what I could do to minimize it. I'd appreciate any suggestions, although my days of performing with a mic are now over.

I use Sweetwater and B and H for microphones. Sweetwater has excellent customer service and they will teach you how to use their products.

For trombone, you don't want to aim the mic straight down the throat of the bell. Put it off to the side somewhat so your air does not hit the mic. You will know your air is hitting the mic if you get percussive sounding popping noises. To test this, say some words that start with P directly into your mic, you will get some popping noises from the puff of air you use when you say those words.

The farther away you put the mic, the more room you are going to get.

If you are having trouble with the mic picking up articulation noises or you sound unfocused and fuzzy, put the mic farther away so that the room can hide some of that.

For a brass quintet, use a stereo mic set up. Set it up starting at six feet away and then move it back till you get the right blend.

I recorded pipe organs extensively. I use the concept of dry sound and wet sound. Dry sound is just the notes, no echo. It's very clear and you can pick out every note. Wet sound has the room in it. There is echo. Depending where you put the mic, you will get a blend of both.

For organ, I would put the mic 1/3 of the way back in the sanctuary to get the right blend. In some spaces, this was 60 feet back. All the way forward was too much dry sound. The recording lacked body and sounded thin. All the way at the back was too much wet sound. The recording will sound incredibly muddy and lack clarity.

Sometimes, you find a spot that is just right for everyone but the soloist. In that situation, close mic the soloist. That will give the soloist more dry sound and give better clarity.

Here is a situation where I could have done that. [url]<LINK_TEXT text="https://soundcloud.com/chip-houston/the ... al_sharing">https://soundcloud.com/chip-houston/there-is-a-balm-in-gilead?si=c201013916a041dfbbc5cf10c0ac4f2f&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing</LINK_TEXT>

Here is a situation where I had a stereo mic out in the room for the organ and a close mic for me. [url]https://youtu.be/CTCj2ZLqWBQ?feature=shared

When mixing in this situation, a good starting point is that the soloist should be twice as loud as the accompaniment. I used a loudness calculator to achieve this and it worked.