Shure SM57 LC

The SM57 by Shure is a classic live and studio workhorse microphone - no wonder pretty much every studio I've stepped in has had at least four or five of these!
It's a cardioid pattern mic with very strong off-axis rejection, a presence boost around 4 kHz, and a good-roll off in the lower frequencies which makes up for the proximity effect. Like its slightly younger brother the SM58, the 57 is almost indestructible, and almost every part is replaceable in case you do find a way to destroy something. If you find a Shure Unidyne, then this is an older model of essentially the same microphone.
The mic itself is very weighty and feels strong and robust, extremely well constructed. No lead but you get mic clip and carry pouch in the box!
This is a microphone which is suitable for all jobs. As mentioned in other reviews, it is widely used for drum kits and guitar amps etc., but as it was actually first designed for classical instruments, it can be used very effectively for acoustic instruments as well (tested on a harp and electro-acoustic guitars).
The sound of the SM57 up against an amplifier cabinet, such as a Marshall 4x12 or a Fender Bassman, is part of the classic sound of rock, and advanced modelling systems like the Roland VG-99 emulate a 57 up against a cabinet and at various distances, both on and off axis.
People often compare it to its brother the SM58 - but at least in my opinion the 57 has that bit more class when recording a multitude of sounds and I always prefer using it.

All in all, it's no wonder the SM57 is considered the industry standard workhorse microphone - can't go wrong with buying one (or two... or three ;) )! I've used 57s for longer than I care to admit, in various situations (both in the studio and live) and I've never been let down by one so I always highly recommend them!

It is what it is, you stumble upon it everywhere and it used to be convenient for any occasion, but it's not the 80s anymore, it's got medium output, not great side and back rejection and bad off-axis colorartion (now I understand why everyone else has hi-hat issues) and its frequency responce is full of peaks and drops.
For me nowadays it should be considered as just a character mic if you want the sound of the '80s and '90s, nothing bad with that, but it's not that miraculous mic you hear about, at least not for today's standards.

For guitar cabs I prefer ribbon mics (SE electronics, even some T-bones occasionally) and for drums I went all Albini and the skies opened, now I use Oktava MK-12 mics on snare, toms and sometimes room, and the only dynamic mic I find useable is the Sontronics Solo, way quieter and cleaner bleed and a way more hi-fi mic.
Also for snare I've done some shootouts with an Audix i-5 and it was awesome, but I haven't tested what it does with a hi-hat behind it.

Bought this as my first ever "real" microphone for recording vocals and guitars.

The whole body is made of metal and has a hefty weight to it. It really feels solid and I even dropped it once already. It was like nothing happened. This thing should last a really long time.

As for the sound, I am using a Behringer UMC202HD and to get decent volume I need to have around 70% gain on it. Again, this is my first every dynamic microphone so I do not really have anything to compare it with though based off the reviews I have watched this seems to be pretty standard with this mic. Sound was clear and was accurate to my ears.

For around $100 I think this is the best dynamic mic that you can buy. It is a great all-arounder. Would highly recommend!

Wasn't even gonna leave a review here, thought it would be a 100% 5 star review story, but i see a few 3 and 4's, they seem unfair for this microphone when it was purchased by mistake, and they say their review is trying to help others not make the same mistake.

Just to clarify, this microphone is well known, its excellent for live and studio recordings, drums, vocals, brass and guitars, both electric and acoustic, it works best in loud situations, its not a microphone used to pick up very soft low levels, i've never ever heard or seen anyone saying it's a great microphone for low level recordings. The build quality is also excellent, and while it could be called the jack of all trades, its actually on par with far more expensive microphones in some areas, for instance the snare drum.

Knowledge is important when buying and reviewing music equipment, there isn't really a one stop microphone that can do every type of recording the best, you ideally want a varied selection of different types that excel in 1 or 2 areas, and for the price the Shure SM57 is the best value for money mic you can buy, and it still gets used in high end recording studios. Its not just a really good microphone to start out with, many people buy it who own expensive condenser or ribbon microphones already.

I have 2 and I will definitely buy more in the future.
It's true what everybody says about SM57. This mic is a legend. I don't know if I can say anything bad about it, because it reproduce the sound perfectly. It has a clear and warm sound.
I've used it for guitar amp, bass amp, vocals, acoustic guitar and drums, and so far I was very pleased of the output. From my point of view, this is more suitable for live applications, since it doesn't enter in feedback so easily, and in studio I will be using it for guitar / bass amps and toms; otherwise I would go with condensers. But sometimes, even if you have a mic suited for a specific task, it is a good idea to add one of this. It will make the sound more natural.
Like SM58, it's made of metal, looking like it would last a life time. Don't freak out about the rotating / wobbling cap. It is mentioned in the specs that it's supposed to be like that. And unlike SM58, this one is smaller. So.. from my point of view it is worth every penny, even more. I believe this is a must have mic.

First things first. I'm not an audio engineer nor am I a recording technician. I record human speech both in an office/studio and on location for podcasts and broadcast. Therefore, I always aim for the very best quality recording whilst restricting my mic cupboard (small box!) to dynamic types due to their robustness and simplicity. I don't record vocalists/singers.
Utilising an RE20 as my main studio mic with an EV635A omnidirectional as my tough, go anywhere outdoor location mic - something was missing. I found myself in need of a general use directional microphone for use at indoor locations whilst on the road, which could also be used as a secondary mic in my studio for guest use.
After reading reviews and relying on gut reaction, (which hasn't yet let me down) I plumped for the SM57. What has surprised me is the sheer vocal quality and depth of this latest acquisition. On it's first outing, recording a subject on location in her lounge at 20-30cm produced a rich, realistic recording with just enough room ambience to stop things sounding sterile and one dimensional. Perfect! Place the mic closer and you get even deeper tones with no downside. So far, I reckon on 50cm as a maximum to maintain directional quality.
For my type of use, I also appreciate that I can just point and record with a minimum of faffing about such as setting up angles and distances etc. Keep the distance within 50cm (closer outdoors) and you won't be disappointed. The body is reassuringly weighty and robust which gives the perception of longevity. The carrying bag is a nice extra and I use the Shure A55M anti-shock clamp which isolates any vibration really well.
And the plastic voice coil guard that freely swivels 360º? I still haven't a clue!

If you had only these mics at disposal and made a bad recording with them, and I mean any recording. Then maybe you should find a new job.
Best overall mic for music there is in my experience. Sure you could get much more expensive mics, and record ants feet, but if you want to do a r'n'r record and don't know where to start, start by buying one of these (at least one)
Great rounded up, familiar classic sound, no harshness, no dullness, no hype, no lies, just honest meat and potato sound.
No super details also, but experienced professionals know that all the relevant information is here.
Classic for snare, and guitar cabinets, but also great for r'n'r vocals, bit more open then SM58, little less rejection of outside noise. Very often used for toms too.
Built like tank, feels like cold weapon in hand, no switches, no fuss, that cap at the tip is sturdier than it looks.
This mic for me in every aspect captures essence of r'n'r, from its build to its sound, from its history to its value. It is in the long run THE best value there is as you will probably never have to get rid of it.
If you don't know what to buy, buy this, you won't miss.