I realize this argument has been made in one form or another on this board before, so thanks to all for indulging me. Here's a little more reading for those of you who are new to the subject and looking for another perspective:
http://www.mercenary.com/fltaabsmandh.html

Well, for what it's worth, a lot of people on other boards have been singing the praises of SM57s lately. I seem to recall someone on the TapeOp board actually starting a thread called "I reach for the 57". (Unfortunately, that board is down at the moment.) Someone on Gearslutz (I think) was even recommending setting up an XY pair for stereo miking an acoustic guitar! I seriously think there's some kind of renaissance of dynamic mics - a lot of people are going back to using dynamics (granted, mostly higher-end dynamics like MD421s, MD441s, SM7s, and RE20s) on vocals, an application that for a long time was considered the sole province of large-diaphragm condensers. For what it's worth, I generally don't like 57s. I prefer more neutral mics. But I think that its unusual frequency curve is what people who do like it like about it. It's like applying EQ without having to apply EQ. The fact that is slopes upward where most guitar amps begin to roll off is probably a selling point to its fans - a kind of frequency compensation, I guess. I suppose that's also why so many people like it on snare drum - the high end slope adds some brightness to the tone.

I agree that the 57 can sometimes sound all right on Marshall amps; certainly if you are going for a slightly scooped sound with aggressive attack. The "boosted 5K" sound is not for everyone, however, which is why I find it strange that the 57 is popularized as a "go to" mic for guitar amps. In my experience, it is best to get down in front of the speaker and play with the tone controls on the amplifier to get it sounding the way I want first. I like to get the sound from the amp, not so much from the mic. Because the 57 imparts a very definite character of its own, I feel it undermines the integrity of the guitar tone I have more or less "perfected" at the source.

My opinion of the 57 is not based on any immature social game, nor is it based on specific sound engineering credentials. I simply find that, having played guitar for 15 years, I do not get an accurate or even flattering recording of my instrument with the 57. Indeed, it's horses for courses... If you find that the 57 give you the sound you want, then it's the right one for you. I'm just trying to offer the perspective of someone who does not care for the aforementioned mic.

I own and use 4 SM57's.

lazybones...thanks very much for that last assesment. FWIW- I wasn't trying to say anything negative to the people on the board who dislike the 57 by posting that link...you know, like "Well so and so said this so you guys are obviously wrong...". It just summed up my feelings for the much mic better than I could. Again, I have no experience with some of the other mics you guys are recommending, and there is nothing I would like more than to try some different mics out on my amp. When ever a friend lets me borrow a different mic, it's usually the first thing I do with it anyway.

Lazybones wrote:I own and use 4 SM57's.

But I thought you don't like them... why do you use them?

I own and don't ever use 3 SM57s. Actually I take that back. I use 2 of them for vox at band practice, and one as a door stop (it works perfectly in this application, and it has nothing to do with it being a crappy mic. It has everything to do with it being a wonderful doorstop, and fortunately it never needs to be used for much else).

matyas wrote:setting up an XY pair for stereo miking

I tried this once as a stereo pair for the room sound when recording a guitar amplifier. It sounded god awful.

About three years ago I decided to give the 57 a chance again. I tried it all over the place and it failed everywhere I put it. I will admit that aside from the X/Y pair, it was never horrible, but it was never "good" either. I do think that they are good live instrument mics though. And I will also say that I prefer it over one of those scary $90 chinese LDC microphones.

mtar

I have heard 57's sound good. Ussually when used with amazing preamps and compressor/limitors. in most 57-ish applications I prefer the 421.

I recorded a punk band a little while back and I wanted the drums to soud 'bad in a punk way' so I used two 57's as XY overheads. It was kind of cool because the cymbals were thin sounding, kind of abrasive and had fast decay. I'd post a link to sounds but I didn't mix it and wasn't happy with the way it turned out.

BadComrade wrote:Use what ya have...

They ran out of mics when recording Sgt Pepper's so they started using headphones as mics. I don't hear anyone complaining about that when they listen to the album...

Thank you. I am very tired of gearheads glibly trying to dictate to me what I'm doing wrong and what equipment I should have but don't (they seem to enjoy doing this to me in particular because I'm female and they assume I'm an idiot and/or am easily bullied). Bottom line is, I need to play and I have limited resources. I have to use what I have. I usually tell these people to fuck off.

Furthermore, I've used SM57s in the past, and when I thought I was done with music for good, I sold them. Eventually I swallowed my pride and realized I can't deny my nature, and so I messed around with some other mics. I ended up with another damn SM57. You see, I can play a variety of instruments and styles, and hell, I even have a BA in Music. Yet I find using mics incredibly counterintuitive. I envy somewhat people who are far better with mics than I'll ever hope to be, but I have to be realistic and accept my limitations. So I do use a SM57 because it is predictable, but it's not about who used what on such album or it's what all the cool kids are using. It's purely pragmatic for me. I know I can get a decent enough sound with it, so I can get to work with what I'm really trying to do. That's all.

In the best of all possible worlds, I most likely wouldn't be using a SM57, but I'm not living in that world. So until one of those uppity gearheads offers to hire me a knowledgeable and skilled tech to handle my mic issues for me, I would prefer they all just leave me alone about it, lest I start slamming my SM57 into their damn craniums (and I suspect it'd still hold up well after that - another plus).

I love the SpellCheck here too.

second to last wrote:You see, I can play a variety of instruments and styles, and hell, I even have a BA in Music. Yet I find using mics incredibly counterintuitive. I envy somewhat people who are far better with mics than I'll ever hope to be, but I have to be realistic and accept my limitations. So I do use a SM57 because it is predictable, but it's not about who used what on such album or it's what all the cool kids are using. It's purely pragmatic for me. I know I can get a decent enough sound with it, so I can get to work with what I'm really trying to do. That's all.

well, what some people here are saying is that there may be several microphones that are better than the sm57 in virtually all applications, so perhaps a re-examination of your rationale would be healthy

I've also tried XY pair of SM57 on stereo sources.... it sucks so bad .

Now, on guitar cab peraps it's good ... never compare to other mic for the moment ... BUT with this mic i've never ever had the sound I was searching for. So for me it's not the good one... peraps it's the one for you.

So I keep my 3 SM57 (+1 Beta 57) for the band who will like them ... and keep searching for me some mics who will give me the sound I want (not better or worse ... just what I want).

Cause really I don't care what is the BEST mic ... I do what my ear told me to do .

I envy somewhat people who are far better with mics than I'll ever hope to be, but I have to be realistic and accept my limitations.

Mic placement plays a vital role in the sound that's captured, obobviousleyThe beauty of this argument is that you CAN get a great sound out of any microphone (within reason) with a little bit of experimentation and creativity. So...you can be good with mics, and you have a good mic to start with If you are really interested, try different approaches with your 57. The subtle (or drastic for that matter) changes in mic placement might open up a whole new realm of sonic possibilities for you, and with only one microphone. This kind of approach works with most any microphone you will find yourself using. Before you know it you will be "better" with mics!