sE V7 vs SM58: The Real Difference Between These Two Vocal Mics (and Where Your Monitor Should Go)

The sE V7 vs SM58 question comes down to one thing most comparisons skip: the pickup pattern. Both are dynamic handheld vocal mics built for loud stages, but the SM58 is cardioid and the V7 is supercardioid, and that changes how you hold the mic and where your foldback wedge should sit.

sE V7 vs SM58 specs side by side

On paper they’re close. Both are moving coil dynamics with an XLR output, both weigh about 300 g and both need a decent amount of preamp gain. The useful differences are in the pattern and the build.

Don’t read too much into the frequency range. On a vocal mic held a few centimetres from your mouth, the shape of the presence boost and the proximity effect matter far more than where the response finally drops off.

Cardioid vs supercardioid: why the V7 behaves differently on stage

A cardioid mic like the SM58 is least sensitive directly behind it, at 180 degrees. A supercardioid like the V7 has a narrower front pickup, so it ignores more of the drummer and the guitar amp beside you. The catch is a small lobe of sensitivity at the back. Its quietest points sit at roughly 125 degrees off axis, not straight behind.

That’s why the V7 gets more level before feedback in the right setup. Sound On Sound’s review found it allowed noticeably more level before feedback than sE’s cheaper V3. The same narrow pattern is also why it can squeal in the wrong setup.

With an SM58 the old rule still works. Put the wedge straight in front of you, which places it directly behind the mic where the cardioid is least sensitive. Shure’s own SM58 user guide says to place monitors directly behind the mic and to test the placement before every show.

How do they sound?

The SM58 has the sound most people already know: a solid midrange, a gentle presence lift and a rounded top. It’s flattering on a lot of voices and very hard to make sound bad, which is a big part of why it’s been the default live vocal mic since 1966.

The V7 sounds more open at the top. Sound On Sound measured its presence boost as two gentle humps centred near 3.5 kHz and 10 kHz, plus a low frequency roll-off to keep close-up singing from getting boomy. Plenty of users describe it as clearer than an SM58 on their voice. Not everyone agrees. A minority of reviewers prefer the SM58 and hear a low-mid bump in the V7 they don’t like.

So neither is “better” in every case. If your voice gets lost in a dense band mix, the V7’s extra air can help it cut through. If your voice is already bright or harsh, the SM58 may be kinder.

Mic technique: which one forgives you more?

The SM58 is the forgiving one. Sing a little off to the side, drop the mic to your chin between lines or hold it at a slight angle, and the level and tone don’t fall apart.

The V7 rewards discipline. Several users describe its sweet spot as smaller and more pinpointed than the SM58’s. Keep it pointed at your mouth, a few centimetres away, and it sounds great. Wave it around and your level will jump.

Both mics get bassier the closer you sing. Shure notes that within about 15 cm you get a fuller sound with more bass, and that right up on the grille the bass below 100 Hz can rise by 6 to 10 dB. Use that on purpose. Back off for loud notes and lean in for intimate ones.

Build, handling noise and the little details

The SM58’s reputation for surviving drops and years on the road is earned. Its capsule sits in a pneumatic shock mount, and it’s one of the main reasons it has stayed on stages for decades.

The V7 is built just as solidly. According to sE Electronics, the chassis is all metal with no plastic parts, and the spring steel grille has a bevelled edge so the mic won’t roll off a table. It also comes with a switchable internal windscreen and a carry pouch. User reports on its handling noise are mixed. Most find it low, but a few hear more thump than they expected, which is another reason to use that high-pass filter.

Which one should you buy?

• Loud band, you control the wedges: sE V7. The tighter pattern and extra gain before feedback are worth it.
• Venue mic or shared mic: SM58. It works for singers with good and bad technique, and with wedges wherever the venue puts them.
• Singer who moves and gestures a lot: SM58.
• Voice that gets buried in the mix: try the V7 first.
• Home recording or podcasting in an untreated room: either works, and both beat a condenser for rejecting room noise. Your interface needs enough clean gain for a dynamic mic.

Buying in Australia: watch out for fake SM58s

The SM58 is one of the most counterfeited mics in the world. Most fakes do work, but they sound worse and usually lack the pneumatic shock mount. If a price looks too good, it usually is. Buy from an authorised Australian dealer and check the packaging and the grille fit.

Want more on getting the V7 right on stage? Read our sE V7 live vocal tips. Recording speech instead of singing? Our guide to the best microphone for podcasting covers that.

Frequently asked questions