What it is and what it was built for
A dynamic supercardioid microphone built for live vocal use. Introduced in 1996 as a redesign of the Beta 58. Part of Shure’s Beta Series, launched in 1989.
How it works, in terms a player would use
It is a dynamic supercardioid microphone. It rejects sound from the sides. It attenuates low frequencies below 500 Hz to counter proximity effect. It boosts presence at 4 kHz and 10 kHz. It uses an output transformer. It has no hum-bucking coil.
What it does better than anything else
It isolates vocals in loud environments better than most dynamic mics. Its supercardioid pattern rejects side-stage bleed more tightly than cardioid SM58s. Its neodymium magnet gives higher output than older SM-series designs.
What it does badly
It rolls off below 500 Hz. It cannot reproduce deep bass or full-range acoustic instruments cleanly. Its presence peaks fatigue some voices over long sets. It offers no pattern switching or pad.
What people made with it
Live vocal performances on stages worldwide. No specific recordings, artists, venues or releases are named in the sources.
Who should use it, and who should not
Front-of-house engineers and touring vocalists who need consistent rejection and high-SPL handling. Not studio engineers seeking transparency, or podcasters needing low-end warmth.
Is it worth your time
Yes — if you need a live vocal mic that cuts through stage noise without feedback. No — if you need extended low-end, flat response, or studio-grade neutrality.
