Recording - May 2016 - 34

Shure KSM8

In both cases the KSM8 and its bleed gave the drums a more blended single-instrument
sound vs. a modern "every kit piece isolated and in your face" sound. With this in mind, I
did some more tracking with four KSM8 mics in a Glyn Johns set up with a loose-tuned
vibey 1960s Slingerland kit; the sound was instant gelled vibe.
Guitar applications
Once my drum tests were done, I sent four of the mics back and kept a pair for a
much longer set of tests. I used them on electric and acoustic guitars before settling into
their primary application on vocals.
When using the KSM8 on electric guitar cabinet, I had similar feelings to my drum
experiences. I had to scrub my mind clean of what I think a dynamic mic sounds like on
a guitar cabinet. On the plus side, the lack of proximity effect gave the amp more focus
and less boomy buildup, meaning I had to roll off less low end at the board, but it also
lacked the usual bite and punch of an SM57 or Audix i5. This is the one area I would
call the KSM8 a tad more like a ribbon, or a classic condenser like the Mojave Audio
MA-201, especially in its top end. Because of that, it pairs well with a standard dynamic
in a two-mic setup where one might usually use an MA-201 or a Royer R-121.
On acoustic guitar, again, think laid back and natural. In this instance it does not
sound like a typical dynamic mic at all. Remembering the singer/songwriter focus of
our April issue, I think the KSM8 could be a great mic for great-sounding songwriting sessions. The guitar player does not need to worry as much about movement
and swaying, thanks to the mic's controlled proximity effect.

Made for voice
Before I forget, have I mentioned that this mic excels on vocals? I know this is supposed
to be an instrument-miking issue, but let's give the KSM8 props for its primary design aim.
From singing to presentation to broadcast and podcast, the KSM8 is even, natural, and
has a nice a touch of warmth. It is also less prone to mouth clicks and plosives than a typical
condenser. The KSM8 in a podcast / voiceover situation needed much less EQ than I normally use, and the talent did not need to be as concerned with being right up on the mic.
The KSM8 could make a nice name for itself in radio and broadcast booths.
For this reason I also used the KSM8 somewhere I would never think to use a dynamic
handheld mic-on a video shoot. I was doing a video with eight people thoughout a single day in a close-up MTV/Big Brother confessional-style head shot setup. I didn't want to
mess with setting and re-setting a lav mic. The KSM8, just in front of the lens about a foot
from the actors, was a perfect solution and the end result sounded great.
A new classic?
My best way to wrap up this review is to say that everyone who has heard and used the
KSM8 on vocals has been impressed. The Worship Director at the church where I do
sound wants to know when we are purchasing some! It's also proven to be a very nice
alternative to traditional large-diaphragm condensers in the studio.
On instruments it will take some time and experimentation to find your favored
uses, but Shure has definitely hit on something new and special here. I hope (and
expect) the KSM8 will attain classic status like its many siblings before it.
Price: $499 * More from: Shure, www.shure.com
34

RECORDING MAY 2016

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