AudioMedia - November 2008 - (Page 68)

11|08 AM have had the pleasure of using many different stage vocal microphones with different singers for many styles of music, and I was very keen to get my hands on Shure’s new entry into this very competitive market. We all know that Shure has dominated the stage microphone world for years with the SM series, but as live sound technology has developed over the years, we have seen several releases of higher quality microphones emerge. Shure has taken its time releasing its high-end vocal microphone, and I couldn’t wait to hear it. With so many microphones now to choose from, is the KSM worth a listen? The KSM9 makes an easy leap between the worlds of stage and studio, finds SIMON ALLEN. I for some tracks it could even be a first choice, and will stand its ground compared to even the most expensive mics. The main difference for me, compared to the other microphones, was that the clarity in any sibilance was slightly broken. While using the microphone on the stage I was equally pleased. Whilst sound checking and sitting the vocal into the mix, I had to think very differently with the EQ compared to what an SM would typically need. The sound was very clear and crisp without being too harsh, and naturally warm, unlike some live vocals that can soon be mushy or boomy in the lower end. The mic SHURE KSM9 Wired Handheld Vocal Microphone O ver view The microphone comes in either ‘charcoal grey’ or ‘champagne silver’, and with it you get a great little flight case. The microphone feels comfortable to hold and seems surprisingly light. I also like the flatter edge to the grille as I believe it makes the vocalist instinctively hold the microphone correctly, unlike the rounded edge on our dear friend the . The internal electronics and all connectors are of a very high quality as expected, and there is also a suspension mount that isolates the cartridge from handling and stand noise – something learnt from the studio. There is also a three-stage grille to prevent pops and wind noise. An optional foam cover is available. As expected from Shure, it is built very well for life on the road, and with a high SPL of dB it is ready for almost anything. The frequency response is brilliant going from Hz- kHz. With the internal Class A, transformerless pre-amplifier, the KSM requires phantom power but is less sensitive than some studio mics, again making it reliable for those inevitable gigs. Much more interestingly, the microphone has dual polar patterns, cardioid and supercardioid, which isn’t often seen on handheld stage microphones. The switch to select between each pattern is located under the grille that can be unscrewed like an SM , which is great as the vocalist can’t catch it during their performance. The idea behind the supercardioid pattern is obviously to increase isolation on a loud stage and to potentially reduce feedback. The other piece of technology that has got most of my interest is in the cartridge itself. It contains two gold layered Mylar diaphragms afflicted by the proximity effect. With the dual diaphragms the frequency response is much more even. delivered a very true representation of a real human voice. The natural feel and characteristics of a studio mic allow you to EQ the voice to the singer as you would do in the studio, giving you great control. Some other high end mics that I’ve heard tend to only suit some voices and styles, and with the extra clarity they now achieve, can sound very ‘airy’ and whispery’. But not the KSM . There is a focused sound from top to bottom. It is such a luxury to have the detail that microphones like this can develop even on some cheaper PA systems. The KSM showed so much more detail than I was used to hearing across a PA, but it was also very consistent and nothing stuck out. I had to take a different approach to mix the vocal into the overall sound, which was a pleasure, instead of fighting to make the vocal cut through more. One of the singers I tried the microphone with was very excited about it, and commented that it made their job easier, because they could tell all the little details, their diction was much clearer, and they were able to respond to that. For me, the biggest joy with the KSM is the frequency response remains similar as the sound source moves to and from the microphone. Soon this was a detail taken for granted, but I could tell it made the singers very comfortable. The dual diaphragm idea works very well and helps set this mic out from others in the market. I was expecting to hear a big difference between the two polar patterns and was a little reluctant to try it, but was very pleased to hear the frequency response is similar. The separation on the vocal with the supercardioid pattern is great and makes it easier to work with. Conclusion I can see this microphone being a great choice for live shows and broadcasts, as it gives both live and studio engineers something they are used to working with. The gap has become smaller between studio and live sound worlds thanks to the KSM , suiting a wide range of vocalists and styles, and making this mic an easy choice. ∫ I N F O R MAT I O N THE REVIEWER SIMON ALLEN is Stage and Studio Manager of High Barn. This microphone is from Shure’s KSM studio mic range, which suggests that Shure is trying to reduce the gap between the studio and the stage – and it really does. I actually started with the microphone in the studio when we needed to lay down some guide vocal parts with a band while we were tracking, and I was very impressed. The tonal qualities and clarity were comparable to that of a studio condenser. The vocalist at the time soon realised how well the microphone was responding, and felt comfortable enough to start experimenting by the end of the session, and we got some cracking results. When it came to adding the final vocal take on the track, we lined up several microphones including the KSM with an added pop shield, and we were very surprised. I think I n Use £ GB£478.50 (inc.VAT) A Shure Distribution UK, Unit 2, The IO Centre, Lea Road, Waltham Abbey, EN9 1AS T +44 (0) 1992 703058 F +44 (0) 1992 703057 W www.shure.co.uk E info@shuredistribution.co.uk 68 AUDIO MEDIA NOVEMBER 2008 http://www.shure.co.uk

Table of Contents Feed for the Digital Edition of AudioMedia - November 2008

AudioMedia - November 2008 Contents Recording News Post News Broadcast News Geofocus: Italy What's Up UK AES Review For the Record Studio Snapshot: Aquarium Abbey Road Plug-ins Brilliance Pack Neumann TLM67 Mercenary Audio KM-69 IZ Technology ADA Final Cut Special: Bond TC Powercore 6000 EP Productions Nagra VI Product Sampler: Location Tools Video Guide AMSR News Shure KSM9 Big Beach Boutique 4

AudioMedia - November 2008

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