Recording - November 2009 - 35

end of the snare nicely; and the rolloff at 300 Hz de-emphasizes the low end of the kit and keeps it out of the way. My other sound guys were pretty bummed when I had to move on with the review; they keep asking me, “How much are they and when do we get them back?” The SM137 also works well as a snare mic (top and/or bottom). While not as thick and gritty as the ubiquitous SM57, the SM137 has a much faster transient response and adds a nice clarity to the snare, especially when used in conjunction with a 57. I had similar feelings about the SM137 on bongos, congas and even mandolin. It allows them to pop nicely in a mix. Surprisingly however, I did not enjoy the SM137 as much on solo acoustic guitars (both a high-end Taylor and a Martin) where it gave the guitars an almost nasal quality. While that could be fixed with a touch of eq and may help an acoustic rhythm track hold its own in a dense rock mix, here I preferred the SM27. When compared to the SM81, the other small-diaphragm condenser in the SM series, the SM81 (at twice the price) has a flatter and much more even frequency response. While it is a better choice on fullrange instruments such as strings and acoustic guitar and it tames a hi-hat like no other, I still preferred the SM137 on overheads and snare, and the 137 is one of the few small-diaphragm condensers I have used and liked on an electric guitar amp. Close-miking a guitar cabinet with both an SM57 and the SM137, with the SM27 about 3–6' away, makes a nice triple-threat guitar setup. Conclusions Again—the SM27 is a true workhorse microphone! With a street price of $300 the KSM27 was and the SM27 is one of my top recommendations for a beginner’s first serious large-diaphragm condenser microphone. Even as your mic arsenal grows, you will not outgrow this mic. I have plenty of more expensive mics at my disposal and I still regularly find a use for it. While the SM137 is not as utilitarian as the SM27 or older SM81, at an average of $180 street, alone or in pairs the SM137 will serve any studio or stage setup well when clarity and punch is the goal, not just as drum overheads but in a variety of worthwhile roles. Prices: SM27, $460 MSRP ($299 retail); SM137, $236 MSRP ($179 retail) More from: Shure, www.shure.com. Paul Vnuk Jr. (vnuk@recordingmag.com) is a recording engineer, producer, musician, sound designer, and lover of workhorse audio gear, living and working in Milwaukee. Learn more about his current projects at www.majale.com. RECORDING NOVEMBER 2009
http://www.glyphtech.com http://www.glyphtech.com http://www.shure.com http://www.betamonkeymusic.com http://www.majale.com

Recording - November 2009

Table of Contents for the Digital Edition of Recording - November 2009

Recording - November 2009
Fade In
Contents
Talkback
Fast Forward
Les Paul Speaks
Cakewalk SONAR V-Studio 700
The Hybrid Guitar Recording Method—A Modern Way of Tracking Serious Tones, Part 1
Radial JDX and Phazer
Shure SM27 and SM137 Microphones
Eventide PitchFactor
Recording’s Guitar Column
Lexicon I•ONIX U42S RecordingInterface
Recording’s Showcase of Sounds
Readers’ Tapes
Vibesware GR-1 Guitar Resonator
BOSS ME-70 Guitar Multiple Effects
Line 6 BackTrack and BackTrack + Mic
Advertiser Index
Fade Out
Recording - November 2009 - Recording - November 2009
Recording - November 2009 - Cover2
Recording - November 2009 - 1
Recording - November 2009 - Fade In
Recording - November 2009 - 3
Recording - November 2009 - Contents
Recording - November 2009 - 5
Recording - November 2009 - Talkback
Recording - November 2009 - 7
Recording - November 2009 - Fast Forward
Recording - November 2009 - 9
Recording - November 2009 - 10
Recording - November 2009 - 11
Recording - November 2009 - Les Paul Speaks
Recording - November 2009 - 13
Recording - November 2009 - 14
Recording - November 2009 - 15
Recording - November 2009 - Cakewalk SONAR V-Studio 700
Recording - November 2009 - 17
Recording - November 2009 - 18
Recording - November 2009 - 19
Recording - November 2009 - 20
Recording - November 2009 - 21
Recording - November 2009 - 22
Recording - November 2009 - 23
Recording - November 2009 - The Hybrid Guitar Recording Method—A Modern Way of Tracking Serious Tones, Part 1
Recording - November 2009 - 25
Recording - November 2009 - 26
Recording - November 2009 - 27
Recording - November 2009 - 28
Recording - November 2009 - 29
Recording - November 2009 - 30
Recording - November 2009 - 31
Recording - November 2009 - Radial JDX and Phazer
Recording - November 2009 - 33
Recording - November 2009 - Shure SM27 and SM137 Microphones
Recording - November 2009 - 35
Recording - November 2009 - Eventide PitchFactor
Recording - November 2009 - 37
Recording - November 2009 - Recording’s Guitar Column
Recording - November 2009 - 39
Recording - November 2009 - Lexicon I•ONIX U42S RecordingInterface
Recording - November 2009 - 41
Recording - November 2009 - Recording’s Showcase of Sounds
Recording - November 2009 - 43
Recording - November 2009 - 44
Recording - November 2009 - 45
Recording - November 2009 - 46
Recording - November 2009 - 47
Recording - November 2009 - 48
Recording - November 2009 - 49
Recording - November 2009 - Readers’ Tapes
Recording - November 2009 - 51
Recording - November 2009 - Vibesware GR-1 Guitar Resonator
Recording - November 2009 - 53
Recording - November 2009 - BOSS ME-70 Guitar Multiple Effects
Recording - November 2009 - 55
Recording - November 2009 - Line 6 BackTrack and BackTrack + Mic
Recording - November 2009 - Advertiser Index
Recording - November 2009 - 58
Recording - November 2009 - 59
Recording - November 2009 - 60
Recording - November 2009 - 61
Recording - November 2009 - 62
Recording - November 2009 - 63
Recording - November 2009 - Fade Out
Recording - November 2009 - Cover3
Recording - November 2009 - Cover4
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