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Top hat and tales    

August 28th, 2012 master No comments

WAS IT THE platinum records? Having millions of fans worldwide? The recent induction into The Rock and Roll Hall of Fame?

Great as those achievements are, Slash says the moment he knew he’d truly achieved pop culture immortality came courtesy of the humour institution MAD Magazine in the early ’90s. “Yeah, they had Alfred E. Newman on the cover in a top hat and long hair,” says the iconic guitarist with a chuckle over the phone from Montreal. “That’s probably my favourite tribute.”

Tonight the top hat, black curls and Gibson guitar will grace a Halifax stage for the first time in over two decades, since the original lineup of Guns N’Roses played the Halifax Metro Centre twice in the ’80s with Iron Maiden and the Cult.

This time around, he’s doing his own thing with singer Myles Kennedy and their band the Conspirators at Cunard Centre, touring behind their second project Apocalyptic love and getting back to towns he wishes he’d played more often with Gn’R and his subsequent band Velvet Revolver.

“one of the great things about doing the solo thing is I can sort of dictate what towns we’re gonna do,” says the guitarist born as Saul Hudson 47 years ago. “So a Canadian tour was something I insisted on because back in the day we used to do an entire trek across Canada, but then somehow, with all the different situations, it just stopped happening.

“So I had some influence in that, with this tour for this record.”

besides the songs from Apocalyptic love and Slash’s self-titled solo debut, fans can expect to hear some GN’R and Velvet Revolver favourites, and maybe even some nuggets from his first side project Slash’s Snakepit, delivered with Kennedy’s impressive four-octave vocal range and the wallop of a band that carries decidedly less off-stage dramatic baggage than the guitarist’s most famous outfits.

It may not make for instant headlines — no one’s attacked an audience member or been kicked off an airplane as of yet — but Slash figures at this point in his career he should be able to go out on the road without bracing himself for crisis mode.

“It’s very similar to me, if I had to compare it to anything, to the early days, where you just go somewhere, you get excited about playing, and you play,” he explains. “It’s just very simple, straightforward and basic like that.

“So it’s been a hell of a lot of fun, I’m having the most fun with this bunch of guys over the past couple of years that I’ve had for most of my career because it’s rooted in simplicity, and the band is really good. I can’t understand why it had to be more complicated.”

Listening to Apocalyptic love, you get where he’s coming from. The record is a trove of uncomplicated, guitar-driven, arena-filling rock and roll, with a heavy backbeat, driving riffs, and that thick, serpentine tone that first flowed through game-changing hits like Welcome to the Jungle and Sweet Child O’ Mine.

“I think I feel very strongly about staying close to my roots, and sticking to my guns about what turned me on when I got started, why it is that I do what I do, and the direction I went when I picked up a guitar,” he says.

“It seems like by this point you should have the opportunities to, and I’ve taken a lot of them, but in my own group situation I want to be able to do what I want to do. I don’t want to f*** around with it, I want to stick to what is that I’m really good at and what I love doing.

“Especially at this particular time and place. Rock and roll is suffering in such a way that this is the time to really stay true to your school.”

with Kennedy and the Conspirators, Slash was able to do something that was virtually impossible with Guns N’Roses or Velvet Revolver, and that was simply get in a room at the same time and just play the songs live to analog tape.

keep in mind this is a musician who spent his last three years in GN’R simply waiting for something to happen following the end of the epic Use Your Illusion tour in 1993. Sitting idle is not his style, and neither is the digital, piecemeal method of making records which he feels has a way of squashing that “intangible magic” that runs through every record that ever influenced him.

Apocalyptic love is a record for cranking: the pure sound of a Les Paul guitar fed through a Marshall stack into a Shure-SM57 microphone, with a vocalist who can snarl and scream with the best of them, but also has a varied enough musical taste to be able to work with the stylistic curveballs Slash throws his way.

“He’s not a presumptuous individual, and he’s not one of those people who’s intimidated by his own ability, or what other people are going to think about this, that or the other thing,” Slash says of Kennedy, who at one time was considered as a replacement for Robert Plant in a reformed Led Zeppelin. “He’s very open-minded, so any idea I come up with–that I think is worthy of sharing with somebody else–I can take it to him and he just gets into it to see what he can come up with.

“if we come up with something great, then awesome, but if it doesn’t go anywhere, well at least we tried. A lot of the time in collaborative situations, people get ahead of themselves and start being intimidated by not being able to have the quintessential perfect thing before they even try to do it. A lot of good material gets thrown by the wayside because of that, and I love working with Myles because it’s really easy because there’s no squabbling, we just sort of go for it and see what happens.

“It’s a really cohesive, creative relationship that way.”

Kennedy also filled in for no-surprise no-show Axl Rose when Guns N’ Roses were inducted into the Rock and Roll Hall of Fame earlier this year, singing Paradise City, Sweet Child o’ Mine and mr. Brownstone with Slash and Steven Adler, Duff McKagan, Matt Sorum and Gilby Clarke.

It was just after that ceremony that Slash told Guitar World magazine that the event was likely the last of countless nails in the lid of the coffin for any kind of reunion of the original GN’R lineup with Axl Rose, but he doesn’t want to downplay the honour of the induction.

“when Guns was first nominated, I was very, sort of like, ‘Ohhh, you know…,’” he says with a heavy sigh. “at that time, I just wished it would go away. But all of a sudden we were inducted, and I was thinking about the ceremony and wondering how we were going to pull it off knowing the dynamics of the relationships between certain members of the band.

“when our moment came to accept our, uh, ‘surprise’ I guess you might want to call it, it was interesting to see what kind of an impact those records had that I hadn’t really realized before, on such a wide scale. It was a really nice feeling.”

Slash cites Kiss, Rush, Deep Purple and Cheap Trick as acts that all should have been members long before Guns N’ Roses, but now that he has the Rock and Roll Hall of Fame on his resume, he feels he can help those acts that helped make his career happen.

“now that I’m an inductee, I can actually vote, so I can see if I can get some of those people that influenced me in there, and also understand how the voting works and how people get overlooked.”

Top hat and tales    

SHURE SVX DUAL WIRELESS MICROPHONE SYSTEM

August 27th, 2012 master No comments

When it comes to micro­phones, there really isn’t a big­ger name out there than Shure. For every appli­ca­tion and at every price point, Shure is bound to have a micro­phone to suit your needs. Now, they have just released a new range of low priced wire­less sys­tems called SVX that is sure to offer a wider audi­ence the abil­ity to hear what Shure is all about. the SVX Dual Wire­less sys­tem com­prises of a SVX88 dual chan­nel diver­sity receiver and a par of SVX2 PG58 wire­less micro­phones, per­fect for appli­ca­tions where two singers or pre­sen­ters are work­ing together and don’t want to bother with sep­a­rate sys­tems and com­pli­cated setup procedure.

EASY INSTALLIt really can’t get any sim­pler to have two wire­less micro­phones work­ing together, and at such an amaz­ing price too. the SVX sys­tem can be up and run­ning in just a cou­ple of min­utes, with both micro­phones oper­at­ing on sep­a­rate chan­nels to avoid inter­fer­ence. Unscrew­ing the base of each of the PG58 micro­phones allows you to install the two AA bat­ter­ies required for oper­a­tion and set the trans­mit­ting chan­nel for the micro­phone. On the rear of the receiver, you can eas­ily match the two sides to each of the microphone’s chan­nels, adjust the level and con­nect either a 6.5mm jack or an XLR cable for both out­puts to your mixer and you are ready to go.

ALL INCLUSIVEWhen you pur­chase an SVX sys­tem, every­thing you need is in the box, short of the cables and mixer, of course. the anten­nae for the receiver are fixed, so you don’t need to worry about attach­ing them, bat­ter­ies are included and only one power sup­ply is required to get the both micro­phones received. you also get two large throated, rub­berised micro­phone clips to suit the larger diam­e­ter of the han­dles, which is always handy. the micro­phones them­selves are extremely light­weight, with plas­tic hous­ings, so you don’t feel like you are lug­ging around a brick as can often be the case with some wire­less micro­phones. Inside the pro­tec­tive cage, the cap­sule fea­tures a small plas­tic plate over the cen­tre to enhance the pickup pat­tern and also reduce unwanted pop­ping and sibi­lance when used close to the singers mouth. what this offers is a clear a pre­cise audio cap­ture in a micro­phone that doesn’t carry the price tag of sim­i­lar units.

The SVX series is an excel­lent option for bands that want to break free of their micro­phone leads with­out grat expense. the dual sys­tem allows two singers to expe­ri­ence the same free­dom and works well for pre­sen­ta­tion and sim­ple speak­ing appli­ca­tions too. as a start­ing point for a wire­less sys­tem, or as a backup sys­tem to expand on an exist­ing micro­phone kit, the new SVX range from Shure is a great option.

By Rob Gee

RRP: $619Dis­trib­u­tor: JandsPhone: (02) 9582 0909Web­site: www.jands.com.au

SHURE SVX DUAL WIRELESS MICROPHONE SYSTEM

Categories: shure microphones Tags: , , , , ,

How to Make a Podcast

August 25th, 2012 master No comments

Learn how to make a podcast at home, from pick out the right mics and other equipment to distributing your finished product and getting heard.

Producing a good podcast goes far beyond plugging in a few mics and hitting record. If you want to make a quality product, a surprising amount of preparation can escalate your podcast from amateur hour to a polished product with loyal listeners. Here’s how to get your show on the road – or ‘net – from start to finish.

Determine the theme and format

Everything starts with the type of podcast you want to record. Your podcast’s theme and format will determine not just how you prepare for each episode, but also what tech you will need for each participant.

For example, if you are coordinating remote participants via Skype, it’s a good idea for each to have a nice USB microphone, but you probably don’t need much audio gear beyond that. However, if you plan to record multiple participants at the same location you will need a more sophisticated setup (see the following section).

Audio gear can be pricey, so it’s a good idea to lock-in on format and theme before you go shelling $650 for that shiny, new Mackie Firewire interface. If you’re having trouble making these decisions, consider recording a few initial podcasts with the gear you already have or which you can pick up for free. Even if you don’t release these they will be useful practice for future efforts. actually sitting down and recording will reveal ideas and challenges that you hadn’t thought of.

Once you are set in your format and theme, it’s you’re ready for one of the best parts of podcasting: buying things!

Acquire the tech

You know you want to talk into microphones. now it’s time to buy some microphones to talk into. first you’ll need a bit of background. For an introduction to entry-level recording concepts, please skim the first two sections of my column from May, “Minting music: How to setup a DIY recording studio on your computer.” Don’t worry, I’ll wait.

Great. now, some additional considerations for podcasting.

A headset microphone can work, but it will make you more vulnerable to breath and handling noise — non-speech sounds that will be a distraction from the polished product you hope to create. Plus, a headset will make you look like a dweeb if it’s a video podcast.

Many setups will require an interface more complicated than Mackie’s Blackjack, a popular and inexpensive USB recording interface. Luckily, no matter how many microphones you need, there is an Onyx interface for you. The $650 Onyx 1220i, with four pre-amps and eight line-level inputs, is a good middling option.

A mixer-based setup will require microphones, mic stands, and cables. The Shure SM58 is a great microphone to start with. its durability and reliability make it “The World’s most Popular Live Vocal Mic.” If you don’t like the SM58, there are many other options. Be sure to do some research, though, because many are quite expensive.

The On-Stage Stands MS7920B is a good option for a table-top microphone stand. getting your microphone into a comfortable position is key, so don’t skimp on stands.

The Pro Co XLR cables found here are good for entry-level applications. Don’t skimp on length. It’s far better to have too much cable than too little.

A pop filter like Music Accessories’ Split Screen model can prevent many of the explosive breath sounds so common in undisciplined vocal delivery.

Prepare, Prepare, Prepare

Radio pros like Leo LaPorte can produce quality content with slight preparation. You are not Leo LaPorte. The more prepared you are prior to recording, the better your podcast will be. Consider each of the following before the show begins.

Timing - How long do you want your podcast to be? There are exceptions (TWIT, notably), but most podcasts should stick to about an hour or less. anything longer is asking a lot of the listener. Meeting this timing goal likely means sticking to a set length for each segment. You must also take into account the length of any media you will air and for the show intro and sign off. Run a timer for each segment to ensure brevity.

Script it - Don’t be afraid to read a pre-written introduction to begin a segment — as long as you can do so with a natural feel. this provides a smooth lead-in to a more loosely-scripted question set. Developing an introduction is also a good opportunity to think about the structure of the segment — what main points should you cover? What questions must be asked? The more planning of this type, the better. While it can be frustrating to have too-little time for all of your awesome pre-written question, it’s far worse to be embarrassed by having too few topics for the time you need to fill.

Scheduling - How often will your podcast air new episodes? many podcasts aim for a weekly schedule. this can be difficult to maintain, especially for beginning ‘casters. A twice-monthly schedule may provide more time for preparation or reflection on points to improve. Even a monthly schedule can work for evergreen podcasts — the transcendent You look Nice Today is an excellent example.

Lawyering - You will need artist consent if you want to play songs or videos during your podcast. one option is to contact the content creator for direct consent. this will often be easier than you think for smaller artists, but could prove impossible for larger ones. You can also use media files that have been specifically licensed for use by others. Creative Commons Search is one great way to find viable content. Freesound.org is also a great source for Creative-Commons-licensed sound effects and field recordings.

Practice - You will be tripped up by things that aren’t covered in this column. Technical issues can be very frustrating, especially with how mysterious audio production can be in the early going. Try to treat each challenge you encounter as an opportunity for learning. Podcasting is fun, so learning how to troubleshoot an issue should be treated as an enjoyable experience. Don’t invite your dream guest to the first podcast episode you hope to record. Instead, start with friends that you will feel comfortable with. this will relieve some pressure.

Human resources - The human elements must also be considered. first, if any friends have sound-engineering skills, now is the time to buy them a six-pack and ask that they impart some of that knowledge. They’ll be able to get you up and running far more quickly than you’ll be able to yourself, especially if you have a more complicated recording setup. If you can convince them to participate in the podcast, all the better.

Participant roles during the podcast should be planned ahead of time. Make sure you know who is introducing each segment and who is serving as the engineer, for example. Avoid conflicts — it can be difficult to both host a podcast and engineer it at the same time. also distribute and rotate responsibilities so that all participants have opportunities to learn the different roles.

How to Make a Podcast

Review: Shure KSM42 Large Dual-Diaphragm Studio Condenser Vocal Mic : Music Industry Newswire

August 24th, 2012 master No comments

REVIEW: You’ve been kidnapped by evil Audio Trolls and locked in an underground bunker. You are allowed to live only if you produce the world’s best vocal recording. You’re allowed only one microphone to capture the perfect vocal tone on a soprano, a tenor, an alto and a bass vocalist — in the pop, rock, jazz, blues, and classical genres. You must choose the mic wisely, one that will outshine any other in amazing flexibility, rock-solid performance in different acoustical settings, tight and fat signal reproduction without overdriving the sibilance attempting to create faux sparkle, clear unflappable consistency in the face of varying humidity, and “the shimmering punchy sound” that screams professional studio vocals.

Oh — and the Audio Trolls will only give you a budget of less than $800.00.

Before you collapse in a defeated heap bemoaning the fact that the standard Neumann U87 is well into the four digits, you suddenly realize that you’re within budget for the Shure KSM42 Large Dual-Diaphragm Studio Condenser Vocal Mic, part of Shure’s jaw-dropping studio line that has turned the audio world on its ear by taking over professional studios everywhere.

Unlike a tube mic, the age-old professional industry standard that is known for its responsive warmth and buttery sound — yet is as tonally moody as someone’s sister during that time of the month — the KSM42 Studio Condenser performs with outstanding consistency no matter what the environment or who the singer. Thanks to Shure capturing and stabilizing the tube mic mojo with their Prethos Advanced Preamplifier Technology, now anyone, anywhere, can record vocals that sound like they came from a $5000.00 mic kept in a perfectly climate-controlled booth, coupled with a $10,000.00 tube pre-amp.

How, you may ask, is this actually possible for under $800.00? Well, the Prethos Technology uses what Shure calls “transparent internal circuitry architecture”, which is a fancy way to say that one of the oldest and most trusted audio titans in the industry has actually succeeded in bringing dominating studio mics into the 21st century at a price that’s inviting for studios on every level. during this economy, I can’t think of anything better. considering the mic came from Shure, this should surprise no one, yet it came as a pleasant surprise to me as I know Shure in the live music field rather than the critical-demand vocal studio environment.

As a veteran producer who has worked with not only all sorts of voices but on the Engineering end of some of the best tube studio mics the industry has to offer, I decided to give the Shure KSM42 a run for its money in my own production studio in Los Angeles, which handles artist recording as well as post-production voice-over work. I wanted to hear the mic, not the outboard gear, so I plugged the mic into a garden variety, over-the-counter Beringer tube mic pre-amp. I chose the Beringer because I wanted to hear what this mic would do with a generic source that could be found in any project studio across the country. (Because let’s face it — a log would sound amazing plugged into a mic pre-amp like the EAR 824M.)

As a soprano with a musical theater background, my vocal load is a torpedo for any studio mic, rattling diaphragms at 3.3 kHz and driving tones to pierce at 5-9 kHz. I let this mic have it while singing both classically and in full-throttle rock, something most mics have a difficult time capturing without help from outboard gear. The Shure KSM42 took everything I had to give and handed it back in a beautifully sculpted, warm, fat, tight and succinct signal that never pierced, never shattered apart, and never overdrove, but exploded with expression and warmth. I whispered into the mic with jazz tones and the Shure KSM42 captured the feathery, lilting delicate approach with precision and sexy articulation. The dynamic range of this microphone is ridiculously amazing and the broad sweet spot allows a singer to actually move while recording. Along with the fact that this mic is extremely quiet, I was instantly addicted to the warm shimmer and ease of use created by the Prethos Technology.

I was additionally wowed by the Shure KSM42′s performance considering the mic was taken out of the box and plugged in — no tubes to warm up, no humidity in the room to control, no matched load tube pre-amp to buy or even consider. Usually, to get a studio mic primed to sound this sweet, it’s quite a process. The mic itself screams competence: It’s a solid, heavy offering, and while holding it, one can feel the authenticity of the sound to come. Shure even thought ahead on this model to include a pop screen that magnetically adheres to the mic, so no more clanking and gangly pop screen wiggling around during a session. The mic’s Dual-Diaphragm technology is so stable that it does not require the fussing with pop screen proximity, so the magnetic addition ads to the insty-ease of use. Couple that with a space-aged looking ShureLock Rubber Suspension shock mount, velveteen dust pouch and aluminum carrying case and again — welcome to the 21st century, professional audio.

I was so impressed with the Shure KSM42 that I thought I’d give it a try on the air during my show “Haunted Playground” on LA Talk Radio. While needing to Skype into the studio while out of town on tour, I ran the KSM42 directly into my laptop via the Shure x2u XLR to USB adapter. It was the moment of truth — not even a Beringer tube amp to assist the tone — nothing but the microphone. I plugged the headphones into the x2u and the warmth of the mic itself melted like butter in my ears — no tube amp required. The mic was outstanding on all its own. I’ve skyped in several times to LA Talk Radio while on tour or on location filming, and this mic sounds like a million bucks every time, in any environment.

For any studio purist out there who still may be thinking that unless a mic has a tube and costs more than $5000.00. it’s not worth its salt — I beg you to reconsider. The Shure KSM42 Large Dual-Diaphragm Studio Condenser Vocal Mic is not only a contender in the major studio production environment, but a paradigm-breaking offering that thanks to Shure’s commitment to excellence and affordable pricing has leveled the professional studio playing field. I now prefer recording with the Shure KSM42 to recording with the Neumann U87.

It’s that good, that easy, and that consistent.

Shure has outdone themselves with their KSM Studio Series, proving they’re a dominator not only in live applications but in meeting the stringent high-end tonal demands of the largest professional recording facilities. in my Los Angeles production studio (humid climate), I’ve replaced the tube mics with the KSM42. I’ve outfitted my third record label’s main studio chamber with the KSM42, located in Wyoming (arid climate). I have no doubt the KSM42 (or KSM44a, a slightly more ticked-out version of the KSM42) will soon be as iconic in the new studio environment as the Neumann U87. The Shure KSM42 Large Dual-Diaphragm Studio Condenser Vocal Mic owns it, and should be a staple in every studio arsenal.

 Article is Copr. © 2012 by Danielle Egnew, and originally published on MusicIndustryNewswire.com – all commercial and reprint rights reserved.

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Review: Shure KSM42 Large Dual-Diaphragm Studio Condenser Vocal Mic : Music Industry Newswire

New Shure MX Microphones – Technicians Crew Pass

August 23rd, 2012 master No comments

MX150 Cardioid Dual Windscreen

Microflex, or MX, series microphones from Shure have recently had some new additions to the family (MX153 and MX150), which gives us an ideal opportunity to review them and how you might look at deploying these with a wireless package.

Taking the Shure MX150 first, this is a new subminature lavalier model available in 2 polar patterns, Cardioid and Omnidirectional. This electret condenser is ideal for applications where discreet, low profile placement is required, such as broadcast and conferencing applications.

As with all current MX series products, it features Shure’s ‘CommShield’ to protect against the RF interference so commonly found from cellphones, and other digital transmitters. It comes complete with a multi position tie clip, which is featured in depth in the user manual. This shows many variations of placement and cable routing, so much so that it resembles a knot tying wall chart I recall from my childhood, and certainly it’s the most detailed explanation of how to use a tie clip that I recall seeing.

Anyway, all this cable management is for the Kevlar reinforced soft flex cable, designed to reduce any handling noise whilst still being robust. A snap fit windshield is also included as are user changeable EQ caps for response shaping in the Omnidirectional model.

Both models are available with either standard XLR’s or the TA4F/TQG connector commonly found on Shure wireless bodypack transmitters. the XLR versions require phantom power between 11 and 52VDC and ship with an inline preamp, and the TA4F variant requires 5VDC supply from the bodypack.

The package ships in a tidy little carry case, designed to hold both the mic and its accessories.

Also now available is a discreet over the ear or earset microphone, the MX153. This is available as an Omnidriectional model only, but in three colours to best match the user – black, tan and cocoa. This is a better option than a lavalier where better gain before feedback is a requirement and the MX153 exhibits an extremely flat frequency response from 50Hz upwards of 20kHz.

Again, Shure’s ‘CommShield’ RFI protection comes as standard with this very lightweight, less than 20g, earset microphone. Three windscreens are also provided and a collar clip, all packaged in a tough carry case. It’s only available with the TA4F/TQG connector and requires 5VDC supply from the bodypack, but should you wish to connect directly to a cable then the XLR terminated RK100PK preamp is available as an option, for which 11-52VDC phantom power would be required.

How would you hook these premium microphones up to a wireless system?

Well, a great partner for these new microphones is the recently released Shure ULX-D digital wireless system.

The ULX-D1 body packs all feature the TA4F/TQG input connector found on the MX150 and MX153, and some of the additional benefits include AES encryption for secure use in government, financial and blue chip businesses, Lithium-ion rechargeable battery options, multiple charging devices and a very accurate ‘time left to discharge’ readout in place of the often found segmented battery level meter.

Since the ULX-D4 receiver features a regular Ethernet network port, this information and lots more besides can be monitored from Shure’s Wireless Workbench software package running on a Windows or Mac PC, and possibly more interesting from an integrators perspective, Crestron and AMX modules will allow control and monitoring of networked ULX-D receivers from either of those systems.

For more information on Shure’s products visit www.jands.com.au or contact:

Tel: +61 2 9582 0909                                                     

Email: info@jands.com.au

New Shure MX Microphones – Technicians Crew Pass

Shure unveils KSM353, KSM313 ribbon mics at AES

August 23rd, 2012 master No comments

Advertisement

Professional sound engineers are accustomed to seeing and using Shure dynamic and condenser microphones. but even some audio veterans don’t know that Shure made ribbon microphones from the 1950s through the 1980s, including the famous mic on Johnny Carson’s “Tonight Show” desk.

Now, Shure has returned to the manufacturing of ribbon mics with two new models, the KSM353 and KSM313. both use a ribbon material known as Roswellite, which offers higher tensile strength and more resilient shape-memory properties than a traditional foil ribbon. These models are faithful (and renamed) reproductions of two models originated by Crowley and Tripp, which Shure acquired earlier this year.

While conventional ribbon microphones can be damaged by loud sounds, the shape memory of Roswellite ribbons enables it to withstand very high sound-pressure levels over extended periods of time without damage.

“We chose to maintain the two Crowley and Tripp Roswellite models, the El Diablo and the Naked Eye, and bring them into our KSM portfolio as the KSM353 and KSM313,” said Chad Wiggins, Shure’s category manager for wired products. “We’re manufacturing these models true to the original Crowley and Tripp design using the same production process, fixtures, tooling and materials.”

Hand assembled in the United States, the KSM353’s ribbon assembly provides rich low-frequency response, natural midrange and a rising response in the upper range. Its bidirectional polar pattern is extremely uniform and symmetrical.

The KSM313 uses a dual-voice ribbon assembly, which enables the user to choose from two different sound signatures. Addressing the front of the microphone delivers a warm, full sound that is ideal for many instruments, while addressing the rear results in a bright, articulate sound that compliments vocals.

Both the KSM353 and KSM313 feature the Roswellite ribbon material and a custom-wound, double-shielded transformer. both mics ship in a mahogany storage case with custom stand adapters.

Shure ribbon microphones will be manufactured exclusively in the United States. The company also provides service and support for all existing Crowley and Tripp ribbon microphone products.

Shure unveils KSM353, KSM313 ribbon mics at AES

Rex and the Bass: Shure Beta 58A Microphone Review and Comparison to the Shure SM 58

August 20th, 2012 master No comments

Sugoi!

If you have been reading my blog for awhile, you may know of my respect for the Shure SM58 microphone, and I am not the only one that feels this way. Everywhere you go you see the SM58, and it has to be one of the popular microphones on the planet, particularly for live performance. But Shure also makes a premium version, the Beta 58A. This microphone is also quite popular, and many people say it is better, but many times they cannot give good reasons why, so I thought I would put some time into comparing them.

The first thing to keep in mind is that the Beta 58A and SM58 were designed as (and are marketed as) vocal microphones for live performance. If you are using these to mic bass drums, or if you are expecting these microphones to do something different you should be shopping for something else.

The appearance of the Beta is not terribly different from the SM58, and the quickest way to tell the difference is to look for the blue band around the grille. the body is also a little different color (more blue than gray), and there is a little square badge on the Beta. the weights of the two are within an ounce of each other, so that is a wash.

The performance numbers between the microphones are similar, and the impedance is 150ohms for both of them. the frequency response is 40 to 15,000Hz for the SM58 and 50 to 16,000Hz for the Beta 58A. the frequency curve drops off less on the high end for the Beta, meaning it should sound a bit brighter (and it does).

The construction is also a little different. the grill is stronger (made of hardened steel), so it is more resistant to damage. the innards are still shock-mounted, which is a good thing and Betas seem to be just as reliable as the SM58. the Beta 58A goes to a neodymium magnet for higher output than the SM58, which is one of the major physical differences between he two. This higher output means that less gain is needed on the pre-amplifier, which helps reduce feedback, particularly if the singer is close to the monitors.

The Beta 58A has a different polar pattern to make it better for live sound situations. the super-cardioid pattern (see the pattern images below) helps separate the vocals better from the panoply of other sounds that occur on stage. the SM58 has a cardioids pattern, which is also good on stage, but because it does not have as tight of a pattern it is more prone to feedback. the higher output and brightness are the biggest selling points for the Beta 58A over the SM58 and if you are going to be using your microphones mostly on noisy stages, the Beta will edge out the SM58 as its cuts much better through a dense mix.

But, the higher output and brightness of the Beta 58A come at a price, and that price is that this is a harsh sounding microphone. when a singer brings their own Beta 58A microphone I have to do a lot more fiddling with the EQ and level to get them to sound good. I prefer the SM58 for public address or smaller gig settings, and would always pick an SM58 over the Beta for studio vocals. I have tried both in the real world and as a result I have no Beta 58As in my microphone case, only SM57s and SM58s. I can buy three of those for the price of two Betas, and the extra cost is just too much after considering the advantages and disadvantages of the Beta 58A.

As I said earlier, the Shure Beta 58A is about 50% more expensive than an SM58. these microphones have a list price of $199, and a street price of $159. If you are going to purchase one of these I would stick with a major retailer, and be wary of online or craigslist deals that are too good to be true. due to the popularity of Shure products, they are being counterfeited, and you don’t want to get burned.

Mahalo!

Rex and the Bass: Shure Beta 58A Microphone Review and Comparison to the Shure SM 58

VINTAGE SHURE PROFESSIONAL UNIDIRECTIONAL HEADWORN DYNAMIC MICROPHONE For Sale

August 19th, 2012 master No comments

VINTAGE SHURE PROFESSIONAL UNIDIRECTIONAL HEADWORN DYNAMIC MICROPHONEClick here to buy!

VINTAGE SHURE PROFESSIONAL UNIDIRECTIONAL HEADWORN DYNAMIC MICROPHONE SKU #M265151 Twin City Gold has actively bought and sold antiques, art, jewelry, coins, tools and electronics for over 40 years. we are a trusted and respected dealer. we do our best to ensure all items conditions are accurately described and stand behind all of our items 100%. please ask any and all questions prior to bidding. You are viewing this Shure professional unidirectional head-worn dynamic microphone model SM10A and original case. the Shure SM10A is a low-impedance, unidirectional dynamic microphone designed for close-talk head-worn applications such as remote-site sports broadcasting and corporate intercom systems. It is also ideal for singing drummers, keyboard artists, and other performers who need a head-worn vocal microphone with superior noise rejection and a smooth, natural-sounding frequency response. we are unable to test this item, so it is being sold as-is. due to this, please make sure to take a look at all of our pictures and ask any questions before bidding! These would be great for any collectors of vinage headphones and electronic gear. **Auction is for item pictured, if its not in the picture it doesn’t come with it. *This item DOES NOT ship international, USA only. No Exceptions! **Auction is for item pictured, if its not in the picture it doesn’t come with it. please ask all questions prior to bidding. Click an Image to Enlarge Check out our eBay Store for more great deals!! we completely understand the challenges of buying online and never consider a transaction complete until we hear you are completely satisfied. we want all of our products to give you 100% satisfaction. You may return anything purchased from us if it proves otherwise. we will replace it, refund your purchase or credit you as you wish. we do not want you to receive anything from Twin City Gold that is not completely satisfactory. we want you to be satisfied with your purchase. If you have any questions or comments please let us know. It is our policy to do everything we can to make you happy. we strive for 100% satisfaction. your input is welcomed. SMART PURCHASE – our prices average less than 1/2 of the normal retail price. Save $100′s of dollars. SAVE TIME & MONEY – No acquisition cost, such as gas, tolls and time to go to the store. CONVENIENCE – Items shipped directly to you. Browse our online store from the comfort of your own house with no high-pressure sales people. CUSTOMER SERVICE – we completely understand the challenges of buying online and we never consider a transaction complete until we hear that our customer is completely satisfied. FIND YOUR TREASURE – Unique and unusual items available at a fraction of their retail value. To make your purchase as simple and easy as possible, please refer to the store policies listed below. after winning an item in auction or completing a Buy It now purchase, you have two check-out options: Once the auction ends you will receive an email invoice with instructions to make payment using Ebay’s secure checkout. all personal information obtained through Ebay’s checkout will be treated as confidential and TCG will not disclose any information to any third parties. your privacy is a high priority to Twin City Gold. You will be notified by Ebay via e-mail that you are the winning bidder and all items purchased will be grouped together as one sale. You may continue purchasing additional items from our auctions or eBay store. You have 7 days from the end of the first purchase to add additional items to your order. Make sure all of your auctions have ended prior to checking out. all of your purchases will be consolidated into one checkout! Payment we accept the following forms of payment. PayPal Credit Card Payments Sales Tax for shipments to Maine addresses, we are required by State law to collect 5% Sales Tax. Shipping all shipments include FREE Delivery Confirmation. Shipping prices are clearly stated in all of our ads, please see item(s) details for price. Shipping prices are for the lower 48 only, Alaska, Hawaii and Puerto Rico extra shipping charges will apply, email for shipping quote. Shipping prices are for the lower 48 only, Alaska, Hawaii and Puerto Rico extra shipping charges will apply, email for shipping quote. Shipping discounts apply to the second and subsequent items in the same shipment from the same buyer. Purchase as many items as you like from TCG to take advantage of the shipping discount. **Items over 3 lbs do not qualify for shipping discounts. Contact Info: PHONE: 207-282-5100 / TOLL FREE 877-760-4653 ADDRESS: TCG INC. 38 ALFRED ST. BIDDEFORD, ME 04005 HOURS OF OPERATION: MONDAY – FRIDAY 10AM-5PM

VINTAGE SHURE PROFESSIONAL UNIDIRECTIONAL HEADWORN DYNAMIC MICROPHONE For Sale

Police investigating church burglary » Area News » Crossville Chronicle, Crossville, TN

August 19th, 2012 master No comments

CROSSVILLE — Crossville Police officials are investigating a burglary at the Crossville first United Methodist Church that occurred sometime the night of Sunday, July 22. The church is at 100 Braun St. Crossville Police SPTL Mitchell Phipps reported the burglary and theft was discovered early Monday morning as an employee arrived for work. The suspects pried open a door next to the old sanctuary on the north side of the building, according to the report. Once inside, the suspects smashed a window to gain entry into the church's office. several offices and classrooms were gone through and a 15-inch MacBook computer, HP laptop computer, Acer laptop computer, Dell laptop computer, Sony HandyCam video recorder, Canon digital camera and a Shure wireless microphone were all taken from the church. An employee stated a bass guitar may also have been stolen during the burglary. The employee is obtaining serial number information to give to the police. The total loss listed in the case is at $4,100, which does not include the damages done to the church. The case remains under investigation. anyone with information about the case is encouraged to call the Crossville Police or Crossville Crimestoppers at 484-7231, 200-1173, or 200-1147.

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Crossville Chronicle, Crossville, TN

Bill Simons, W9BB, Silent Key; Developed Shure Microphones

August 18th, 2012 master No comments

02/17/2012

William A. Simons, W9BB (ex-W9YXJ), passed away in Minnesota on January 2, 2012 at the age of 84. he earned his Class B ticket in 1941 at the age of 14 and converted a cathedral radio into his first transmitter. Later, Bill earned DXCC using homebrew gear of his own design. Eventually he earned a top spot on the ARRL DXCC Honor Roll.

Bill’s professional career spanned 31 years with Shure inc — most notably as plant manager and director of international purchasing. While there he enjoyed many accomplishments, but he may be best known as the father of the Shure 440/444 communications microphone. he later wrote: “The response to the microphone was outstanding. it took over the market and Shure became the most popular ham microphone around. Mr. Shure was very pleased with what we were able to do.”   

More details about Shure Amateur Radio microphones and the part Bill Simons played in their development appear in the June 2002 issue of the Metro Amateur Radio Club newsletter.

Simons was preceded in death by his wife, Erika. he is survived by his sonKen and his daughter Laurie.

Thanks to ARRL Life Member Mike Dinelli, N9BOR, and Ken Simons for providing the information for this article.

Bill Simons, W9BB, Silent Key; Developed Shure Microphones