Shure KSM42 & KSM44 Condenser Mics Both mics come with the now obligatory cases…
switch to counteract this. However I shouldn’t have worried, the boffins at Shure have had their thinking caps on and unusually for a single pattern cardioid mic the KSM42 incorporates two diaphragms in the design. I don’t
pattern condenser microphone that features a more conventional but no less solid engineering approach. The KSM44 features three polar patterns selectable from the mic by one of three switches (Cardioid, Figure of
Both of these condensor mics display a classic charm and can cope with anything you throw at them…
profess to understand this technology but the second, rear capsule is a passive device that is there specifically to tailor the close proximity response. Shure also claim that this results in a wide pickup ‘sweet spot’ whilst regulating the proximity effect as well as just reducing it, so if you work with a singer who is still developing a decent mic technique there shouldn’t be too many problems. The KSM42 also incorporates Shure’s new PRETHOS internal preamp technology, which despite sounding like the fourth musketeer actually stands for, (according to Shure) “Advanced Preamplifier Technology consisting of highly sophisticated, extremely transparent internal circuitry architectures that enable unprecedented seamless audio, maximizing audio quality for premium microphone performance.” We’ll take Shure’s word for it! The capsules themselves are 1 inch Mylar 24 karat gold plated jobbies and all internal connections are gold plated too.
KSM44
After all this new technology it’s almost nice to come back to the KSM44 which is a traditional multi
Eight and Omni). Construction is based around a pair of 1 inch gold plated Mylar diaphragms feeding low noise class A transformerless circuitry. The other switches are a simple -15db pad switch and a three position low cut switch. The low cut switch selects ‘off’ and a further two settings which are more intelligently chosen than the norm. Normally you just get a choice of frequencies but the KSM44 changes the slope as well as the cut off frequency allowing for different uses, for example low frequency rumble or vocal proximity effect. Looking at the specs, the noise figure seems pretty low (always good) and the frequency response seems nominally flat between 20Hz and 20kHz with all three positions featuring some varying level of lift in the presence region (3kHz – 8kHz).
In Use: KSM44
Firing up the KSM44 first, my initial reaction was that it wasn’t working! Don’t panic, this actually turned out to be the KSM44’s complete lack of self noise! I am so used to hearing that little bit of residual hiss from microphones that I was a little shocked not to hear it! So that’s the low noise box ticked then! Used with
a vocalist I am currently working with the cardioid performance was exactly as I expected giving a weighty and authorititive performance with the vocalist in question, the slight presence lift helping the vocal to cut through the dense mix. On my own voice all the same properties were evident although the presence lift made me sound a little shrill, however, switching to the figure of eight mode changed this completely. This pattern isn’t normally first choice for vocals but in this instance it give a real sheen to the vocal that sounded really clean and clear. Going over to acoustic guitar, the KSM44 exhibited a detailed tone with a slightly larger than life sound that works great for big bold rhythm parts. If I was recording a very exposed solo acoustic guitar piece I’d probably plump for something else (small diaphragm) but then again this goes for all large diaphragm condensers I’ve used. My last test was to try the KSM44 with some hand percussion which I find normally sorts the men from the boys and really shows up issues particularly in the preamp design. Recording some claves shows that the KSM44 circuitry has a real grip on transient information and delivered a thoroughly convincing and dynamic performance without the flattening effect that many lesser microphones can inflict. The KSM44 also passed my torturous Tambourine test with flying colours, where most budget mics make a strange unexplainable crackling sound.
In Use: KSM42 Next up is the KSM42, which is the out-and-out vocal microphone. Recording the same set of vocalists as the KSM44A demonstrated that the KSM42 also delivers a classic large condenser vocal sound: big, bold but not overdone, with a hi-fi quality I haven’t heard in a little while. Although I don’t understand
the technology behind the second passive diaphragm in this mic I have to say it does seem to work. You can actually get pretty close to your source without the bottom end blooming and overtaking everything. The effect of movement in and out of the mic is also diminished as promised. The frequency response has a presence boost from about 2 kHz and listening tests bore this out. Unlike the KSM44 this slight lift in the presence region seemed to suit my own voice, maybe down to the preamp technology? We also like the nifty magnetic pop shield that sticks onto the shockmount. The KSM42 also performed very well on spoken word, which is sometimes a more difficult test than a sung vocal. There is still plenty of bottom end and this mic would be great for any sort of voice recording. Acoustic guitar was
The KSM42 has a nifty magnetic pop shield
also a nice surprise and the lack of proximity effect allowed me to pull the mic in closer which will also have benefits in the studio when recording a band as also helps to proportionally reduce any other spilled sound. PM
SHOULD I BUY ONE?
These new Shure mics come in at a price that may be a little higher than some of budget end stuff but bear in mind that you are getting a couple of mics from a company with a serious reputation for quality and longevity, backed up by a two-year limited warranty. Are they the ideal microphone for everything? Of course not; but the one thing that all those old classic (and expensive) condenser microphones have in common is the unexplainable ability to sound ‘right’ with just about anything you throw at them. These Shure mics certainly exhibit that classic charm with their slightly larger than life take on life but they certainly don’t sound overdone. Personally speaking, the KSM42 is the star of the show; when I first started engineering I was never happy unless things sounded like a ‘record’ which I think of as a kind of sheen, polish or just a certain je ne sais quoi. The KSM42 delivers this in spades!
pickup447
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