42 l February 2014
www.psneurope.com
livefeature
Tolonen, pro-audio group manager at Shure Distribution UK. “We’ve seen uptake in Beta 87s, KSM9s and their variations. From our point of view, it’s the core values behind all our microphone models that are still paramount: performance, reliability and consistency, in their tens of thousands. “When you buy your KSM9,
you’re still getting that tour- grade, throw-it-around toughness – a mainstay of Shure since the company was founded – but with the higher performance standards and specifications. We do it by applying absolutely rigorous standards, not only in testing but in the selection of components, materials and processes used in production. “It’s easy to make a
microphone that passes audio; it’s harder to make one that passes audio with a wide frequency response; harder than that to make one that does it with high SPL output – and the hierarchy goes up and up.
Sum 41’s Deryck Whibley with an Audio-Technica AEW-6100
“Even so, they work best for
low-SPL productions. With rock music, the condenser can still be over-sensitive. But if the band is using in-ears it becomes an option, under the right conditions. Our Artist Elite live condensers are really getting noticed, especially the AE5400 cardioid capacitor and the AE3300 cardioid condenser for vocals. With things like Pro Tools, Avid’s Venue and more and more plug-ins being used, engineers are using on stage the tools that they’ve been using in the studio. Everything in the PA is more precise, so having a high-quality mic makes a big difference.”
There’s good reason why the SM58 has been around since 1966. A lot of work goes into making these products.” “The market is changing thanks to IEM,” concurs Agni Akkitham, Audio-Technica’s European product manager for wired products. “Feedback was always one of the major issues, but no longer. More and more
engineers are buying their own mics, rather than renting. They want the reliability that comes with ownership, as opposed to using 10-year old rental stock. And with IEM they can choose a microphone for its sound, instead of just its resistance to feedback, and of course that introduces condensers into the mix.
ASIAN ANGLE This is not a product realm in which Asian protagonists can all be dismissed as budget options at best or, at worst, blatant pirates. Two brands in Taiwan prove the point: Mipro is distinctively high end; and JTS has enjoyed a growing reputation since its foundation in 1982, achieving
ISO-9002 certification for its Taiwan factory in 1996. “After considering transportation efficiency and making sure that you’re using this country’s good infrastructure to its best effect, Taiwan is still OK for high end product,” comments Dowson Yu, vice general manager at JTS. “We make advertising, we hold seminars, we write press releases and we attend exhibitions. Our challenge is to achieve a higher technology platform. This is the level we must attain to develop new products and to achieve higher brand awareness.” Mipro was founded in the same spirit as many Western brands, with a driven and honest search for solutions and improvements at the heart of it ethos. Nineteen years ago, art and design teacher KC Chang consolidated his enthusiasm for RF technology by starting up a manufacturing company specialising in wireless microphones. The business now has a
registered capital of US $3 million,
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