ROAD TEST
Shure KSM8 Dualdyne Vocal Microphone
By Richard Forte
While today ’ s live sound systems have evolved to near studio reference quality , Shure ’ s classic SM58 has remained the same since Woodstock and is still one of the most popular handheld microphones in the world . Not necessarily because it ’ s the best sounding – of course that ’ s very subjective – but because we all learned how to mix vocals using it , understand its inherent characteristics , and appreciate its incredible reliability and consistency .
That , however , has not prevented other manufacturers from continuing to develop and refine their handheld vocal microphones to address the inherent weaknesses in the classic SM58 and other directional dynamic microphones . Anyone who ’ s ever made a nickel mixing live music is intimately familiar with those characteristics – excessive proximity effect contributing to murky lowmids , insufficient high-frequency , and less than smooth upper midrange .
The KSM8 is Shure ’ s latest flagship dynamic handheld vocal microphone and represents a re-thinking and redesign of the original Unidyne III cartridge used in Shure ’ s iconic SM58 . While the competition has focused on clearing up the proximity effect by engineering out the lowmids , the result has often led to microphones that produce a clearer but thinner , lighter sounding vocal lacking in depth .
With the introduction of the KSM8 , Shure has taken their handheld vocal mic technology and leaped 50 years into the present , giving us a dynamic handheld vocal microphone worthy of the most discriminating ears and accurate speaker systems .
In Use I had the pleasure of testing the KSM8 on two shows with two singers and one studio overdub session . Using jazz / pop vocalist Nikki Yanofsky as my first test subject , I was expecting the new microphone design would follow the current trend of engineering out the low mids between 200 and 300 Hz . Much to my surprise , what I found instead was that Shure did not abandon or reinvent their classic handheld microphone ; they simply refined it .
Gone from the KSM8 is the need for heavyhanded proximity effect compensation in the low mids and high frequency boost for sparkle and clarity . Instead of carving out the low mids , Shure completely reengineered and re-tuned the entire range from 300 Hz on up . Completely absent from the KSM8 is the “ presence peak ” in the upper midrange and the lack of high frequency of the older design .
What they did not do is completely eliminate proximity effect or carve out the low mid frequencies . In fact , the refined midrange and high frequency of the KSM8 has allowed Shure to preserve and build upon the SM58 ’ s legacy of “ warmth and depth ” that is missing in many of today ’ s modern mic designs . The 200-300 Hz frequency range in the low mids is critical to achieving the warmth and the depth necessary for a great vocal sound . Instead of greatly reducing it , Shure has tightened it through a redesign of the capsule and meticulous retuning .
From a whisper to a roar , this microphone stayed smooth , clear , and beautifully silky and open . The end result was a vocal microphone that required virtually no EQ at FOH other than the typical high pass filter to eliminate stage rumble and a slight reduction in the low mids to compensate for the “ lips to the grill ” style Nikki prefers . In spite of her notorious ability to overdrive most wireless transmitters and handheld condensers , the KSM8 ’ s ability to handle the dynamics and nuance of her vocal style was stunning . In fact , she was kind enough to allow me to rerecord her vocal the following day using the KSM8 so I could have a more discriminating listen in the studio without the blare of her stage monitor . My perceptions of the night before were confirmed .
Summary Thanks to the Dualdyne dual diaphragm design and engineering of the KSM8 , Shure has produced an incredibly warm and tight sounding dynamic vocal mic with the feedback rejection of a cardioid and the linear frequency response , accuracy , and precision of a condenser . In spite of all these refinements , this microphone will not feel the least bit unfamiliar to the millions of engineers accustomed to working with Shure SM and Beta 58s . No learning curve or readaptation necessary . Simply swap out the 58 on stage and replace it with a KSM8 as I did on my second show with a female vocalist using IEMs . In the absence of stage monitors , the only sound in the house was from the main PA . The contrast was stunning ! Not only did she and I notice the difference immediately , but the other two lead vocalists on IEMs noticed as well . “ I ’ ll have what she ’ s having ” was the general consensus .
The only thing users may feel uncomfortable with is its price . With a Canadian list price of $ 599 for a handheld dynamic microphone , the KSM8 could be a tough sale , but for users of SM and Beta 58s , the KSM8 offers a dramatic upgrade that will be immediately apparent while still feeling familiar and comfortable .
Richard Forte , the principal of Forte Sound , is an independent audio engineer based in Montreal . Having toured internationally for over 35 years , he specializes in providing ultra-compact , high-performance digital audio mixing and recording equipment for live musical events and concert tours . For more information , visit www . fortesound . com .
22 • CANADIAN MUSICIAN