PRODUCT
TESTS
Shure TwinPlex Subminiature Omnidirectional
Lavalier & Headset Mics
By Adam Gallant
O
ur readers in the theatre, broadcast, and TV/film sectors
will be excited to hear that Shure has introduced Twin-
Plex, a new line of lavalier and headset microphones. Af-
ter my initial experiences with the mics, I feel this line
has the potential to become an industry-standard in
the same way the SM58 has. We hear jokes about the SM58 dou-
bling as a hammer on a construction site while easily reverting to its
job on the stage; well, it seems Shure has adopted this reputation
for durability as a key factor in the design of the TwinPlex series.
Overview
We ask a lot of our lavalier microphones. They get yanked at, taken
into harsh exterior conditions, sweat and humidity are often constants,
not to mention being covered in make-up and sometimes dangling
off of the wearer, centimetres from being stepped on.
In my experience on film sets, when lavalier microphones fail, it
is more often than not the cable breaking. Shure has addressed this
common issue with years of research and development. The result is
TwinPlex’s extremely rugged cable. It’s immune to kinks and memory
effect, is ultra-thin (with two thickness options available on certain
models: 1.1 mm and 1.6 mm) and has a dual-redundant ground that
offers better shielding and a longer-lasting cable. The cable is also
paintable and extremely easy to manage and hang.
Another big challenge for our lavaliers is humidity. Film shoots and
stages are warm places and sweat is a major factor in microphone
dropouts. The capsule covers on the TwinPlex series are hydrophobic
and offer a very high resistance to humidity.
There are five microphones in the TwinPlex line, all available in a
variety of colours for easy concealing. The TL45 through TL48 and TH53
are all based around a newly-developed dual-capsule, omnidirectional
design. Each model in the line is tailored for specific demands in the
field and I’ll briefly touch on each one.
The test kit we received contained all but the TH53, which is the
headset version. The amount of detail and thought put into not only
the cable and mic, but also the accessories, is commendable. When
you’re dealing with such a small device that has little to no room
for failure, having the exact right component for the job can make
all the difference and Shure has spared no attention to detail here.
TL45
The TL45 is the dual-capsule fitted to a longer, very thin (1.1 mm)
cable. This mic is best suited for hangs in and around the hairline, as
is the norm in theatre production. The cable is paintable and the mic
comes with two added sweat-resistant capsules, one of which offers
a slight presence boost. The TL45 comes terminated to a standard
LEMO adapter and its sensitivity is tailored for performers with a wide
dynamic range from speaking to signing.
TL46
Perfect for dialogue, the TL46 has a higher sensitivity than the 45 and
also a thicker 1.6-mm cable. It comes with the same moisture-resistant
caps as the 45 with the same presence boost option – very helpful if
you are hiding the microphone under a speaker’s clothing and need
more high end. This mic has LEMO and TA4F connector options and
is best-suited for regular speech conditions such as corporate events,
worship settings, and broadcast/TV/film shoots.
22 PROFESSIONAL SOUND
TL45
TL47
Fully kitted-out with all the possible mounting options and possible
connector terminators you could want, the TL47 has the same high-
sensitivity response as the 45; however, with the thicker cable and all
the mounting choices, it is designed to be flexible in its application
and durable for daily use. The accessories include microphone mounts
with double-sided tape, microphone clips with and without impalers,
cable management clips, and a series of available output adapters.
TL48
The TL48 is optimized for speech and dialogue and has a fixed fre-
quency cap that’s tuned for dialogue. There are also no slots on the
sides of this microphone cap, making it easy and more conventional
to place directly against the skin under wardrobe. This microphone is
very much suited for the film and TV applications I am most used to
working in and comes with the same accessories as the TL47.
In Use
The TwinPlex microphones sound natural, clear, and void of distortion
and colouration. The cables are extremely easy to manipulate and
don’t get as rigid in cold situations as others I have used. The mount-
ing options are extremely well thought-out and predictable to use.
These mics are small enough to use the standard Rycote over- and
under-covers that are very popular for preventing wind interruption
and clothing rustle. The wind covers that come with the TL47 and
TL48 are also very effective for exterior use.
Summary
No stone was left unturned when the designers at Shure put together
the TwinPlex line of microphones and their accessories. Great work
and a great product that I hope sustains the same legacy as the
beloved SM58.
Adam Gallant has worked in all facets of digital audio production, from
music composition to location and post audio for television and film. He
currently owns and operates The Hill Sound Studio in Charlottetown, PE.