This is a MUSIC forum. Irrelevant or disrespectful posts/topics will be removed by Admin. Please report any forum spam or inappropriate posts HERE.

Mics, pre-amps, boards, etc.

Moderators: bandmixmod1, jimmy990, spikedace

#200091 by GuitarMikeB
Wed Jan 02, 2013 2:21 pm
The 87's are over $200 new. If you are just using this for recording, I'd suggest going with a mic made for that purpose, rather than a mic that can also be used for live use.
I have an AKG Perception 220, they are about $180 new, I got mine for 1/2 of that barely used. It's got a low roll-off pad, and a volume pad so can be used for acoustic instruments, amps or vocals. Comes in a neat little metal case with a 'bird cage' anti-vibration mount, too.

#200181 by Starfish Scott
Wed Jan 02, 2013 4:41 pm
Ooh so a Shure sm 87 is a deal at 100$, right?

I just saw one of those..

#200331 by GuitarMikeB
Wed Jan 02, 2013 9:28 pm
Chief Engineer Scott wrote:Ooh so a Shure sm 87 is a deal at 100$, right?

I just saw one of those..


Yeah, that's a good price, assuming its in good shape and not a counterfeit! If its used, make sure you get the original box, or at least the original vinyl carry case with it.

#200337 by RGMixProject
Wed Jan 02, 2013 10:17 pm
SHURE SM87 PROFESSIONAL VOCAL MICROPHONE


When most people is the music or broadcasting business think of a brand name for a microphone, one of the first names that probably pops into their heads is the brand name Shure. The most recognizable Shure microphones are the ever popular SM57 and SM58. But there are also many other great microphones in the Shure SM series, and I shall be reviewing one of them here today. The microphone I am review today is the Shure SM87A Professional Vocal Microphone. The Shure SM87A lists for $350.79, but it can be had from most large musical instrument chain stores or from large Internet retailers for a discounted price as low as $249.99.

The Shure SM87A Professional Vocal Microphone is a “condenser” microphone with a “supercardioid polar pattern.” The term “condenser” refers to a type of microphone that requires an external electrical power source to make it function properly. Condenser microphones have a conductive diaphragm with a small charged plate behind the diaphragm. The plate is “charged” by connecting the microphone to a preamp which sends a DC current to it. Changes in air pressure resulting from a sound source cause the diaphragm to move, which results in a AC current being formed in the plate, which in turn causes the current to flow to a small preamp which is built into the microphone, and ultimately this signal travels through the microphone wire to a recording device or amplification system. Because the diaphragm of the average condenser microphone will tend to be thinner and lighter than the diaphragm of a typical dynamic microphone, the average condenser microphone will tend to reproduce a more “lifelike” sound. This is of course a generalization, and not a hard and fast rule.

The Shure SM87A is a microphone with a “supercardioid polar pattern.” This means that it is a very unidirectional microphone, and it will tend to pick up the sounds that it is being pointed at, and it will tend to minimize or reject sounds that are coming at it from the sides or from the rear of the microphone. This makes a microphone with a supercardioid pickup pattern ideal for use in situations where extraneous background noises need to be minimized. Thus the SM87A is a great choice for home recording studios, where the room that the recording is taking place in may not be ideally acoustically designed or reinforced, or for live situations where one wants to minimize the sounds that may be coming from other parts of the stage or from the audience. The very tight supercardioid pattern also increases the SM87A’s ability to avoid feeding back, even in high gain applications.

Although most people think of a condenser microphone as being a very delicate thing, the SM87A, like most products in the Shure SM Series, is a very rugged, durable, and sturdy microphone, and it is very reliable. The outer casing of the SM87A is made with Aluminum, and it has a steel grille, with an attractive black satin finish. It is designed to be road tough, sturdy, and reliable, and to be used as a hand-held microphone. Of course, it can also be mounted on a stand and need not be hand-held. The SM87A is also shock-mounted, which cuts down on handling noise when it is being hand-held, as well as any cutting down on vibrations from the stage that might travel up through the mic stand. The SM87A also has a built-in three stage pop filter which will cut down on wind noises and breath noises in situations where a singer uses close micing techniques. The SM87A is also remarkably light for such a study microphone, and it weighs in at just 7 ounces.

The Shure SM87A Professional Vocal Microphone has a very smooth and very wide frequency response (50 to 18,000 Hz.) that is especially tailored to capture and reproduce warm, full-bodied vocals. The built-in wind screen and pop filter permits a singer to hold the SM87A very close to their lips, while minimizing breath sounds and air pops typically associated with close micing techniques. Shure redesigned the original popular SM87, and gave the SM87A a slightly thicker handle, for a more ergonomic feel, and yet this remarkable microphone weighs only 7 ounces.

And now, a few words about application and placement techniques for the SM87A. In cases where one wants to achieve maximum isolation from other sound sources, place the SM87A within 6 inches or less from the sound source. In cases where the sound source is a singer, one can even get closer. Like most microphones with a cardioid polar pattern, the SM87A is subject to the proximity effect. Simply put, this means that the close the microphone is to the sound source, the more the bass or low end frequencies will be accentuated. This can be very desirable in certain situations, as close micing with the SM87A will result in a warm, intimate sound. Singers like Barry White would often have their lips touching a microphone in order to maximize this effect. The SM87A has a bass response that gradually rolls off, which prevents booming or excessive low frequency sound overload when it is used for close micing techniques, and this allows the singer to profit from the proximity effect, without the possible sonic negatives associated with close micing techniques.

In situations where one is looking for a natural sound, without the enhanced low frequency response associated with close micing techniques, the SM87A should be placed between 6 inches to 24 inches away from the sound source. The further one gets from the singer’s mouth, the less “s” sounds that will be picked up as well. However, when thinking of microphone placement, it is important to keep in mind that with a microphone with a supercardioid polar pattern, the further the microphone is from the sound source, the thinner will be the sound that is picked up, and the more the sound characteristics of the environment will play a roll in the sound that is being picked up.
For example, the sound characteristics of a room that is poorly acoustically designed will be significantly more noticeable the further the SM87A is placed from the sound source that is being amplified or recorded.

Well I would like to thank you for taking the time to read my review of the Shure SM87A Professional Vocal Microphone. But now, if you will excuse me I must get back to my practicing.

#200349 by Starfish Scott
Thu Jan 03, 2013 12:19 am
Very interesting, RGM..did you write that whole thing?

Hey what about a SHURE KSM27?

I just got offered a used one in the box for 100$.

Any good?

#200355 by RGMixProject
Thu Jan 03, 2013 1:07 am
Chief Engineer Scott wrote:Very interesting, RGM..did you write that whole thing?


Nope

Chief Engineer Scott wrote:Hey what about a SHURE KSM27?


I have one and Its a very very good cheapo "studio" mic.

Chief Engineer Scott wrote:I just got offered a used one in the box for 100$.
New in a box never used $130.00

Chief Engineer Scott wrote:Any good?


Yes but very hard to control the feedback when used on a live gig.

#200380 by GuitarMikeB
Thu Jan 03, 2013 2:27 pm
The KSM27 was discontinued a few years ago, so that one could be quite old - make sure you check it out well before buying. It should come with the shock mount, which is a bunch of rubber orings on a frame - subject to aging and breakage. Newer side-address condensor mics (like the AKG P 220 I mentioned above) have more features like the pads.
New, they sold for around $300.

#200400 by Starfish Scott
Thu Jan 03, 2013 3:18 pm
Thanks Mike...

#203064 by TomG_Vocal
Thu Jan 24, 2013 2:01 pm
I have 4 live mics in my bag:
* Shure SM57 - Loud, small rooms to minimize ambient sound
* Shure SM58S - Medium to Large rooms when mic switch is needed
* Shure Beta 58a - Any room with a sound guy
* Audix OM2 - Rooms that absorb sound (fabric or soft finished walls)
Also use the Audix for some recording...

The Audix is very crisp and, in my opinion, provides better overall reproduction and brighter vocals in both live and recording environments. The Shures come in handy when I want to emphasize the low end more or when in more confined areas.

From what I've read in this topic, I'd say take a look at the Audix OM2.

Just my 2 cents...

#203077 by GuitarMikeB
Thu Jan 24, 2013 4:19 pm
I found out that the SM57 (I bought off ebay, used, several years ago) that got broken (wires yanked from top section to bottom) last year at a gig may in fact be a COUNTERFEIT! When I bought it I had no idea there were counterfeit SM57s around in such profusion (some place in Canada sold a lot of them). Anyway, the one I had did not fit the counterfeit profile, except the top section did nto look quite right when yanked apart.
Anyway, I put it on Ebay 'as is' with the caveat about it possibly not being an actual Shure and someone bid it up to over $50!

Who is online

Users browsing this forum: No registered users and 6 guests