NAMM 2018: Shure SM48 Microphone Field Test

Aloha!

This is the final day of the 2018 Winter NAMM show; this year I shot a lot of video with my Zoom Q8, and I chose a Shure SM48-LC to record my dialogue. This microphone is similar in appearance to the venerable Shure SM58, but comes in at about half the price. Considering that I was going to be stuffing it into my bag repeatedly (and possibly dropping it a few times), I chose not to bring its more expensive sibling.

The SM48-LC looks almost identical to the SM58, with a nicely solid heft, and the instantly recognizable profile of the chromed steel mesh grill (that is maybe a touch bigger). It is available both with or without an ON/OFF switch, and mine is not equipped with one. The 48 is a dynamic mic with a different cartridge than the 58, and a frequency response of 55 to 14,000 Hz.

If you purchase one, you will get the mic, a nice vinyl carry bag, and a mic stand clip. These are made in Mexico, and you can expect to pay around $55 from online sellers. It is a good value, for sure.

It worked out very well for field recording, with no issues at all. To my ears, it is noticeably tinnier with less mids than an SM58, but the recordings were all clear, and its cardioid pattern did a fine job of isolating my voice from the terribly chaotic NAMM environment. Though I would not hesitate to buy another for this kind of use (or karaoke), I think that the reduced fidelity is not worth the cost savings to vocalists and bands, so I would advise them the save up another 50 bucks and buy the real thing, an SM58.

Mahalo!

Public Service Announcement: Shure Wireless System Rebate for Auctioned Frequencies

Hiya!

I was shocked to hear recently that the FCC auctioned off radio frequencies in the 600 MHz range. What this means for the general public is that many of the frequencies in this range will be used in the future for television broadcasting. What this mean to musicians is that if you have wireless system in this range (like I do), it will no longer be legal to use, and if you do use it there is a good chance that there will be interference to your signal. Remember the air force base show in the movie Spinal Tap?

Our good friends at Shure are offering rebates for owners of their equipment that are affected by this change in ownership of the air waves. If you own one of their products in this range, if you return it to Shure along with proof of purchase that you bought one of their new systems, you can get some cash back. These rebates range from $50 to $500, so you should see Shure’s website for details: https://wirelessrebate.shure.com/

I am not sure if the rebates are worth it, so you should research and see if it makes sense for you. This is a regrettable situation, but I am not sure of any good way around it.

Mahalo!

Shure BLX24/SM58 Wireless Microphone System Review

Howdy!

There comes a time for many bands or DJs when they decide that their set-up would be better off without wires and they are willing to pony up for a wireless system. Unfortunately, often times they start out with entry-level equipment that just does not get the mail delivered. Surely you have run into this before, or seen it in This is Spinal Tap: radio interference, cutting out, and intermittent bursts of shrieking and static.

That is why I spent a little extra time researching and trying different systems before I ended up getting the Shure BLX24/SM58 wireless handheld microphone system. This system includes a BLX4 receiver, a BLX2/SM58 microphone, and a transmitter. This is delivered in a nice cordura case that looks like it should have a gun in it.

The BLX4 receiver is a nice looking unit, with an LED channel indicator display on the front, and ¼-inch and XLR connector output terminals on the back. This assembly is capable of receiving signals from 90 selectable frequencies across 24MHz bandwidth which provides plenty of opportunities to find some clear radio waves to use.

The BLX2/SM58 is bigger than a conventional SM58 microphone, and this is no surprise as the batteries and the transmitter have to go somewhere. It has a mute switch as well as a multi-function LED that lets the user know if the mute is ON, the power is ON, the power is low, or if the mute is locked out. The lock out feature is handy if you want to keep the user from accidentally turning off the microphone. Just press and hold the switch for 10 seconds while the power is on and it will lock the switch out.

System set-up is easy: I just plugged in in, connected a cable from the XLR output to my mixer (just like a regular microphone) and turned it on. I installed two AA batteries in the transmitter (they are supposed to last up to 14hours) and turned it ON. Before putting the battery cover back on I synced the transmitter to the receiver and that was it. The automatic transmitter set-up and automatic frequency selection paired the system lickety-split and it was ready to use with no hassles.

The sound performance of the BLX2/SM58 wireless microphone is identical to my conventional wired SM58 microphones. I have not had any wireless problems, such as static or cutting out, and there has not really been any downside to using this system.

Of course I install new batteries before each use, so I have not had any problems with battery failure. I find that Shure’s claim of 14 hours of battery is credible, though I have never had need to use them for more than 10 hours at a time.

I would have a hard time with letting some drunken karaoke performer loose with one of these, though as they do not come cheaply. The list price for a complete Shure BLX24/SM58 system is $436, and the street price is $350. So, you might be tempted to shop around and buy a dirt-cheap one from a shady seller, but be very careful when buying Shure wireless systems online or from Craigslist ads, as they are now being counterfeited like there is no tomorrow. I have seen a few of these systems being offered on eBay from foreign sellers for half the price without OEM packaging. Caveat emptor, amigos…

Mahalo!

Shure PG42-USB Condenser Microphone Review

Aloha!

I need to do a bit of voiceover work for my day job and my night classes, and it should be no surprise that the microphone in my laptop is not super-great. So, I have been looking around for a nice USB condenser microphone that will not break the bank, and I think I have found just what I was looking for: the Shure PG42-USB.

Shure has been around since 1925 and has been making microphones since 1931, so they probably have a good idea of what they are doing. Their SM57, SM58, 55SH, PG52, 520DX (Green Bullet), Beta Series, and wireless systems are all industry standards, and I own all of them. So, when looking for a USB mic, they were the first ones I went to. It was a wise choice.

The PG-42USB is a side-address USB microphone that was designed specifically for digital recording (there is also a PG-42 with a regular XLR connector). When you buy one of these it comes with a nice case, a shock mount and a USB cable – it really is a great set-up for the money.

This condenser microphone has a cardioid polar pattern to reduce background noise and feedback. It has a large diaphragm with and an inherently warm tone yet it is clear enough to be appropriate for lead vocal or solo instrument recording. There is negligible added noise, so it is perfect for choral recording, or better yet, voiceover work.

There are quite a few extras built into this mic, and if you look at it closely there are little knobs and switches all over it. There include:

-- A volume control knob.

-- A 15 dB pad switch to reduce distortion from loud sources, such horns or drums.

-- Low frequency rolloff to reduces floor rumble and low-frequency room noise from heating and air conditioning systems. It can also reduce low frequencies that can result in muddy sound.

-- Integrated pre-amp with microphone gain control to allow control of input signal strength.

-- 1/8-inch headphone jack for monitoring

--Monitor mix control for blending microphone and playback audio.

Set-up with the computer is easy. It has USB plug and play connectivity, and it works with Windows 7 or 8, XP and Mac OSX. The quality of the recording is top-notch as it is a 16-bit mic with a 48kHz sample rate. I used it with my fairly new Macbook Pro with no troubles at all.

I fiddled around with the best set-up and found that with a table-top boom stand and pop filter I was able to set it off to the side of my mouth (about 4-inches away), and it was still easy to see my computer to mess with the controls and see my script. The headphone jack was especially welcome!

With both Garage Band and Adobe Audition I had great results with my voiceovers. My voice did not sound harsh and it had nice warmth to it with no background noise once I got my hotel room air conditioner tuned out of the mix. It is very sensitive, of course, so if anything unexpected happened in the room a retake was necessary. You really have to have a quiet room to get the most out of this thing. But it was totally worth it because the overall sound was so much better than if I used the Mac’s onboard unit or my POS low-dollar mic I bought from Sam Ash in a pinch.

Looking the PG-42 USB over, it is a quality piece that is quite heavy and I a sure it will hold up for years to come. I really think it is the perfect voiceover or podcast microphone for the money. I cannot wait to try it out with my acoustic guitars and some of my mediocre singing to see how it fares.

The Shure PG42-USB is a very good vocal microphone, and it is also a terrific value. It carries an MSRP of $249, but sells for around $200 everywhere you look on the internet. That price includes the aforementioned case and shock mount, not to mention Shure’s outstanding warranty. If you have more than a little bit of voiceover work to do, it will do a super job and be a terrific investment in your work!

Mahalo!

Shure A56D Microphone Drum Mount Review

Buenos días, amigos!

There are plenty of drum microphone mounts out there, and many of them are pretty awful. Many times they are made of plastic (resin, they call it) and they just snap onto the drum rim. Would you trust a chunk of plastic to hold your $100 microphone while a foot away a guy is beating on the drums as hard as he can? It makes me nervous, which is why I really like the Shure A56D microphone drum mounts.

This mount is a quality piece that made of solid metal and has a classy looking black finish. The clamp is reversible so it works equally well on drum rims or cymbal stands. The clamp will fits drum rims 1/2-in. to 2 1/4 -in. in height, or on cymbal stands measuring from 3/8-in. 1 1/8-in. in diameter. The L adapter extension can be mounted through the side or the end of the clamp, to accomplish these two types of mounting.

The head of the L extension has two standard 5/8-in, 27-thread mounts that will fit all standard microphone holders. Large and small lock nuts are included so you have a good chance of having the right size to fit your microphone holder.

I have used these mounts many times and have always had great luck with them. They hold tightly onto drum rims, and they have enough adjustment that I can always get a microphone exactly where I need it. There are a few negative reviews on the internet; with complaints being that the mounts loosen up or that they are not versatile enough. I have not experienced this, and have to chalk these off to user error because these mounts excel in both of these areas.

The Shure A56D is a great mount, and is priced accordingly. The list price is $44 each, with a street price of $40. The hot ticket for these is to buy them as part of a pre-packaged set (Shure includes 3 of these when you buy the set that includes 3 SM57s and a Beta 52A), or to pick them up from eBay from guys who bought the sets and did not want or need them. Either way you are not going to go wrong with these mounts.

Mahalo!

Shure Beta 52A Microphone Review

Sugoi!

Like many others, I am a big fan of Shure microphones, and they build them for almost every application you can imagine. Today we are going to take a look at the Shure Beta 52A, which is one of the most popular microphones on the market for kick drums and bass instruments. I have used a cheap set of drums microphones for a long time and finally decided to upgrade my kick drum mic and this one has worked out very well.

For starters, the Beta 52A is a big, gnarly dynamic microphone with a large diaphragm. It was designed with a focus on low low-frequency characteristics and with an ability to handle very high pressure levels (up to 174db at 1000Hz), which makes it perfect for picking up a kick drum. You could actually mount this microphone inside the drum, but I have found my best sound by positioning it just outside the port.

The frequency response is rated from 20Hz to 10kHz, with boosts in the lows and high-mids. Positioning the microphone very close to the sound source, the Beta 52A provides around +6dB per octave from 700Hz down to around 50Hz where it plateaus. Of course, you will not see as much bass boost if the microphone is moved further away. And the Shure Beta 52A has a supercardioid polar pattern that is rotationally symmetrical about the microphone axis. This provides high gain (before feedback) and excellent isolation from unwanted sounds.

This is a stout unit, coming in at around 22 ounces. It has a hardened steel grill and a pretty silver blue enamel finish over its die cast metal body. No plastic here. The Beta 52 uses a neodymium magnet for high signal–to–noise ratio output, and it has a pneumatic shock mount to minimize transmission of mechanical noise.

There is a neat built-in stand adapter that locks into place and does not move by itself even when subjected to the intense vibration s that a loud kick drum will produce. In the stand adapter is an integrated male XLR connector that positions the microphone cable so it does not stick out too far, which is nice if stage real estate is at a premium.

When using this microphone, I have found that it can provide as much bass output as anybody would ever want, so some modifications to your equalizer settings may be needed. This will help it to not drown out the bass guitar. It is particularly nice with smaller kick drums, as it can really bring them to life.

The Shure Beta 52A is not the world’s cheapest microphone. In fact, you can buy a set of 5 cheap drum microphones with crummy mounts for half the price of this mic, but this one is worth the money and it is the best drum microphone in its price range. It has a list price of $236, and a street price of $189. If you are going to purchase one of these I would stick with a major retailer, and avoid craigslist or eBay deals that are too good to be true. Due to the popularity of Shure products, they are being counterfeited like there is no tomorrow, and you don’t want to get burned.

Mahalo!

Shure Beta 58A Microphone Review and Comparison to the Shure SM 58

Sugoi!

If you have been reading my blog for awhile, you may know of my respect for the Shure SM58 microphone, and I am not the only one that feels this way. Everywhere you go you see the SM58, and it has to be one of the popular microphones on the planet, particularly for live performance. But Shure also makes a premium version, the Beta 58A. This microphone is also quite popular, and many people say it is better, but many times they cannot give good reasons why, so I thought I would put some time into comparing them.

The first thing to keep in mind is that the Beta 58A and SM58 were designed as (and are marketed as) vocal microphones for live performance. If you are using these to mic bass drums, or if you are expecting these microphones to do something different you should be shopping for something else.

The appearance of the Beta is not terribly different from the SM58, and the quickest way to tell the difference is to look for the blue band around the grille. The body is also a little different color (more blue than gray), and there is a little square badge on the Beta. The weights of the two are within an ounce of each other, so that is a wash.

The performance numbers between the microphones are similar, and the impedance is 150ohms for both of them. The frequency response is 40 to 15,000Hz for the SM58 and 50 to 16,000Hz for the Beta 58A. The frequency curve drops off less on the high end for the Beta, meaning it should sound a bit brighter (and it does).

The construction is also a little different. The grill is stronger (made of hardened steel), so it is more resistant to damage. The innards are still shock-mounted, which is a good thing and Betas seem to be just as reliable as the SM58. The Beta 58A goes to a neodymium magnet for higher output than the SM58, which is one of the major physical differences between he two. This higher output means that less gain is needed on the pre-amplifier, which helps reduce feedback, particularly if the singer is close to the monitors.

The Beta 58A has a different polar pattern to make it better for live sound situations. The super-cardioid pattern (see the pattern images below) helps separate the vocals better from the panoply of other sounds that occur on stage. The SM58 has a cardioids pattern, which is also good on stage, but because it does not have as tight of a pattern it is more prone to feedback. The higher output and brightness are the biggest selling points for the Beta 58A over the SM58 and if you are going to be using your microphones mostly on noisy stages, the Beta will edge out the SM58 as its cuts much better through a dense mix.

But, the higher output and brightness of the Beta 58A come at a price, and that price is that this is a harsh sounding microphone. When a singer brings their own Beta 58A microphone I have to do a lot more fiddling with the EQ and level to get them to sound good. I prefer the SM58 for public address or smaller gig settings, and would always pick an SM58 over the Beta for studio vocals. I have tried both in the real world and as a result I have no Beta 58As in my microphone case, only SM57s and SM58s. I can buy three of those for the price of two Betas, and the extra cost is just too much after considering the advantages and disadvantages of the Beta 58A.

As I said earlier, the Shure Beta 58A is about 50% more expensive than an SM58. These microphones have a list price of $199, and a street price of $159. If you are going to purchase one of these I would stick with a major retailer, and be wary of online or craigslist deals that are too good to be true. Due to the popularity of Shure products, they are being counterfeited, and you don’t want to get burned.

Mahalo!

Shure PGX24/SM58 Wireless Microphone System Review

Howdy!

There comes a time for many bands or DJs when they decide that their set-up would be better off without wires and they are willing to pony up for a wireless system. Unfortunately, often times they start out with entry-level equipment that just does not get the mail delivered. Surely you have run into this before, or seen it in This is Spinal Tap: radio interference, cutting out, and intermittent bursts of shrieking and static.

That is why I spent a little extra time researching and trying different systems before I ended up getting the Shure PGX24/SM58 wireless handheld microphone system. This system includes a PGX4 receiver and a PGX2/SM58 microphone/transmitter. This is delivered in a nice plastic case that looks like it should have a gun in it.

The PGX4 diversity receiver is a nice looking unit, with two ¼ wave antennae and an LED channel indicator display on the front, and ¼-inch and XLR connector output terminals on the back. This assembly is capable of receiving signals from 90 selectable frequencies across 18MHz bandwidth which provides plenty of opportunities to find some clear radio waves to use.

The PGX2/SM58 is bigger than a conventional SM58 microphone, and this is no surprise as the batteries and the transmitter have to go somewhere. It has a mute switch as well as a multi-function LED that lets the user know if the mute is ON, the power is ON, the power is low, or if the mute is locked out. The lock out feature is handy if you want to keep the user from accidentally turning off the microphone. Just press and hold the switch for 10 seconds while the power is on and it will lock the switch out.

System set-up is easy: I just plugged in in, connected a cable from the XLR output to my mixer (just like a regular microphone) and turned it on. I installed two AA batteries in the transmitter (they are supposed to last 8 hours) and turned it ON. Before putting the battery cover back on I pointed the transmitter at the receiver, pressed the SYNC button and that was it. The automatic transmitter set-up and automatic frequency selection paired the system lickety-split and it was ready to use with no hassles.

The sound performance of the microphone is identical to my conventional wired SM58 microphones. I have not had any wireless problems, such as static or cutting out, and there has not really been any downside to using this system. Of course I install new batteries before each use, so I have not had any problems with battery failure. I find that Shure’s claim of 8 hours of battery life is maybe a bit conservative; I had a set go for 10 hours with no difficulty.

I would have a hard time with letting some drunken karaoke performer loose with one of these, though as they do not come cheaply. The list price for a complete Shure PGX24/SM58 system is $558, and the street price is $399. So, you might be tempted to shop around and buy a dirt-cheap one from a shady seller, but be very careful when buying Shure wireless systems online or from Craigslist ads, as they are now being counterfeited like there is no tomorrow. I have seen a few of these systems being offered on eBay from foreign sellers for half the price without OEM packaging. Caveat emptor, amigos…

Mahalo!

Shure SM58 Microphone Review

Howdy!

Today I am writing about the Shure SM58 microphone. But this blog post is more homage than review, because this is one of the best-selling microphones in the world, and it sales volume speaks for what a great product it is.

The SM58 is a unidirectional low-impedance microphone that was introduced in 1966, and my understanding is that it is the same microphone as an SM57, with a built-in spherical filter to reduce wind noise and popping.

This microphone has an XLR connector with balanced output, to minimize unwanted noise and hum and a cardioid pickup pattern so it can isolate the target sound source and without picking up very much background noise. This microphone has a frequency response of 50 Hz to 15kHz, according to Shure.

SM stands for “Studio Microphone”, and I see these used for picking up amplifier cabinets and wind instruments, but the SM58 really shines for live vocal performance. They effectively cut out background noise and are shock-mounted to reduce mechanical noise. They also have a well-earned reputation for durability, and I have never seen one break.

By the way, there are also a few variations of the SM58, including wireless models, a Beta version, and one with a built-in ON/OFF switch.

If you do not have a Shure SM58, you need to have at least one around. They have a list price of $188, but you can buy them all day long on the internet for $99. As always, be careful if you see a deal that looks too good to be true, as these microphones are now being counterfeited overseas.

Mahalo!

Shure 520DX Green Bullet Harmonica Microphone Review

Howdy!

Shure 520 microphones have been the industry standard for harmonica players as far back as I can remember. Their latest version of this classic is the 520DX, which we are looking at here today.

When blues harmonica players started using microphones, they would usually take the head off of an old radio desk microphone, as they were small and easy to hold in their hands while playing the harp. In 1949 Shure introduced their first bullet harmonica microphone, the 520, which came with a controlled magnetic cartridge. This microphone was discontinued and later came back as the 520D, which was essentially the same microphone, but made in Mexico.

Today you can purchase a Mexican-made 520DX, which is a bit different than the originals. It is still green, but there is now a volume control and it uses a dynamic cartridge inside. The tone is about the same as the older models, but output is lower, so you will have to depend more on your amplifier for overdrive/distortion.

The Shure 520DX is small, measuring about 2.5 by 3.25 inches, and it weighs in at a little under a pound. It has a sturdy die-cast body with a distinctive industrial green finish and silver grill. As I said, it has a volume knob, so the user can make quick adjustments (mostly unintentionally) on the fly. There is a built in cable with a ¼-inch connector, so it can be plugged directly into an amplifier.

This dynamic microphone has an omnidirectional polar pattern, and a frequency response of 100 to 5 kHz. The 520DX is a high-impedance unit which reduces its output a little, but I have heard it can be taken apart and switched to a lower impedance. I guess if you are running a really big amp, you might want more output so you can get better distortion at lower volume levels.

In actual use, the 520DX is the perfect shape to cup between the harp and hands, and allows the user to get a good-sized chamber for the warm Chicago-blues tone. It has a distinctive low-fidelity natural distortion, and I have messed around with it a bit for vocals and have gotten some cool tones out of it.

I have a few gripes (don’t I always?), as I do not care for the integrated cable or the volume control. I would rather have an XLR connector on the mike so I can use whatever cable I please, and not be limited by the length or ¼-inch jack of the stock unit. The volume control is not really necessary, and only makes the unit heavier and more expensive. Also, it would be nice if Shure included some sort of case with the 520DX.

But these are minor things, and do not change the fact that this is the best stock harmonica microphone that is available today. The Shure 520DX has a list price of $186.44 and a street price of $119. If you are a harp player or are providing a backline for others, you really should pick up one of these.

Mahalo!

Shure 55SH Series II Microphone Review

Sugoi!

Today we are looking at the direct descendent of the founding father of modern stage microphones: the Shure 55SH Series II Unidyne vocal microphone. I think everybody that does live sound work should have of these in their mic case.

The original Shure 55 was introduced in 1939, and was downsized to its current appearance in 1951. The model 55H was revolutionary for its time as it used a cardioid polar pickup pattern that made it less susceptible to feedback when used around loudspeakers. Other microphones of the era had omnidirectional patterns that would pick up all kinds of stage noise. This made the 55H popular for stage applications, and they became the iconic microphones that you would see entertainers such as Elvis using n the 1950s.

I remember that a Shure 55H was this was the only microphone that they had at my grade school, and the janitor set it up on a stand with a cast iron base for assemblies and programs. These microphones only look good on simple stands like that. But I digress…

The Shure 55SH Series II maintains the cool features of the original microphone. This includes the pretty and polished yet still rugged die-cast body. There is the also the self-tensioning swivel mount with a built-in ON/OFF switch. The mount accepts a standard XLR microphone cable, and there is also a threaded microphone stand socket as well. You will need to remove the star washer on most microphone stands as it will interfere with fitting a microphone cable into the mount.

The 55SH retains the classic looks and charm of the original, but its guts are thoroughly modern. It is a low-impedance (150 ohm) balanced output dynamic microphone that is compatible with microphone inputs that are rated from 75 to 300 ohms. The cartridge is shock-mounted, making it less susceptible to stand-transmitted noises. Its frequency response is rated from 50 to 15,000 Hz.

This is foremost a vocal microphone that was designed for broadcasting and live performance, so Shure incorporated a presence peak on the original microphones, and this feature carries over to the current production models. This means that it is a bright microphone that is very clear and not terribly compressed. Despite its inherent brightness the 55SH is still a warm-sounding microphone. In fact, I find it to be a bit warmer than my trusty Shure SM57.

The Shure 55SH Series II is a great microphone for live shows, particularly if you are looking for a classy and easy to use microphone for an emcee to use. As long as the ON/OFF switch doesn’t confuse him…

Mahalo!

Shure SM57 Microphones

Hiya!

Today we are going to take a look at the Shure SM57 microphone. It is not really a review, because it is one of the best-selling microphones in the world, and it sales speak for its quality.

The SM57 is a unidirectional low-impedance microphone that was introduced in 1965. It has an XLR connector with balanced output, to minimize unwanted noise and hum and a cardioid pickup pattern so it can isolate the target sound source and without picking up very much background noise. This microphone has a frequency response of 40 Hz to 15kHz, believe it or not.

SM stands for “Studio Microphone”, but I think that most of these are used in live performance situations. SM 57 microphones work very well for picking up drums, guitar amplifiers and wind instruments, but they are often use for vocals too. I mostly use mine for mic-ing guitar and bass amplifier cabinets, and drums on occasion.

They have a well-earned reputation for durability, and I have never seen one break.

If you do not have a Shure SM57, you need to buy one. They have a list price of $146, but you can buy them anywhere on the internet for $99. Be careful if you see a deal that looks too good to be true, as counterfeiters have stated knocking these out too.

Mahalo!

The Argument for a Cheap Microphone: the Audio Technica M8000

Howdy!

I do a little live sound work, and when choosing the best microphone for the job I would ordinarily go for a Shure SM-57 or SM-58. They sound good, don’t give a lot of feedback, and they hold up really well.

But, they cost about $100 each, and many times it is not worth the risk of putting them out there for the unwashed masses to grab.

Huh? You’ve seen it before. The drunk lady tries the Roger Daltrey microphone swing during karaoke, or the best man fumbles the mike while making announcements, or the mike stand gets kicked over as young bands are hustling while loading or unloading during a festival or party. And do you need high fidelity for any of these gigs? Most likely not.

I have been using Audio Technica M8000 for a lot of jobs over the past year, and they are good enough for any of those situations. I have been steadily using 5 of them with no failures and no complaints from anybody that has used them.

The M8000 is a dynamic microphone with a hypercardioid polar pattern and frequency response of 50Hz–14kHz. They are covered by a one-year warranty from Audio Technica, which I have not needed as of yet.

You might look at the list price of $259 or the street price of $80 and say, ”no thanks.” But, these are often bundled into packages that make them a lot more attractive.

For example, you can pick up a deal on these Audio Technica microphones during Musician’s Friend Microphone Month sale. The package includes six M8000 microphones, six decent boom mic stands and six cables for $229 (with free shipping).

I have not given up my Shure microphones, but these budget mics make a lot of sense for what I do most of the time. Check them out if you get a chance.

Mahalo!