In other words, the acoustic impedance of the diaphragm increases as the frequency gets lower. The active and passive diaphragms differ in that the active (top) one has a coil attached.Although the rear diaphragm isn’t used as part of the electrical circuit in a fixed-cardioid capsule, it was subsequently discovered that it does play an important role in modifying the capsule’s proximity effect, which I’ll come back to in a moment. However, even so it is still significantly less expensive than many high-end capacitor stage mics, while it boasts some very useful and unique sonic and pragmatic advantages. The high frequencies sparkle, giving this mic the edge in understandability. Occasionally we even see some completely new microphone technologies, with yet more hovering tantalisingly over the horizon. The amount of rear rejection degrades slightly around 6-8 kHz, but not enough to cause any significant issues. The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Taken all together, these attributes should combine to make the KSM8 a joy to work with on stage, minimising the need for aggressive EQ or dynamic manipulation. Q. Electro-Voice’s product range now includes several Variable-D mics although the most iconic and recognisable is undoubtedly the RE20. Gone is the quite substantial midrange and high-mid boost, replaced by a much smoother and dare we say it more natural response, and although this seems lacking at first, what’s missing is the borderline sibilance that an SM can easily exhibit. Building on a technology that Shure first introduced in 1966 with the Unidyne III capsules used in SM57s and SM58s, the KSM8’s pneumatic shockmount sits below the Dualdyne capsule to decouple it from the microphone body, thereby minimising low-frequency handling noise. Where the magic happens! Q. Very well-defined cardioid polar pattern with minimal off-axis coloration and a deep rear null. With seven years of R&D costs to recover and some very advanced engineering, this mic is inevitably expensive in comparison to conventional moving-coil stage mics. Nevertheless, we don’t think this should detract from what is a beautifully made and classy performer from mic giants Shure. From a practical perspective, with virtually no proximity effect the on-axis sound character doesn’t change with source distance, so the performer enjoys a much larger and more consistent ‘sweet spot’. Technical features include two ultrathin diaphragms, a neodymium magnet, a dent-resistant carbon steel grille, a new internal pneumatic shock mount and diaphragm stabilization system, and integrated hydrophobic wind protection. The 30 greatest synth players of all time: keyboard wizards, programming gurus and sound design legends, Fender crosses the streams with the Troublemaker Tele Deluxe Bigsby – a triple 'bucker Tele with an LP Custom vibe. The capsule technology inside the KSM8 has been christened ‘Dualdyne’, in keeping with their familiar ‘Unidyne’ product range terminology and in obvious reference to the use of two diaphragms. There were four models in AKG’s dual-capsule range, starting with the D200. The lowest frequencies enter via the farthest entrance port, with mid and high frequencies entering through ports closer to the capsule. In general, a single-diaphragm capsule provides more accurate results for distant (far-field) sound sources, having a more accurate cardioid response which rejects rearward sources more effectively, and also enjoying a more accurate on-axis frequency response. The capsule assembly process apparently involves ultrasonic and internal laser welding to help ensure excellent mechanical reliability, and the practical realisation of the Dualdyne capsule took Shure’s engineers seven years of development and optimisation. Braunmühl-Weber’s innovative capsule design was patented in 1936, and introduced commercially as the famous M7 capsule employed in all of Neumann’s early microphones. A crossover at 500Hz combines the two capsule outputs to produce the final signal, much like a two-way speaker working in reverse! It’s priced for pro users, but the KSM8 is a beauty of a mic that ditches the all-rounder status in favour of vocal live performance and reinforcement duties. So far, so conventional — except that the active diaphragm is also stabilised by a series of (patent-pending) sound-diffracting plates positioned directly above it. Its unique capsule gives the KSM8 a cardioid polar pattern that is unusually uniform across the frequency spectrum.As polar patterns go the KSM8 boasts a remarkably consistent cardioid response, with an excellent rear null across most of the frequency range, and Shure claim it to be the purest cardioid polar pattern the company have developed to date. Review: Shure KSM8 The term ‘revolutionary’ is unquestionably overused in new product descriptions these days, but you could perhaps forgive this manufacturer for choosing the word to define its new flagship mic, as Andy Coules discovers. Consequently, the polar pattern will have a deep rearward null, and we call that a cardioid response. Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents. OK, that’s a very bold marketing claim, but actually, I don’t think they’ve over-hyped it. Overall, the KSM8 appears to be a very impressive stage mic, both in terms of its practical sonic benefits, and in its innovative technology and sophisticated engineering. mic. This pneumatic shockmount employs tuned and damped cavities which are effectively pressurised by the sound waves which pass through the rear of the capsule and are then guided down into the shockmount itself. If the vocalist presses their lips against the grille there is a small but noticeable increase in the bass end, but it really is very moderate in comparison to most stage mics. Called the ‘Diaphragm Stabilisation System’, or DSS, this smart technology protects the active diaphragm, preventing excessive excursions or rocking motions during plosives or physical knocks. Mastering Essentials Part 3 - How loud should I master? This compliance is completely absent in a single-diaphragm cardioid capsule, of course. At the bottom of the KSM8’s capsule is a second ‘passive’ diaphragm, which is there to seal the rear chamber and its internal acoustic labyrinth. The ‘Dummies Guide’ explanation is that the passive rear diaphragm acts as the first element of the acoustic labyrinth network, and provides significant compliance at low frequencies. The high end of the voice comes over with a smooth, neutral aspect, free from the almost resonant peakiness that most stage vocal mics deliver. Mastering Essentials Part 4 - Mastering EQ: Balance, Don’t Match. Handling noise is extremely low and never gave any problems, even when I was deliberately trying to be clumsy! Why does Liam Gallagher's vocals sound shit? Overall, the KSM8 is excellent for vocals but not quite the allrounder that the SM-series mics are. The microphone’s sensitivity is given as 1.85mV/Pa, which is comparable with most other stage mics — an SM58 has a sensitivity of 1.88mV/Pa, for example, making it less than 0.2dB louder. However, what is new — groundbreaking, in fact — is the application of the dual-diaphragm configuration in a moving-coil capsule. I also noticed how the mic body’s tapering shape and weight distribution automatically guides a natural hand position well away from the grille’s rear entry ports. One Synth Challenge V - The Filter Strikes Back! The Shure KSM8 is a dual-diaphragm cardioid dynamic mic designed primarily for vocal performance. None. There is a widespread popular belief that the microphone is a ‘mature technology’ that hasn’t seen any significant development since the studio heydays of the 1950s/60s/70s (delete according to your favourite musical decade!). Pros Off-axis frequency response … Taking its inspiration from Shure’s classic Unidyne III capsule (that’s the one used in the SM57, SM58 and others), this newly developed capsule aims to reduce the proximity effect, improve off-axis frequency response and rejection, and deliver a more consistent polar pattern. All contents copyright © SOS Publications Group and/or its licensors, 1985-2020. At first glance it looks just like any other conventional stage vocal mic — there’s nothing in its styling that signposts the clever technology within. The low frequency behaviour is considerably more forgiving, providing a much bigger ‘sweet spot’. If the two passage times are accurately matched, the sound pressure will be identical on both sides of the diaphragm, and there will be no net movement — which means no electrical output. Internal shock mount and capsule stabilization mean minimal handling noise. Then - and rather predictably - we had to try the mic on a snare drum and guitar cab (both of which can be successfully enhanced with a regular SM mic). © At this point I expect you’re desperate to know how the dual-diaphragm configuration works, but rather than get bogged down in the technicalities here, I’ve put it all in a side-box for later reference. With its unique dual-diaphragm design, is Shure’s latest offering the greatest advance in dynamic mic technology since the Unidyne? The amount of rear rejection degrades slightly around 6-8 kHz, but not enough to cause any significant issues. It also helps to minimise high-frequency handling noise. Its unique capsule gives the KSM8 a cardioid polar pattern that is unusually uniform across the frequency spectrum. Bath The dent-resistant mesh grille is constructed from a hardened carbon-steel wire and permanently lined with a hydrophobic fabric. The diaphragm at the top of the capsule is a conventional ‘active diaphragm’ with an attached coil of wire suspended behind it and sitting within a strong magnetic field. Web site designed & maintained by PB Associates & SOS. The benefits of this complicated and expensive approach include a very smooth frequency response with an unusually wide (for the day) bandwidth, a very uniform cardioid polar pattern with negligible off-axis colouration, and the complete elimination of proximity effect. What is a "hybrid" audio interface anyway? And although the smooth midrange suited the guitar cab, on snare drum we really missed the boost in brightness that an SM57 brings. Off-axis frequency response is very smooth. The science behind the Braunmühl-Weber capsule is a little complex, but if you want the full story with all the maths, Shure have produced a detailed white paper on the science and practical effects of the dual-diaphragm capsule, which can be found here: http://cdn.shure.com/publication/upload/340/pdf_ea_dual_diaphragm_mics.pdf. Looking at the mic’s published specifications, the frequency response is given as 40Hz to 16kHz, but these appear to be the limits at which the response has fallen by 10dB relative to the level at 1kHz. The views expressed are those of the contributors and not necessarily those of the publishers. Re: One Synth Challenge V - The Filter Strikes Back! As polar patterns go the KSM8 boasts a remarkably consistent cardioid response, with an excellent rear null across most of the frequency range, and Shure claim it to be the purest cardioid polar pattern the company have developed to date. 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