shure ksm313 review

shure ksm313 review

I've also been using this mic on the outside of a kick drum recently with fantastic results. No one has mentioned the Roswellite Ribbon.....it's indestructable unlike aluminum ribbons. If you’re more interested in having two different ribbon sounds from one mic than in making use of the nulls, then the KSM313 does just that. Some of the improvements in this microphone may be the result of Shure’s engineering folks going over it. With its bright red grille and heavy-duty gloss-black casing it reminds me of an angry little wasp perched on its unusual ‘monocle’ mount. The bad news about it is that it provides an arm that bounces up and down and really exaggerates low-frequency noise conducted in from the mic stand. This microphone has two distinct sounding sides of it's figure 8 polar pattern. This side is IDEAL for voice. In applications which would cause an aluminum ribbon to immediately rip or jump out of the motor, this Roswellite stuff seems to just bounce right back. I put it on my Fender Deluxe Reverb amp and found perfection. There are probably more myths and misconceptions about ribbon mics than just about any other piece of studio kit. Something that I don’t like about this microphone is that the polar pattern is asymmetric. The Shure has an exceptional build quality. So nice.. Just keep it simple with this: Shure acquired Crowley and Tripp microphones a few years ago. One clean guitar and one heavily distorted. Listed below are some notes I took as I first started testing out the mic. This microphone just really caught the body and the warmth from the guitar amp. I was fortunate enough to have one in my possession to write a longer in-depth review for another website. On acoustic guitar it worked well but it pushed the sound of the guitar very far forward, sounding almost like God’s own SM57 but with a little more finger noise. The KSM313 has a steel body that’s painted black, and its red mesh screening covers the machined sound-entry ports. Also, the microphone is fairly unobtrusive and easy to place, which further opens up more possibilities for placement and use. To me a C214 is piercing and a KSM32 is way better, the KSM313 is smoother with less high end than both those mics, but side by side with a KSM32 the KSM313 has less "clarity" but responds in an amazingly unique way to post processing, as you can hear in the single. WOW! It was a very in-your-face sound; for this application, I put it back and put up an Electro-Voice RE20 instead. Whether this is an advantage or a disadvantage is up for discussion but it’s clearly deliberate. This isn’t mentioned by Shure but it could be a useful side-benefit of the design. I think this is a great sonic compromise where you’re looking for brightness and punch to get through a dense mix, without being over the top for a pop music mix. This is certainly not the typical “ribbon mic” sound. What else can I say. A beautiful and versatile sounding ribbon microphone. Mic Database | Mic Reviews | Microphone Sale, Recording Magazine: April, 2010 | by Scott Dorsey, Click to see specifications & reviews for the Shure KSM313. That’s what mic shootouts are for. The ribbon assembly itself is quite small and quite solidly and tightly mounted. The front side is warmer, thicker, richer - like a more "common" ribbon sound. There’s no internal shockmounting, but everything inside is very tightly supported so that shocks won’t be exaggerated by internal resonances. This is important, and it’s probably much of the reason why the mic works so well in the far field. When you buy products through links across our site, we may earn an affiliate commission. Every engineer should have one. Its Red and black This is a serious problem on stage risers that may not be in good condition, especially with a bass amplifier nearby. It's proximity effect isn't out-of-control huge, but retains an excellent low-frequency extension, allowing placement right on a speaker if desired. The microphone comes apart very readily, revealing an interesting toroidal transformer that seems to be a smaller version of the one used in the Studio Vocalist. The P-Solo is uncolored but the LMNOPre has that Low Frequency Resonance circuit that really brings out the bottom without hurting the high-end. Some careful thought has gone into dealing with grille problems in a way that wasn’t done on the Studio Vocalist. My favorite feature of ribbon microphones is how well it tames transients and those undesirable mouth noises (lip smacking, sibilance, etc). Its not fragile like other ribbons on market Pulled back on stage in front of a singer-songwriter, it worked quite well as an ambient mic and remained very balanced. So — how does it sound? Not only does this change the response and make it different between the front and the back, but it also may act as a blast filter; if you have a problem with p-popping it might help to try the rear lobe. … Really an excellent microphone, though I took off a couple of points in "bang-for-buck" for the cost, which is a little aggressive. The good news about this is that it provides a very convenient mount for a singer. But in the Seventies, Shure discontinued the last of its ribbons and later turned support of these mics over to Dick Gardiner from the Harmonicats, who had a long-lived second career rebuilding them. This Ribbon really handled the SPL and was a god send in warming up the guitar tones. I was really able to create some energy in the mix during some of the guitar solos. I was regularly using 60 dB of preamp gain for testing. What you hear in the room is what you get out of the speakers. Sooo nice for guitars, treats a sultry voice right too! Next I tried it on bass and guitar amps in the studio. It’s not anywhere near as sparkly and bright as a U87, mind you, but it sounds like this is an attempt to push the ribbon design in that path. The back side, however, offers a much more open and brighter sound. The measured frequency response looked more or less like the response in the datasheet of the mic, with a few narrow spikes here and there that don’t normally show up on smoothed datasheet plots.

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