Review: Shure KSM9 Wireless
Shure has done more than most to push down the price of wireless mics. But there are still big advantages for those willing to splash some cash.
3 June 2006
Review: Graeme Hague
One day, I’m going to stick a big sign up in the dressing rooms where I work that says, “Attention all cast: lavalier microphones are not fishing lines!”.
When I’m not writing reviews for AT, I’m Technical Manager of the Bunbury Theatre in WA. So, I think you’re beginning to see the source of my frustrations: at the end of a performance it seems actors can’t help themselves; wrapping their mics around the belt-pack transmitters like they’ve just given up on catching whiting with a hand line.
In an ideal world it’d be nice to think that expensive radio microphones might be treated reverently, instead of crushed under rolling bodies, sweat upon, caked with make-up, left on under the shower, dropped into toilets, stretched, twisted and, yes, treated like a favourite whiting rig. But, as we know, that ideal world is the same world populated by flying pigs.
SHURE FIRE
The release of Shure’s latest wireless system – the UHF-R – happily coincided with my theatre needing yet another new wireless mic. But as you may have guessed from my opening, the theatre’s needs are perhaps slightly different from some others. Certainly, sonic quality and good features are important, but taking the hard knocks and surviving the inexpert fumblings of amateur performers are vital, too. In fact, I’m starting to regard radio microphones as consumable items. Accept it – getting a year’s life out of them constitutes a win these days.
This is not, however, the way to look upon Shure’s new UR2 handheld transmitter with a KSM9 capsule attached. Nope, this little beauty should be locked away in the cupboard and only brought out for the most deserving musical royalty. Not that I’m saying the KSM9 is fragile or won’t cope with a bashing now and then, on the contrary. The all-metal construction is very reassuring… but you’ve got to draw a line somewhere, right? Terrified primary school children (whose teachers think will all transform into the Qantas choir with the wave of a magic radio mic) will not get the expensive stuff. So sue me!
To explain further: the UR2 is Shure’s latest top-of-the-line radio transmitter from the UHF-R family, which can dock with a variety of capsules ranging from the SM58, SM86 or SM87, plus the Beta versions of all these (except the SM86) and finally, the gorgeous new KSM9 condenser capsule.
NEED TO KNOW
LESSON NO.1
At this point I’ll mention Lesson No. 1 of reviewing radio microphones: don’t set up your new ULX unit with its SM58 head, soundcheck it to match your other mics – then try out the KSM9. If you do, the SM58 suddenly sounds like you’ve wrapped it in a damp tea towel. It’s hardly an indictment on our old friend the SM58, but the new capsule is a revelation. When you first hear the KSM9 I guarantee you’ll utter an expletive (well, I did anyway). The crispness and clarity of the mic is nothing short of excellent.
The UR2 transmitter itself has some handy features. The RF power is switchable between 10 and 50mW. At first, you might think this a wee bit pointless. (Who, after all, wouldn’t choose the higher output setting for maximum, drop-out-free performance every time?) But it is a useful option. The 10mW setting is more than enough grunt for most applications, saving precious battery life; while the 50mW boost will give you peace of mind when things are being pushed or good radio reception isn’t guaranteed. Very handy indeed.
LESSON No. 2
Lesson No. 2 sprang to mind during initial tests. I was dismayed by the amount of background hiss the mic seemed to be emitting… nothing huge, but disturbing all the same. I did a bit of wandering around to see if I’d just picked a bad ‘spot’ in the building… no improvement. Then while I stared at the UR4 receiver looking for things to tweak it suddenly occurred to me – try attaching the antennas!
Problem solved – but, hey, it was doing pretty well without them.
TAMPER PROOF
Using the UR2’s software – which gives you channel and group selections – you can also lockout both the power and the frequency settings. The frequency isn’t such a big deal, but who hasn’t had a performer turn off a radio mic despite repeated instructions to leave it alone? The physical power switch is a bit fiddly, which has the advantage of discouraging unwanted use, and there’s no separate switch for the microphone head. Again, some would consider this a plus.
On the KSM9 capsule there’s a hardwire switch for changing the polar pattern from cardioid to super-cardioid. Obviously, this gives the microphone more versatility, making it a true, wireless condenser rather than merely a vocal mic. With this in mind, I fearlessly (and successfully) placed it in the middle of a symphony orchestra without a trailing lead, snaring a dozen chairs and music stands along the way. It worked brilliantly.
I do have one small quibble, though. The UR2 comes with a wide range of frequencies and several features mentioned above, and these are accessed by a four-micro-button interface hidden by a sliding sleeve. Now, I’ll be the first to cheer about getting rid of those tiny, plastic Phillips-head screws that burr into uselessness after making a few frequency and gain adjustments. Still, these micro-buttons are just a little too small and tricky for my liking. It’d be hard to provide anything much bigger and better without compromising the compact design of the mic, but accessing the menus got frustrating at times with the required multiple-button pushing.
All is forgiven when you go back to doing what this microphone does best: delivering crystal-clear vocals without a hint of radio hiss or signal dropout. It’s pricey, but Shure makes no apologies for that, and claims you’re only getting what you pay for. In this case, you certainly do.
ShowLink remote control, Shure Wireless Workbench® software, the ShurePlus™ Channels app, and networked battery monitoring provide unmatched control and insight for seamless performance.