Shure KSM9 Condenser Microphone
Do you remember the first Shure microphone you ever purchased? I do. It was back in the 1970s and I purchased the ever-popular SM57. At that time, they came in a white molded plastic case which included an adapter and all of the accompanying literature. As a twelve-year-old kid, I’ll never forget the excitement of opening the case and holding the mic. I can even remember that “new mic smell.” Fast forward thirty years. Even though there’s still something special about opening a new SM57 or SM58, Shure’s newest addition, the KSM9, takes that “new mic” excitement to a whole different level.
Upon Arrival
When the KSM9 arrived, I was impressed with the rather large box printed with sharp graphics. However, I quickly forgot about the box when I opened it to find a high-quality, reinforced aluminum carrying case. Upon opening the case, the KSM9, along with a specially designed hard plastic stand adapter, was resting securely in tightly molded gray foam. Also included were keys with which to lock the carrying case, a threaded adapter insert, and the accompanying literature (including the registration card, warranty information, and user guide). While the multi-lingual user guide is somewhat thick, only seven pages are written in English.
There’s a definite “wow” factor when you first see the KSM9. From the aluminum case to the microphone itself, a sense of quality is clearly conveyed. The KSM9 comes in either a champagne or charcoal-gray finish. This particular one had the champagne finish. The body of the KSM9 features an aluminum housing and a hardened-steel mesh grill. The XLR connectors are gold-plated and, according to Shure, the interior connectors are gold-plated as well. The hardened-steel mesh pop filter is threaded and is easily removable with simple unscrewing. The interior of the pop filter also features soft inner foam for additional pop protection. Once the filter is removed, the shock-mounted diaphragms are visible as well as a two-position polar pattern switch.
According to Shure, the KSM9’s two-position polar pattern switch is an industry first for handheld vocal mics. The switch allows the microphone to be placed in either a cardioid or supercardioid polar pattern. While a cardioid polar pattern is the most commonly used condenser vocal mic polar pattern, the addition of a supercardioid pattern allows even greater off-axis sound rejection if needed. Also an industry first for a handheld mic (according to Shure) is the addition of dual 3/4-inch, gold-layered, low-mass Mylar diaphragms. These are designed to provide superior frequency response as well as consistent polar response across the entire frequency range.
The internal workings of the KSM9 are as impressive as the exterior. They include a class-A, discrete, transformer-less preamplifi er, premium electronic components, and an advanced suspension shock mount system which isolates the cartridge from handling and stand noise. According to Shure, these premium components provide the following enhanced performance characteristics: “Smooth, pronounced high-end response, an upper mid-range that sounds accurate and articulate without sounding harsh, reduced proximity effect, and a focused low-end response.” After learning of these impressive features, I was certainly looking forward to the testing.
The Testing
The actual day the KSM9 arrived, I had to mix a live southern gospel concert. During the sound check, I had the opportunity to compare the KSM9 with three other hand-held vocal mics. From the beginning of the testing, I could immediately hear a difference in the KSM9. While the other microphones had a bright, crisp sounding high-end, they were somewhat muddled sounding through the midrange section. The KSM9, however, was very detailed throughout the entire midrange and highfrequency sections.
During the concert, I assigned the KSM9 to the bass singer. I thought he would provide the best test for any proximity effect and potential popping. (As a side note, I did not use any type of external foam windscreen over the KSM9.) As with the frequency test, I was equally impressed with the KSM9’s ability to handle close proximity vocals. In fact, we didn’t have any undesirable popping throughout the entire concert.
For the second round of testing, I decided to try the KSM9 in the studio. Shure touts the KSM9 as having “studio-quality sound while uniting the best [elements] of studio and stage” and I wanted to hear it compared to a European-made large- diaphragm studio condenser mic. I also thought it would be nice to hear the KSM9 in a studio comparison test with another hand-held mic as well. The hand-held mic I decided on was a wired Shure Beta 87. All three mics were connected to a Focusrite ISA 428 preamp running into a Yamaha O2R digital console.
With all of the microphones set to identical gain levels, the KSM9 had a slightly lower output level than the large diaphragm condenser mic, but considerably more output level than the Beta 87. As for the sound comparison, the KSM9 was once again right in the middle. The large diaphragm condenser mic had the most detailed sound, but the KSM9 was noticeably more detailed than the Beta 87 — especially through the midrange section. Regardless of the subtle nuances between the microphones, I would have to agree that the KSM9 has a studio-quality sound. It definitely sounded closer in comparison to the large diaphragm condenser than the Beta 87.
In Conclusion
This microphone impressed me. Within the KSM9, Shure has combined quality construction and studio quality sound in one very attractive package. Front-of-house engineers will appreciate the added flexibility of switchable polar patterns, as well as the KSM9’s clear, detailed sound onstage. Studio engineers may find the KSM9 a useful addition to their microphone lineup as well. Priced at $850 list (MSRP) and $699 retail/street price, the KSM9 should find a home in many churches and live venues. For those who demand quality sound and durable construction, you won’t be disappointed with this microphone. The KSM9 is not only unique, but it could quite possibly set a new standard in handheld vocal mic construction.
D. Scott Kramer is the owner/operator of Electric Station Studios in Germantown Hills, Illinois. He is also the former technical director of Grace Presbyterian Church in Peoria, Illinois. Grace is a 2,300-member church offering a weekly television and radio ministry.
