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Shure Unveils ULX-D™ Digital Wireless System At NAMM 2012
NILES, Ill., January 19, 2012—While available spectrum may be shrinking, the demand for wireless audio in both presentation and performance settings is growing. To meet this need, Shure Incorporated is introducing the ULX-D™ Digital Wireless system, offering unmatched sound quality, improved spectral efficiency, robust encryption, and intelligent rechargeable batteries for professional sound reinforcement applications. The system is designed for use in corporate, education, worship, and live performance facilities.
“Until today, digital wireless microphone users have had to accept trade-offs,” said Erik Vaveris, Category Director for Wireless products at Shure. “No digital wireless system has come close to meeting the performance standard set by Shure's industry leading analog wireless product line - until now.”
The ULX-D system’s unprecedented combination of audio quality, signal stability, and spectral efficiency is driven by a unique digital wireless audio technology developed by Shure. “The result is a tremendous breakthrough in wireless audio quality,” said Vaveris. “This is the purest reproduction of source material ever available in a wireless system.”
The ULX-D system also raises the bar for spectral efficiency and RF signal stability. “The intermodulation performance of ULX-D enables a dramatic increase in the number of simultaneous active systems in one TV channel, making the most of the available spectrum,” said Vaveris. Up to 14 ULX-D systems can operate in one six MHz TV channel, making it easy to use, even in highly congested urban areas where open TV channels can be scarce. For applications where secure transmission is required during confidential meetings, the ULX-D system includes Advanced Encryption Standard (AES) 256-bit encryption for privacy.
While audio and RF quality are always paramount, wireless users are often frustrated by something more mundane: battery management. Based on the technology used in Shure’s Axient wireless system, the SB900 Lithium-Ion rechargeable battery pack provides ULX-D transmitters with up to 12 hours of performance time. Transmitters and receivers display remaining battery life in hours and minutes, accurate to within 15 minutes. The battery can be recharged at any time with no memory effect, and a complete discharge is never necessary. The SBC200 Dual Docking Charger recharges batteries while in the transmitter or out, and up to four chargers can be linked together and powered by one power supply. An SBC800 Eight-Bay Battery Charger is also available, and both chargers fit in a standard-size rack drawer for easy storage and transport. ULX-D transmitters can also run on standard AA batteries for up to 11 hours.
Availability
The Shure ULX-D Digital Wireless system is now shipping and available through authorized Shure resellers in numerous configurations with a wide range of Shure microphone options. Some typical systems are shown below:
MODEL
ULXD14 Instrument Wireless System
ULXD14/83 Lavalier Wireless System with WL183 lavalier mic
ULXD24/SM58 Handheld Wireless System with SM58® mic
ULXD124/85 Combo system with ULXD4 receiver, ULXD2 handheld transmitter with SM58 mic, and ULXD1 bodypack transmitter with WL185 lavalier mic
Full product information is available at www.shure.com.
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Shure Introduces SRH1440 and SRH1840 Open Back Headphones
New Models Deliver Unique Sound Signature for Critical Mastering, Monitoring and Unparalleled Audiophile Listening
NILES, IL, January 19, 2012—Shure Incorporated announced today the expansion of its headphone line with the Company’s first open-back models: the SRH1440 and SRH1840 Professional Open Back Headphones. Delivering on customer requests, Shure’s open-back headphones provide an alternate choice, designed for professional engineers who require a reference sound comparable to near-field monitors to achieve the best mix and production quality, and passionate audiophiles seeking an enhanced listening experience with professional sound quality. Leveraging superior sound, comfort, sleek design, and legendary Shure quality, the SRH1440 and SRH1840 are engineered to withstand the rigors of everyday use, while creating an exceptionally natural sound, wide stereo image, and increased depth of field.
The open-back, circumaural design of the new SRH models enables sound to move more freely and with minimal distortion. This contributes to increased audio fidelity and a unique listening experience when compared to closed-back headphones. Customers will now engage in a more immersive listening experience, whether at home or in a professional mastering or post/editing studio.
SRH1840: Unparalleled Acoustic Performance with Smooth, High-End Extension
The SRH1840 model features:
- Individually matched 40mm neodymium drivers for unparalleled acoustic performance with smooth, high-end extension
- Aircraft-grade aluminum alloy yoke and stainless steel grilles for enhanced durability and custom-crafted lightweight design
- Steel driver frame with a vented center pole piece to improve linearity and eliminate internal resonance for consistent performance at all listening levels
- Ergonomic dual-frame, padded headband is lightweight and fully adjustable for hours of listening comfort
SRH1440: Full Range Audio with Rich Bass and Detailed Highs
The SRH1440 model features:
- 40mm neodymium drivers, to deliver full-range audio with rich, controlled bass and detailed highs in a sleek, attractive design
- Optimized impedance for a direct connection to a wide range of portable audio devices
- A premium-padded headband with a steel frame for a comfortable fit
“As with our existing headphones, Shure developed these two new models with audio production and critical listening in mind,” said Matt Engstrom, Category Director for Monitoring Products at Shure. “All Shure earphones and headphones are designed to not color or change the sound, to give artists and engineers an accurate representation of their work. The SRH1840 and SRH1440 continue that tradition. They reveal every detail, no matter how subtle, making them an ideal fit for the most demanding audio applications.”
Both models feature a dual-side detachable cable with Kevlar reinforced jacket and gold-plated MMCX connectors enabling secure connection and easy replacement. Other accessories include a storage case, replacement set of velour earpads, and an extra cable—promising years of uninterrupted listening enjoyment.
Availability
The SRH1440 and SRH1840 headphones carry a two-year limited warranty and will be available for purchase from select retailers beginning January 2012. For a complete list of where Shure products are sold, please visit www.shure.com.
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Shure Adds Lavaliers, Earset to Microflex® Line
New Models Designed For Presenters
NILES, Ill., January 19, 2012—Shure Incorporated has added new models to its Microflex microphone line. The new models include the MX150 subminiature lavalier microphone and the MX153 subminiature earset microphone. With discreet, low profile designs and CommShield technology to resist noise from smartphones and other wireless devices, Microflex microphones are ideal for use in meeting facilities, houses of worship, and other sound reinforcement applications.
“Most events are recorded on video for online distribution, so appearance has become an important factor,” said Chad Wiggins, Category Director for Wired Microphones at Shure. “The MX150 lavalier and MX153 earset are designed to deliver excellent sound quality with very low visibility on camera and to the audience.”
The MX150 subminiature lavalier microphone is available with either an omnidirectional or cardioid polar pattern, and in wired or wireless configurations. A new snap-fit foam windscreen is included, which locks securely to the microphone and reduces plosives and wind noise. A new multi-position tie-clip reduces cable noise by routing the cable in loops, and can be mounted horizontally or vertically for ease of use on different types of clothing. The same clip can accommodate single or dual microphones for applications where redundancy is required.
The MX153 subminiature earset microphone is ideal for speech reinforcement in situations where a lavalier mic does not provide sufficient gain-before-feedback. The MX153 features a padded earloop for excellent comfort, and a flexible boom for easy microphone placement. The MX153 is available in black, tan, or cocoa to match typical skin tones.
In TV show production, sound, versatility, and visibility are equally important. “The MX150 is a great improvement in cable and handling noise, and the reversible tie clip makes it easy to configure for men’s or women’s clothing,” said John Christie, RF Coordinator for So You Think You Can Dance Canada. Christie also likes the windscreen: “I love the snap lock that keeps it securely in place. It’s visually appealing on television, and less foam means less coloration of the sound.”
Both the MX150 and MX153 feature Shure CommShield Technology. CommShield consists of robust shielding and RF filtering that makes the microphone highly resistant to intense RF interference from nearby smartphones or other digital wireless devices, often called “GSM buzz.”
Availability
The MX150 lavalier and MX153 earset are available now in a variety of configurations. For more information and a complete list of Shure dealers, please visit www.shure.com.
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Shure Axient™ Wireless System Now Shipping
NILES, Ill., January 19, 2012—Shure Incorporated is now shipping the Axient™ Wireless Management Network, which can automatically change frequencies to avoid interference. Axient™ employs several breakthrough technologies – some offered for the first time in a wireless microphone system – that work together to deliver interference-free audio in today’s hostile RF spectrum environment. 
“With new unlicensed devices soon to be using the TV band white spaces, volatile spectrum is a fact of life for professional wireless users,” said Sandy LaMantia, President and CEO of Shure Incorporated. “They face increasing pressure to deliver an interference-free performance even though conditions are more unpredictable than ever before. The Axient™ system was designed to perform flawlessly, even while interference sources appear and disappear without warning.”
“Axient delivers a game-changing set of tools for dealing with the challenges faced by wireless microphone users in critical, high-profile applications,” said Erik Vaveris, Category Director for Wireless Products at Shure. “Of course, for the most demanding customers, Axient™ also has to be at the pinnacle of RF and audio performance.” Axient™ delivers an exceptionally refined, beautifully tailored sound with detailed transient response and ultra-low noise. Featuring a dramatic minimization of intermodulation distortion and an exceedingly robust receiver design, Axient™ was created to provide rock solid operation in the congested, high-noise spectrum found at major broadcast events and theatrical centers.
Axient™ delivers great sound and gives engineers new capabilities to adapt to poor or rapidly changing conditions during an event: the ability to change frequencies in mid-performance, the ability to adjust transmitter settings in real time, and the ability to transmit full-fidelity audio on redundant frequencies for added security.
“Axient™ defines a new standard for control and confidence in applications with zero tolerance for failure,” said Vaveris. “This is the first wireless microphone system that can detect interference and avoid it automatically.”
The Axient™ system’s agility in difficult RF conditions is driven by four key features:
- Interference Detection and Avoidance detects RF interference and enables the system to move to a clear and compatible frequency in milliseconds.
- For critical microphones where even the briefest gap in audio is unacceptable, Frequency Diversity mode transmits full-bandwidth audio on two separate frequencies. If one frequency is disrupted by interference, the audio from the second frequency is automatically used.
- ShowLink remote control enables the operator to make real-time remote adjustments of transmitter settings (such as audio gain, RF output power, and RF mute) while the microphone is live, without interrupting a performance or disturbing an elaborate costume. Control coverage extends throughout the entire performance area and can be extended to include backstage areas.
- The Axient Spectrum Manager scans the spectrum constantly, and monitors, ranks, and deploys backup frequencies automatically. This ensures that the system uses only the cleanest frequencies during a performance.
While the technical processes are complex, the transmitters, receivers, access points, and the spectrum manager operate together seamlessly. “When the receiver’s Interference Detection and Avoidance feature senses interference, the Spectrum Manager assigns a new frequency that it knows is clean,” continued Vaveris. “The frequency is deployed to the transmitter by the ShowLink wireless access point, and the transmitter and receiver execute a synchronized frequency change in a matter of milliseconds. And with the AXT200 Frequency Diversity Handheld Transmitter, there is no audible trace whatsoever.”
For ample, reliable power, Axient™ transmitters rely on high performance Lithium-Ion rechargeable batteries and smart chargers. Axient™ batteries provide up to nine hours of run time with zero memory effect, and remaining battery life – accurate to within 15 minutes – is displayed on the transmitter, on the receiver, and in the Wireless Workbench software. The Rack Mount Charging Station offers touring-ready battery storage and charging for up to eight bodypack or handheld batteries, and is fully networked for remote monitoring.
Axient™ takes advantage of Wireless Workbench® 6, a completely new software interface that enables users to monitor and control the entire system. The software uses scan data, an internal TV channel database, and advanced compatibility algorithms to create a list of clean, viable frequencies for any number of primary and backup channels in a system.
The Axient™ Wireless Management Network is now available through designated Shure Axient™ dealers. For more information, visit www.axient.net.
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Top Ten Pro Audio Myths - Myth #3
by Shure's Senior Applications Engineer, Tim Vear
A wide range flat response microphone is better than a shaped response microphone. |
It depends. For a sound source that has a very wide frequency range, you want a microphone that can reproduce it in a high fidelity manner. That's what a flat response should do. The assumption is that whatever the destination of that sound, either a playback system or a live sound system, the mic will reproduce the range that you've gone to so much trouble to get.
The average rock and roll sound system is not a wide range flat response thing itself. So putting wide range flat response mics on the front end doesn't get you much. You can't hear the performance difference.
But with a very high quality sound system or a recording environment, yes.
Some sound sources like close-up pop vocals, electric guitar amps and snare drums have fairly narrow frequency ranges. There's no reason to have a microphone that goes down to 50 Hz picking up an electric guitar amp or a voice. So a shaped response mic may be more desirable. Close-up vocals, instrument amplifiers and certain percussion instruments really can benefit from not flat, not super wide range response.
It's completely dependent on the sound source and the environment.
Click here to read Myth #1.
Click here to read Myth #2.
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Shure Axient™ Wireless Excels at Lights Festival for ABC7 Chicago
Live Broadcast of Annual Festival Parade Enjoys Flawless RF Audio in Downtown Chicago
The live HD broadcast of Chicago’s 2011 Magnificent Mile Lights Festival by WLS-TV, an ABC-owned TV station, is a challenging event, requiring extensive use of wireless microphones and intercom systems in an RF-intensive outdoor environment. Performers included Grammy-winning sister duo Mary Mary. Parade grand marshal Mickey Mouse was on hand to illuminate more than one million lights on 200 trees lining Michigan Avenue, officially kicking off Chicago’s holiday season. This perennially difficult assignment became much easier in 2011 with the use of a new and unique wireless microphone system: Shure Axient™ with frequency diversity.
WLS enlisted the aid of On Stage Audio (OSA) in suburban Wood Dale to supply the needed audio equipment. OSA senior staff engineer Pete Wiejaczka, along with Kelly Epperson of Easy Live Audio, offered the station the opportunity to employ the new Axient™ system. Axient™ is Shure’s state-of-the-art wireless network management system, designed to handle the most crowded RF conditions with a range of advanced features that include extremely tight RF filtering combined with spectrum management, frequency diversity, and remote transmitter control via wireless data communications.
The parade route is on Michigan Avenue in the heart of downtown Chicago, an RF-rich environment made even more complex by event logistics. ABC 7’s temporary broadcast site included a “backstage” tech area and nearby dais for three broadcast anchors. It also required wireless signals for street reporter Val Warner on the parade route and the nearby performance stage. The location provided additional wireless challenges by being within line of sight of several nearby DTV antennas and adjacent to a competitor’s broadcast studio.
After the capabilities of Axient™ were explained to them, WLS and audio engineers Lou Sabatini and Mike Cunningham could not pass up using the new Shure system. “Once we saw what Axient™ can do, we knew it was perfect for this event,” explained Cunningham.
As a result, eight channels of Axient™ were employed, including a handheld and bodypack system for Warner, and a pair of handheld mics for Mary Mary. The results did not disappoint.
Axient™ constantly monitors the full RF spectrum to detect potential interference. In addition, its frequency diversity feature enables a second, independent frequency from the transmitter. When interference is detected, the system can seamlessly switch to a clear backup frequency, enabling mission-critical transmitters to survive even the most challenging conditions without a glitch.
“We had an absolutely flawless wireless system throughout the broadcast,” reports Sabatini, who handled the broadcast mix. “We also got to see first-hand how Axient can detect and prevent a problem before it happens.”
During rehearsal, the system detected interference on one of the anchors’ system. “The display on the receiver turned red to show us the problem,” reports Cunningham, who was responsible for frequency coordination. “It turned out to be interference from an unplanned in-ear system. Axient switched the transmitter and receiver to a safe frequency. That would have been a major panic situation, but Axient handled it seamlessly – detecting the problem, alerting us, and having a safe channel ready to go.”
The other demonstration of Axient’s capabilities involved reporter Val Warner. Her handheld Axient™ was working fine in low power mode as the broadcast began, but as the parade route filled with the estimated 250,000 attendees, the system detected a reduction in signal strength. “She was about three-quarters of a block away when the receiver went red,” reports OSA’s Pete Wiejaczka. “I was able to push data to that handheld to switch it to high power mode and right away, we had a solid RF signal again. It was great that, with the tools Axient provides, we were able to deliver a seamless performance for our client.”
Finally, to get broadcast audio to the bleachers located across Michigan Avenue from the broadcast position, Wiejaczka employed the new Shure PSM®1000 personal monitoring system in its point-to-point mode, sending full-range audio to the PA system with no discernible latency or quality loss. “It’s really a great system,” Wiejaczka notes. “The sound quality is excellent, and the PSM 1000’s point-to-point mode allows me to use a Shure UHF-R receiver, which meant I had real balanced XLR outputs instead of just the mini headphone jack that’s on an in-ear bodypack. It’s a great solution anytime you can’t run cable to the PA system.
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Making an Audio Icon: Inside Shure’s Stress-Test Gauntlet
As seen on Wired Digital, September 22, 2011
If you’ve ever played a band or done some home recording, chances are good you’ve come across a Shure mic. Their products range from entry-level throw-aways to wallet-goring audiophile tools. And while the company’s products are sometime short on sex-appeal, their ubiquity is testament to their consistent level of quality: Shure knows how to build sturdy microphones. Read More…
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Top Ten Pro Audio Myths - Myth #2
by Shure's Senior Applications Engineer, Tim Vear
Microphones always sound better in the store. |
It depends. An in-store demo of a microphone or any other acoustic product is greatly affected by the acoustic environment of a store (That's why there are listening rooms). If the store is noisy or quiet, if you're listening to the microphone through loudspeakers or headphones, all of those factors change the perceived sound of the microphone.
A clever salesperson can set up a demo to favour a particular microphone or a loudspeaker. If you're evaluating products in the store yourself and can control what you're doing, you can normalize the levels and the EQ so that each microphone is getting into the system flat. Then, the only differences you'll hear are the tonal differences of each microphone.
In-store demos are not really indicative of how the microphone will perform in real life. Ideally, you want to take a mic to a gig and use it in the environment you normally work in. Evaluate it that way.
"To hear what the microphone really sounds like, you need to record your voice speaking
or singing a phrase
and then listen to it in playback."
Most people test the mic in the store wearing headphones (or listening through loudspeakers) and saying "Test, one two… test, one two" into the microphone. Because the sound of your voice reaches your ears directly through bone conduction, what you're hearing is not just the sound of your voice through the headphones or loudspeakers, but also the sound that is conducted internally.
To hear what the microphone really sounds like, you need to record your voice speaking or singing a phrase and then listen to it in playback. You can compare several mics that way and listen to the recording right in the store, wearing your own sound-isolating earphones or headphones. That will give you the best idea of what the mic really sounds like.
Click here to read Myth #1.
Click here to read Myth #3.
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Aerosmith Producer Jack Douglas Rocks with Shure
Shure Studio Microphones and Headphones Play Key Roles in the Recording of Aerosmith's Upcoming Album
In recording basic tracks for the 14th Aerosmith album, scheduled for release in April 2012, producer Jack Douglas makes no bones about his policy of using the best microphone for each application, regardless of brand. “You don’t do a session like this with one brand of microphone,” he states. “I like to use different mics in different situations. But during almost four months of tracking, there were a lot of Shure microphones that never moved from their spots. That includes classics like the SM57, but also some of the new mics like the KSM condensers and ribbons. We also used Shure headphones throughout the sessions.”
For a guitar-driven band like Aerosmith, Douglas pays particular attention to that aspect of the sound. He designed and built isolation chambers for Joe Perry and Brad Whitford’s amplifiers. Each chamber houses four 4x12 speaker cabinets with external plugs for the amp heads and microphone outputs. Within each iso chamber was a Shure ribbon microphone.
He recounts, “I had a KSM313 and a KSM353, and boy, did they get used! I absolutely love them. The 313 is interesting because it has a bright side and a brighter side, which is really cool. During the actual tracking session, that was on Brad Whitford’s guitar rig. I just used one of them inside the iso box, but because it’s a ribbon, it was hearing all four amps. So it’s multiple voicing in real time, and the sound is absolutely amazing.”
For Joe Perry’s rig, Douglas selected the KSM353 for a more neutral sound. “Same deal as Brad in terms of setup,” he notes. “It was just killer – big and fat and everything you want in a ribbon. Those mics lived in those iso boxes forever. I was knocked out by how great they sounded and how much sound pressure they could take. Both those mics are well worth the money. I want to try them on vocals, and I will be going back to them.”
It was no surprise to learn that Joey Kramer’s drum sound started with an SM57 on snare top, augmented by a Shure SM81 underneath. “I have always used the 57 on snare and always will,” says Douglas. “For me, the SM57 has always been the absolute go-to mic for just about anything. If I was stuck on the moon and wanted to record, I know I could do everything with a 57 and still get a great sound. It just never fails you.”
Douglas also used a Beta 91A boundary mic as part of his kick drum setup, deployed on the floor right in front of the kick drum to capture the overall drum kit while augmenting the kick sound. The cardioid version of the Beta 181 side-address condenser handled ride cymbal. “That Beta 181 is a really nice mic. I positioned it about four inches above the ride. It had good rejection outside the pattern and gave me a nice clear, crisp ride sound.”
For hi-hat, Douglas employed a dual microphone setup recommended by engineer Warren Huart, with a KSM137 condenser and an SM7B. “It’s a neat trick. The KSM137 has a great sound, and I really like the SM7 on hi-hat because I don’t like it to be over-bright. I’m a big SM7 fan. In fact, I used three of them during the course of these sessions.”
With the SM7’s long history as a broadcast announcer microphone, it’s no surprise that the other two were used on vocals. “I used them on Steven Tyler’s reference vocals, which he sung in the main room at the piano,” Douglas explains. “With the rejection and accuracy of the mic, he could get real close and go as hard as he liked. The third SM7 was on Tom Hamilton’s backing vocals, which also have a great sound. There’s just something magical about that mic.”
Another interesting application that employed Shure microphones was the use of two KSM44A studio condensers to capture the sound of the room itself. “For me, the ambient sound of the studio is one of the most important things in capturing the overall sound of the band,” says Douglas, “because I’m picking up the whole band with them, particularly the drums. And the one thing that never moved throughout these sessions was that pair of KSM44As as my high room mics. Physically, they were about 12 or 14 feet up in the air as a stereo pair, covering the whole cacophony that is Aerosmith.”
Jack Douglas and the band all used Shure headphones for monitoring throughout the sessions. All five band members used the SRH840 model, while Douglas worked with the SRH940. “Shure was nice enough to let us try these new headphones and they are just amazing,” he notes. “Every member of the band used them. In fact, they took them for the South American tour after we finished. I had an SRH940 and they were just dead-on accurate for my listening. When we move to Los Angeles in January, they’ll be with me.”
Songs were written during sessions at Pandora’s Box, the band’s studio complex in Boston. Final vocal tracks and overdubs will be done in Los Angeles after the holidays, working around Steven Tyler’s American Idol commitment. “It’s kind of a classic ‘70s approach, writing in the studio, everyone playing live and recording as we went,” says Douglas. “This will be a big, hard, very heavy rock album with the usual tongue-in-cheek – very basic but kind of clever, which I guess is classic Aerosmith. We weren’t thinking singles. When we sat down, we said, ‘What the hell, let’s make some art.’”
Photo caption: Jack Douglas in the studio with Aerosmith embracing one of his KSM44A's. (photo courtesy of Jack Douglas)
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Top Ten Pro Audio Myths - Myth #1
By Shure's Senior Applications Engineer, Tim Vear
Some microphones have more reach than others. |
False. Reach is not a specification of a microphone. Mic users have a concept of reach as the ability of a microphone to reach out and grab the desired sound in the midst of some ambient undesired noise conditions. They believe that some microphones can pick up from farther away than other microphones.
The reality is that microphones do not reach out and grab the sound from a distance. They merely measure pressure variations right at the diaphragm itself. The microphone doesn't "know" anything about what is happening at any distance from itself. For this reason, if you try to characterize a microphone's "reach", it's almost completely dependent on the ambient acoustic conditions around the microphone.
"The reality is that microphones do not reach out and grab the sound from a distance."
Here's an example: Take a microphone to the Superbowl on a Tuesday morning at 2AM in the middle of July. There's nobody there. They've turned off the air conditioning and it's a huge quiet box. You put your microphone at one side of the stadium and drop a nail on the concrete on the other side of the stadium. Yes, the microphone will pick up the sound of that nail a couple hundred yards away because there's no ambient noise. Go back on Superbowl Sunday in the middle of the fourth quarter when the opposing quarterback is lining up to call the play. Put your microphone down on one side of the stadium, clear out the beer vendors and drop the same ten-penny nail on the concrete. Can you hear the nail? What changed? Same mic, same nail, same concrete, same building. But the ambient noise level is now 100 decibels higher.
The reach of the microphone, if you can even call it that, is mostly dependent on the ability of the microphone to pick up sound in the middle of all that noise. No microphone has a "reach" that is defined independent of ambient noise.
The one specification of a microphone that loosely corresponds to the concept of reach is directionality or the microphone's polar pattern. The directional characteristic of a microphone describes how much sound it picks up from ambient sources compared to how much it picks up on-axis.
"The one specification of a microphone that loosely corresponds to the concept of reach
is directionality or the microphone's polar pattern."
The numbers are there, but they're not huge. The difference between how much ambient noise an omni-directional and a hypercardioid microphone will pick up in the same conditions is only about 6 dB. (The hypercardioid mic picks up 6 dB less ambient noise than an omni.) Because of the Inverse Square Law of Sound, if I double the distance between the sound source and the microphone, the level of the sound source drops by six decibels at this greater distance. The ambient noise stays the same. If an omnidirectional microphone picks up a certain ratio of ambient noise to on-axis sound at one foot away from a sound source, then a hypercardioid microphone can be used at two feet from the sound source and still pick up that same ratio. This is NOT because the hypercardioid is more sensitive to the on-axis sound but because it is 6dB less sensitive to the ambient noise.
In that sense, the hypercardioid has more "reach". But neither one will work at great distances in the presence of any significant background noise. They just measure little pressure variations right at the diaphragm.
Click here to read Myth #2.
Click here to read Myth #3.
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Winnipeg's MTS Centre Selects Shure's State-of-the-Art UHF-R Series for a Wireless System Upgrade
By Chris Brooks (SF Technical Support - Ontario)
With all the excitement in Winnipeg and the rest of Canada these last months over Winnipeg’s renewed NHL franchise, what better time to “renew” the sound system at the MTS Centre?
At a cost of $133.5 million, the 440,000 square-foot MTS Centre opened its doors in November 2004. This beautiful facility can seat 15,015 spectators for hockey and 16,345 for concerts. Formely the home to the AHL’s Manitoba Moose and a venue of choice for such important events as the Juno Awards, the Canadian Country Music Awards, the AHL All Star Classic, the BDO Classic Canadian Open of Curling and countless concerts, the MTS Centre is well known for its excellent acoustics.
When the time came to upgrade the sound system, MTS Centre officials called on the expertise of leading touring and installation specialists Sound Art Canada. John Loewen and the crew at Sound Art have been working closely with the Manager of Pro Audio & Video Services from the MTS Centre, Brian Johnson, to replace their aging 700 MHz wireless gear. Brian had previously experienced the Shure UHF-R wireless systems during a rental and knew that was the level of sound quality and performance he required.
As always, it’s the small things that make all the difference. In this case the icing on the cake that solidified the deal was the UR5 fully compatible UHF-R portable diversity receiver for pro camcorder applications at MTS Centre and the availability of the ultra-convenient WA360 remote-mute switch for Shure body-pack transmitters.
So far, the project includes two UR4D dual receivers, three UR2/SM58 handheld transmitters and three UR1 body-pack transmitters with ultra-light headset/mics and WA360 switches. The installed antennas are a pair of UA870WB wideband amplified directionals.
Now that the 2011-2012 NHL season has started, hockey fans in Winnipeg and throughout the league will be treated to a world-class display of sound and images that only a state-of-the-art venue like the MTS Centre can provide. Go Jets Go!
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Shure PSM®1000 Personal Monitor Systems Hit the Stage at the CMT Hitlist Tour
The CMT Hitlist Tour featuring Deric Ruttan, Dean Brody and Aaron Lines showcased three of Canada’s hottest country music performers on one billing. The tour, organized by Country Music Television, kicked off this past September giving fans across the country the opportunity to hear their favorite Canadian country artists. Fans were also encouraged to vote on-line and have a voice in which hit songs were performed at each of the 26 shows.
Shure products were an integral part of the CMT Hitlist Tour, ensuring that the performances were delivered flawlessly. Shure UHF-R wireless systems guaranteed that fans clearly heard every single last note and PSM®1000, the company’s newest personal monitor system, provided the cleanest audio ever for the performers.
The PSM®1000 Personal Monitor System features a networkable, dual-channel transmitter and a diversity bodypack receiver for an unprecedented combination of audio and RF performance for the most demanding wireless monitoring applications.
“The PSM®1000 is an absolute dream – it’s a definite step up and a flagship among the new IEM systems that are available,” says Ian Leary, CMT Hitlist Tour Front-of-House Engineer. “For years I’ve been using everything that was available on the market and the new feature options for the 1000 are absolutely unbelievable.”
The P10R diversity bodypack receiver for use with the PSM®1000 Personal Monitor System offers premium features like full bandwidth RF scan and Automatic RF Gain Control for unparalleled signal stability and channel availability. Patent pending CueMode allows monitoring of different stage mixes and storing of up to 20 separate channels from one bodypack for a quick and easy mix reference.
“The packs are great – the speed and ability to get around and do anything you want inside the pack, as well as on the transmitter, are absolutely great; no need to be fumbling through 95 million screens to get to where you need to be.” notes Leary.
State of the art UHF-R wireless systems equipped with the superb KSM9 handheld and wired SM, BETA and KSM microphones rounded out the rest of the Shure gear on this Inaugural CMT Hitlist Tour!
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