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Shure & Snow Patrol Remix Competition now Live
We are pleased to announce that our remix competition with Snow Patrol is now open for entries!
You have until December 14 to sign up, download the stems and enter the competition. We are very lucky to have gained permission to do this competition so we’d like to extend our thanks to Snow Patrol and their management team for helping to make this possible…..and don’t forget – this is not just any Snow Patrol track…..this is the lead and title track from their new Fallen Empires album!
As a reminder here is a message from the band:
“We are looking for you to use some of these parts and create something new and original. We won’t be favouring any particular type of entry. Everyone will be judged on the same level, whether your entry transforms Fallen Empires into anything from an acoustic track to a techno track. We wish you the best of luck”
The band will be judging the shortlist which will be compiled by Shure. We should also mention the excellent prizes which are at stake. The first prize will be a voucher for 1500 Euros of Shure products, with second and third being 1000 Euros and 500 Euros respectively.
Videography, Wireless Receivers and the Shure UR5 – plus real life Case Study
For the videographer who is either earning a living or bringing in some extra income by shooting video for weddings, events or the Internet – audio can present a challenge. You can’t have a bride holding a microphone while exchanging rings. Enter wireless.
How it Works
Wireless systems for video have become increasingly popular in the last few years for their many freedom-of-movement advantages. Think of it this way: a wireless microphone system is really a miniature radio station. A microphone cartridge (dynamic or condenser) converts incoming sound waves to an electrical signal. The signal is sent out by a low-power transmitter, and then picked up by a receiver located nearby, which converts the radio-frequency signal back into audio. The transmitter can be contained in the handle of the microphone or in a small bodypack. A cable then connects the audio output of the receiver to the input of the camera or a separate recording device.
Portable Systems
Portable battery-powered wireless diversity receivers, like the Shure UR5, are available for use in situations like the ones above, where both the transmitter and the receiver are moving around.
Portable wireless receivers are very small — and can be worn on the body or mounted directly to a small mixer or camcorder. Size does matter – the receiver has to be small enough to mount on the camera without weighing it down. A short cable connects the audio output of the portable receiver to the audio input of the mixer or camcorder.
The classic application is creating an event video. The talent (or maybe the pastor if it’s a wedding video) uses a lavalier with a bodypack and the battery-powered wireless receiver is mounted on the videographer’s camera. Because the UR5 is a single channel receiver, additional systems are required for additional sound sources. One speaker, one transmitter, one receiver. It’s how Shure records videos like this one.
Here’s Chris Lyons demonstrating the ULX-D Quad and Dual Receivers: http://bcove.me/nbbqtgeg
Lavalier: WL150, Bodypack Transmitter: UR1, Wireless Receiver: UR5
Recording Audio
The first option is the easiest: connect the output of the receiver into the camera’s mic input. Audio quality is dependent on the quality of the audio circuitry that’s built into the camera and for many high–end pro cameras, the audio quality can be pretty good.
The second option is using a separate recording device. Increasingly popular DSLR cameras offer superior image quality but the audio circuits aren’t typically up to professional standards. The dynamic range isn’t great, it’s difficult to control levels and hiss can be a problem. Serious shooters generally use a separate audio recorder.
A key feature of the UR5 portable diversity receiver is that it comes with two output cables – one with a standard XLR connector for a pro camera, recorder or mixer and a second output cable with a 3.5mm mini plug for DSLR cameras. There’s an available cable that will work for any type of camera.
It also offers a separate headphone output, so that the camera operator can monitor the audio through headphones or an earpiece – effectively minimizing or eliminating “what’s that sound?” issues in playback. There are seldom ‘take twos’ in weddings, speeches or corporate events.
Watch the UR5 Portable Diversity Receiver Video
UR5 and Pro Videographer Keith Anderson
We wanted to know what, beyond the powerful Shure image and the sturdy construction, real video pros liked (or didn’t) about the UR5 receiver in a field that’s dominated by two well-entrenched competitors. Luckily, we connected with veteran Nashville sound engineer-turned-videographer Keith Anderson who just a couple of years back, traded in a competitive system that he loved for Shure.
What’s a typical set-up for you?
We shoot a little bit of everything – from high-end weddings to corporate training videos. In fact, I just did the Steadicam work for the Chicago Blackhawks scoreboard video – so I shoot all kinds of different things. There are always two of us and I handle all the audio in addition to the second camera. I’m running four UR5s, four UR1s (bodypack transmitters) and occasionally I run two UR3s (plug-on microphone transmitters) in place of the two UR1s. Most of the time it’s four UR5s and four UR1s.
I always use a separate recording device because for the past three years, I’ve been using DSLRs and they’re not designed to take an external audio signal. They’re just not designed for audio acquisition.
I’ve got an audio bag that allows me to record a total of six tracks at once. I use the four mic inputs to record audio on their own individual discreet tracks and in addition, the built-in stereo microphone gives me the ability to record ambient audio using either the X/Y configuration or omni. I typically record a stereo track of X/Y ambient and the four-tracks being fed by outputs from the 4 UR5s.
What were you using before Shure?
I was using a Lectrosonics 201 system – at the time, it was the only pro solution in audio for film or video.
I’d been through several other wireless solutions before that – an AKG system, before I moved up to the Sennheiser system and then I finally ended up spending lots more on my Lectrosonics system.
I have since sold my Lectrosonics unit. The Shure UR5 gave me that much confidence.
Where’s all this love coming from?
It comes from the confidence of having a device like the Shure UR5 that allows me to visually see the air that’s clean. No wireless frequency issues.
With other devices, I’d keep my fingers crossed. They didn’t offer any graphical representation of the clean frequencies. With the Shure UR5, I’m able to find the clean air really quickly using a feature called Spectrum Scan.
The first thing I do when I get to a venue is run Spectrum Scan and it gives me an instant graphical image of how much clean air is around me. Once I land on a clean frequency, I’m so comfortable with the reliability of the system that I don’t continually monitor the audio anymore.
I run four devices at once and I’ve never had a single problem. Once I run a Spectrum Scan or Group Scan, everything’s been perfect, rock-solid – I’ve never had a dropout once.
Two cameras and lots of systems. How do you sync the audio?
I use a software call PluralEyes® I go into my NLE (non-linear editor) of choice – I’m an Adobe Premier CS6 guy – and take all the video and lay it on the timeline, take all of the audio tracks (and in my case, they’re already synced in the multi-track recording) and lay those on the timeline. Then I just open PluralEyes and hit the SYNC button. I walk away and depending on the length of the timeline, come back in a little while and it’s all synced up. Enormous timesaver.
Here’s an event video Keith shot using the Shure UR5 portable diversity receiver and with a UR1 bodypack transmitter and UR3 microphone transmitter.
Any unusual applications?
We shot a project where we were spoofing a few movies and I had the UR1 on an actor who was rolling down a hill – he rolled over a few times on the UR1 and not only did it sound great, it came out unscratched. I was really grateful for that.
What about a few basic UR5 tips for our readers?
- Use Spectrum Scan to handle frequency issues.
- Use the same UR5 and UR1 combination in the same type of situation every gig.
Example: Each of my UR1s is set up with a slightly different gain structure. I have a UR1/UR5 combo with the gain setup for a person who speaks loudly or projects and another UR1/UR5 setup for a person who speaks in a quiet tone. When shooting a wedding, I’ll use the UR5/UR1 with the gain set accordingly on the person who speaks loudly. Almost 100% of the time it’s the clergy because the clergy knows how to project. My other UR5/UR1 combo is reserved for the groom. This is designed to capture the softly spoken vows by both the bride and groom so the gain is set a little higher for someone who will probably be speaking softly.
Anything else?
This system is so much better than anything on the market. It’s so much smaller and it offers everything that competitors offer – and more. The battery consumption is much much better and it’s easier to use.
Thanks to Chris Lyons at Shure Incorporated for this great information!
Samplephonics Sound Design Competition Winners Accounced
As a reminder there was a Shure PG27 microphone up for grabs to the winner of this competition.
Entrants had to make a piece of original music of no longer than 2 minutes in length using only 1 object! We’d like to send our congratulations to DiFracto, the winner of the competition who made this piece of music using only Cellotape. You can see the rest of the winners here.
We will be supporting this competition again in the future. If you’d like to enter this competition next time around sign up to the Samplephonics newsletter, or better still subscribe to the Shure UK Blog!
Shure & Snow Patrol set to launch remix competition
If you’ve ever wanted to get your hands on and remix one of the world’s biggest bands (12 million sales to date!) then we’ve got some very good news for you.
Snow Patrol have very kindly given us the track stems for the lead track from their latest album Fallen Empires (also called Fallen Empires!) and are offering you the chance to remix it.
The competition will be live from 1 October – 14 December. If you want to register your interest now click here, otherwise visit our competition site from 1 October and you’ll be able to register and get access to the track stems. If you haven’t already heard the original track then have a listen to the excellent Fallen Empires and you’ll see and more importantly hear there is plenty of scope for a remix!
Here is a message from the band:
“We are looking for you to use some of these parts and create something new and original. We won’t be favouring any particular type of entry. Everyone will be judged on the same level, whether your entry transforms Fallen Empires into anything from an acoustic track to a techno track. We wish you the best of luck”
The band will be judging the shortlist which will be compiled by Shure. We should also mention the excellent prizes which are at stake. The first prize will be a voucher for 1500 Euros of Shure products, with second and third being 1000 Euros and 500 Euros respectively.
Please note – if you are thinking of entering the competition your remix must be submitted via the competition web site. You are not permitted to post your remix anywhere else.
GOOD LUCK!
Xander & The Peace Pirates – Best Live Unsigned Band
We very proudly sponsored Play Music Magazines unsigned awards 2012 and decided to sponsor the category for Best Live Band. The winning band were the excellent Xander & The Peace Pirates. Before winning this award they managed to get themselves a gig warming up for Bon Jovi! You can see an excerpt from this performance here.
As part of their prize we offered the band the opportunity to come to our offices to try out some equipment and go home with £1500 worth of Shure products. After a couple of hours with our technical team they decided on taking away 3 pairs of our excellent dual driver SE425 earphones, a Beta 52A kick drum microphone and a KSM137 which we are pleased to say have been put to good (and regular!) use.
After several gigs using their new Shure gear here is what they had to say:
Jake (Drummer) - ”The Beta 52 is a brilliant bass drum mic! I have used it for both studio and live work, it is not only reliable but gives the kick drum so much clarity when amplified. I’ve also been using the KSM137 - This mic is an efficient piece of kit which is versatile for both recording acoustic instruments and using as a drum kit overhead. The mic is very easily transported and we have already started using it for demo recordings and live work”.
Chris (Keyboardist) - “Great clarity – fantastic flat response and protective isolation that is both great for on-stage and studio monitoring. Every musician should save their eardrums and invest in Shure SE425′s”
KSM137 mic – “This mic is an efficient piece of equipment which is versatile for both recording acoustic instruments and using as a drum kit overhead. The mic is very easily transported and we have already started using it for demo recordings and live work”.
From the band – “It was amazing to win the Play Music unsigned band competition as Shure is one of the greatest amplification and microphone companies around, and to receive free equipment allow us to enhance our sound both in the recording studio and during live gigs. We are also aiming to switch to in-ear monitoring soon so we used this opportunity to get some excellent dual driver earphones”.
We’d like to congratulate the band on their deserved win, and wish them all the best!
To see the full list of winners of this years Play Music Unsigned Awards click here
If you are interested in entering Play Music’s annual competition we advise you keep an eye on their website for more information
The Shure SM7B AKA ‘The SM57 on steroids’ – the history and the facts
There can’t be many microphones which are still causing a buzz 36 years after being introduced but the SM7B is certainly one of them.
Below we’ve decided to have a little look into the history of the mic, and find out some more information…
The SM7’s story really begins with the SM5 broadcast microphone – a dynamic boom microphone that found a home in many radio and film studios following its introduction in 1966. The SM5 was huge – (measuring about 25 cm long) and had some of the same sonic characteristics of its newly introduced SM57 in a mic designed to reach beyond the broadcast industry (below is a pic from a Shure catalogue in 1974).
According to John Born (Product Manager, Shure Inc), the development of the SM7 went something like this: “A group of Shure acoustical engineers were given the SM57 cartridge element (Unidyne III) and asked, without restrictions on size or cost, to make it better. And they went nuts.” This may be one reason why John likes to refer to the SM7B as “an SM57 on steroids”.
Variations of the Shure Unidyne III cartridge are used in many of Shure’s dynamic microphones. The SM57, SM58 and SM7B all share a similar acoustic network based on the Unidyne III element, but there are a few differences between the SM7B cartridge and the SM57/SM58 cartridge design:
- The SM7B diaphragm is slightly different and optimized for increased low end response
- The larger housing of the SM7B allows for a larger rear volume behind the cartridge which extends its low end response
- The internal shockmount of the SM7B is optimized to reduce stand vibrations, while the shockmount in the SM57/SM58 is optimized to reduce noise in handheld applications
More from John: “The SM7 was designed as an extended, full range microphone and intended to be universal in its applications. It has a flatter and wider response than its SM57 and SM58 siblings but its frequency shaping switches in the back (selectable low cut and presence peak filtering) allow it to more than adequately fulfill (and enhance) applications where the SM57 or SM58 excel.”
The SM7 debuted in 1976 and eventually replaced the SM5B, which was discontinued in 1986.
The Thriller Effect
Over the course of past 30 years, the SM7 found its way into the recording studio. Case in Point: Michael Jackson’s groundbreaking album Thriller. Quincy Jones and recording engineer Bruce Swedien used an SM7 for most of Michael’s vocals and, according to legend, all of Vincent Price’s.
It was a brave choice. First of all, Michael Jackson’s previous album, Off The Wall, had already become the first solo record to produce four Top 10 singles and a GRAMMY Award for the single “Don’t Stop ‘Til You Get Enough”. That set the bar pretty high. But Jackson was determined to do even better and the same production team was put in place to make it happen. The resulting 1982 Thriller album (remember – this is vinyl) went on to become the best–selling album of all time at an unheard-of 110 million copies sold.
With all the ultra-high-end recording microphones available to the producers, why the unassuming SM7, then a standard for radio and voiceover applications? Here’s what Bruce had to say about it in his track-by-track memoir, In the Studio with Michael Jackson: “One of my absolute favourite microphones is the Shure SM7. I recorded most of the big hit records of Michael’s career with him in front of one of my SM7s. I’ve been pretty vocal about how much I love that microphone, it’s a great mic.”
“I was allowed the freedom to make microphone choices, and nobody ever said a word. I just did it. For example, I used a Shure SM7 on most of Michael’s lead vocals — ‘Billie Jean’, ‘The Way You Make Me Feel’ — and boy, did that raise some eyebrows! But I love that mic, and I have six of them. The first one that I bought was in 1977 … one of the first SM7s to be used on a major music project. It’s dynamic of course and it worked just flawlessly with Michael – if you notice you can hear all the lyrics very clearly.”
Fast Forward: Most Hyped Mic?
While there are legions of true believers still hoping for Shure to bring back the SM5B, the SM7B has achieved a level of popularity and buzz that give it (audio) urban legend status. Used as an instrument mic and a vocal mic in live sound, broadcast and recording, in the minds of many, it is the do-everything microphone that outperforms the industry workhorse SM57.
Shure Artist Relations Associate Ryan Smith agrees: “It continues to be used on major recordings, both as the lead vocal mic and on other applications — guitar amp, bass amp, kick drum, hi-hat, snare drum, horns and many more.” Death Cab for Cutie, John Mayer, Chevelle, James Hetfield of Metallica, My Chemical Romance, Don Was, Billy Idol and even the Boss have reportedly used the SM7B in either live sound or recording applications. Rumor has it that Bob Dylan is a fan, too.
Cassell (Drummer of Plan B!) talks to Shure UK
Before we start if you don’t know who Cassell is (be ashamed of yourself!), in short he co-wrote and played drums on the first Plan B album, was the drummer for The Streets, has won an Ivor Novello and somehow also finds time to give a little something back in the form of educating with Bassistry Artists.
We had a quick chat to Cassell as we know he is a keen user of Shure products and recently finished work on the new Plan B Ill Manors album.
(Shure) First of all, how has it been working on the new Plan B ‘Ill Manors’ album?
(Cassell) It’s been great. Most of the time was spent playing and coming up with drum patterns that I either put down or was directed by Ben via beat box methods, which I would recreate or slightly edit to work better and make more sense on a live drum kit.
(Shure) I know you actually co-wrote some of the first album (Stickland Banks) – was this the case again, and if so was the approach any different considering this was also to be a film soundtrack?
(Cassell) Yes, I had the pleasure of co-writting on all of the tracks on the previous album. This time the approach was different as this was a sound track album to the film, ILL Manors’. This involved different producers so most of the time things were pretty much mapped out. It was more a case of replaying patterns with my feel,adding rolls or coming up with drum patterns. I did co write one of the tracks, ‘Fallin Down’. I played drums on some of the other tracks on the album.
(Shure) We know that you have been using Shure mics for some time, and most recently the new Beta 91A & Beta 98AMP/C as part of your set up. Can you tell us how you’ve been using these mics and whether they have made a difference to your sound?
(Cassell) The two new products have made a great difference. I really noticed this while recording the Cassell The BeatMaker vs Faith Sfx library loops at John Delph’s, ‘Edge studio’s’. The 98AMP/C has a totally solid build quality and really sits stable on my toms thanks to that A75M mount. The sound is much more phat and crisp. The Beta 91A has a new capsule making the sound much stronger,more natural and phatter. Really love the punch it gives.
(Shure) If you had to mic up your kit with only one mic, which mic would you use and why!??
(Cassell) It would be the SM58 as the drums. One of Plan B’s first E.P’s was recorded with just SM58′s – they sounded amazing. If you remove the pop shield you could also get a sound similar to the SM57. Sounds great on vocals too, both in studio and live. It’s a very versatile mic. No wonder it’s so popular!
(Shure) If you could’ve drummed on one album what would it be?
(Cassell) It would be Chaka khans album, “What’Cha gonna do for me”. The groove playing by ‘Steve Ferrone”, is totally amazing and solid.
(Shure) What are you working on next?
(Cassell) I have just finished a cover album for an artist named Garou (He was a judge on the French version of ‘The Voice’). He is a great artist. Next I will be going to Jamaica to work with one of the first artists to sign to the Ray Charles label. His name is ‘Ellis Hall’. He is an amazing vocalist & musician. Then I will probably go continue my work with Plan B on the album entitled , ‘The ballard of the Bellmarsh’. We have recorded most of the album already, but nothing has been set in stone so it all could change.
(Shure) What advice would you give to aspiring drummers?
(Cassell) I would say practise as many styles and times as you can at the beginning of your drum career as it will definitely pay off as its not always possible to do so on a big tour. Copy other drummers patterns where possible and this will in turn help you develop you own style. Also learn as much as you can on the music business side and spread yourself into different aspects of music. I.e production,studio sessions, touring/ live shows, teaching etc. Always try and leave a good professional impression with people you work with and always work with artists you believe in. Even if at the start you don’t make much or any money. If it turns out to be successful like Plan B/The Streets/Akala, the rewards are great.
For more information on Cassell simply visit his website or better still grab yourself a copy of this months Drummer Magazine where you’ll see him on the front cover accompanied by an in depth interview inside.
*The photo’s of Cassell come courtesy of Jonathan Pratt
Shure SM11 endures tropical terrain & aids in recording parrot communication study!
This is not the first time the Shure SM11 microphone has been selected for its durability – the SM11 has been the microphone of choice for NASA for many trips into space. On this occasion the SM11 was selected because of its ability to operate without problems in a climate that averages a stifling 95 degrees with 99 percent humidity (Venezuela).
Having initially selected an SM57 microphone (which also performed flawlessly and survived Venezuela’s heat and moisture-heavy conditions) Dr Karl Berg found that the parrots mistook the SM57 for a black snake, and parrots hesitated to get close to it, wanting to avoid exposure to predator danger!
The strong communication skills demonstrated by parrots urged Berg to document their sounds for a better understanding of the acoustic patterns and how they relate to human-like abilities. Interested in taking a more in-depth listen to the day-to-day conversations parrots have within nesting environments, Berg set himself the challenge of recording 1,000 hours of the bird’s communication. Berg tried a number of manufacturer’s shotgun mics that drew insufficient recordings because they could only be used outside of the PVC nests.
“The SM11 recordings are far superior to the ones I made with a shotgun mic. Rainforests are a very noisy place, so it was critical to place the mics inside the nests, directly next to the parrots, to ensure accurate sound recordings.”
Since installing the SM11s, Berg’s team has reached its goal of recording more than 1,000 hours of parrot communication. He also found a new use for the SM57s — recording parrot duets, a technique where he mounts the microphone on two birds’ neighboring nests to capture and synchronize back-and-forth chirping with video feeds.
“I’ve been very pleased with the Shure microphones,” says Berg. “Their rugged nature and ability to withstand high heat and moisture for up to five months in a nest at a time has definitely given our research team a window into these parrots’ lives that we were not getting before.”
Shure’s ability to manufacture products with a consistent level of high quality and durability is due in large part to the rigorous tests that each of its microphone models undergoes to ensure the final design performs consistently for their customers. The humidity test places microphones in a chamber set at 80 degrees with 95 percent humidity for 10 consecutive days. Hot storage and operational testing also occurs, subjecting microphones to the long term exposure of temperatures ranging from 120 to 140 degrees. If a microphone model does not pass Shure’s destructive tests, it is not released into the marketplace.
Music Producer Guild 2013 – nominations now open
For the fourth year in a row we are one of the proud sponsors of the Music Producer Guild Awards. The Music Producers Guild Awards are the only of their kind in the UK, and they aim to celebrate the technical ability and creative talent of the mostly unsung heroes of our industry – the producers, engineers, mixers, and remixers. Nominations are now open and anyone can vote so if you’ve been impressed with the production of an album you’ve bought this year, loved a remix, or have even come across and new engineer of producer you had previously not heard of please feel free to vote. The Award categories can be found here, and you can nominate here.
Most of you should recognise the microphone used in the MPG logo, and in case you haven’t seen in the past we get a very special version of this extremely famous Shure microphone which is used as the actual awards….
Shure SRH1840 wins premium headphone group test in What Hi Fi Magazine
We have been really pleased with the reviews of our new SRH1840 Open Back Headphones. Almost every reviewer we have sent them to has purchased a pair! The latest issue of What Hi Fi features a ‘Premium Headphone Group Test’ and once again the SRH1840 came out on top! To see the full review go to the SRH1840 product page on our website and click on reviews. The SRH1840 was released as a high end studio production headphone but is equally at home for critical listening and Hi Fi use as the sound is very accurate and honest…and the 1840′s are so comfortable and light you almost forget you are wearing them!
Our SRH1440 and SRH1840 headphones are available in selected retail stores only and these include Selfridges (London & Manchester), Paul Roberts Hi Fi (Bristol), West End Production (London) and ASAP Europe (London). You will be able to demo/try out these headphones in any of these stores.
