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All of my critical listening tests were performed using a Millennia HV-3 dual-channel mic preamp. The KSM44’s spectral balance (in Cardioid mode) falls somewhere between that of a Neumann U87 and an AKG TL-II. The KSM44 is fuller in the low mids than a TL-II, but not quite as full as a U87. The Shure mic offers a more detailed top end than a U87, but it is not quite as articulate as a TL-II. The TL-II also has a bigger low end at the extreme bottom (around 50 Hz). The KSM44 produces a mellow, smooth midrange response, resulting in a somewhat “neutral” sound.
The KSM44’s transient response is excellent, which is not surprising considering its 2.5-micron membranes. But the mic also lacks depth and air compared to the U87 and TL-II, both of which sound rounder and offer significantly more nuance.
Next up was a test of the KSM44’s off-axis response. All three polar patterns exhibited excellent rejection at their nulls. Cardioid mode sounded remarkably uniform out to 30° to either side of the front of the mic. However, I found off-axis coloration to be more pronounced in Omni and Bidirectional modes than the supplied charts implied. In Bidirectional mode, the sound at the rear of the mic was very muffled and dramatically different from that produced on-axis. This could be a problem when miking two background vocalists from different sides of the mic, as any remedial EQ would have to be averaged for two decidedly different sounds. Similarly, I found Omni mode produced noticeably greater depth and detail on-axis compared to at the rear of the mic.
On a happier note, another A/B test revealed that the KSM44 is considerably quieter than a Neumann U87A, even after mic preamp levels were adjusted to make up for the 44’s slightly lower (yet still very robust) output. With mic pre channels boosted near the max, the U87A picked up a bit of EMI buzz, while the KSM44 was as silent as a desert night. The KSM44’s low self-noise and high sensitivity are clearly its main strengths.
I obtained good, if not awe-inspiring, results recording both male and female vocals with the KSM44 in Cardioid mode. The microphone’s neutral timbre lent itself equally well to both types of vocals. The Bidirectional mode’s enhanced proximity effect lent helpful support to thin-sounding female vocals; the trade-offs, however, were decreased high-end detail and increased sibilance. On softly spoken voice-overs, the KSM-44’s subterranean noise floor and high output was a lifesaver, delivering squeaky clean tracks utterly devoid of perceivable noise.
The three polar patterns produced dramatically different timbres from one another. Omni mode is particularly well-suited for recording acoustic guitar, producing a more open track with less ponderous upper bass content than many mics would provide. And the mic’s Directional modes dish out plenty of low-frequency support when placed close to the source, yielding good results when tracking instruments such as electric bass guitar.
There are bigger sounding mics on the market at competing prices; nevertheless, the KSM44 is a high-quality microphone with its own unique sound and winning attributes. Thoughtful design, quality construction, an extended feature set and a generous allotment of standard accessories provide good value for the money. The KSM44’s excellent transient response makes it a good performer for tracking instruments as well as vocals. And the mic’s smooth proximity effect, neutral mids and high-frequency emphasis in Cardioid mode make it a versatile performer for recording various vocalists. For applications where any added noise cannot be tolerated, such as on exposed voice-overs or spoken word recordings, the KSM44 is a strong candidate for your consideration.
Shure, 222 Hartrey Ave., Evanston, IL 60202; 847/866-2200; fax 847/866-2200; www.shure.com.
Michael Cooper is a Mix contributing editor and the owner of Michael Cooper Recording. The studio is located outside the beautiful resort town of Sisters at the base of the Oregon Cascades.
Reprinted with permission from
Magazine, February, 2001© 2000, Intertec Publishing, A Primedia Company All Rights Reserved
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