As the Shure microphone product line expanded in the 1930s, Mr. Shure made certain that it was organized, and here is the “secret key”:

100 Series = microphones with carbon elements

200 Series = microphones with ceramic elements

300 Series = microphones with ribbon elements

400 Series = microphones with controlled magnetic/controlled reluctance elements

500 Series = microphones with dynamic elements

600 Series = not used as Electro-Voice had model numbers in the 600’s

700 Series = microphones with crystal elements

800 Series = microphones with condenser elements

Do the above still apply today?  Yes, to a certain extent they do.  Here are examples:

Model 104C has a carbon element.

Model 450 Series II originally had a controlled magnetic element; it was replaced with a dynamic element, but the model number was kept.

Model 545SD-LC has a dynamic element.

What about other current Shure microphone lines?

SM = Studio Microphone, not as in Shure Microphone

BETA = Beta, as in the product line that followed the “alpha” SM line

KSM = Kondenser Studio Microphone, as in “this sounds European”

MX = Microflex, as in small mics with flexible design to handle multiple applications

PG = Performance Gear

SV = Shure Vocal

VP = Video Production

WC = Wireless Countryman

WH = Wired Headset or Wireless Headset

WL = Wireless Lapel or Wireless Lavalier

So now you know the logic behind Shure microphone models numbers!  Thanks to Michael Pettersen, Shure’s Director of Applications Engineering for providing this information.

I play drums and my drum kit of choice is Pearl.  I have a Reference series kit with a 22 inch kick drum and 4 toms – 10, 12, 14, 16 inches.  I switch between an all brass reference series snare and the Steve Ferrone signature snare.  For my mics selection, I would put both the Beta 52A and the Beta 91A in my kick drum.  This is a standard technique used both live and in the studio to capture the low end and the attack of a kick drum and to blend between the two sounds as appropriate.  For toms, I would use the new Beta 98AMP on my 10 and 12 toms because I like the clarity of tone they provide. The Beta 27 on the floor toms provides a nice, full low end and the super cardioid pattern give them great separation.  The SM57 on the snare is a must as it always naturally reproduces the acoustic sound of the snare drum. I use Remo drum heads – Clear Emperors on the top and Clear Ambassadors on the  bottom. The Reference snare has a coated Ambassador head on top.  I like to tune the toms so there is no tonal drop-off and the pitch is nice and long, not muted.  No gates please!

For cymbals, I choose Zildjian.  I would use a KSM137 on the Hi-hat as it is not to bright in the high end.  On Overheads, I would use the Beta 181/C.  My first experience with these was last Fall 2010 at the Percussive Artist Society International Convention in Indianapolis.  I was very pleased with the clarity and the tonality that came through these mics.  I heard various tones from the cymbals that I was only used to hearing when I listened to cymbals up close acoustically.  Like the SM57 on the snare, these seemed to truly represent what was in  front of me.

I am very comfortable with this set-up both live and in the studio.  Many drummers have used both similar and different set-up to track their drums.  You can find a some  examples from the Pro’s in our Microphone Techniques for Drums publication.

So there you have it!

Now it’s YOUR turn.  Please comment and tell everyone about your kit and what  Shure mics help you achieve YOUR sound.

Thanks !

Ryan