Linda Lopez’s hot pink Beta 58

Early last Wednesday I saw a custom hot pink Beta 58 that Shure is having made for Linda Lopez. This sparked my interest in other custom microphones Shure has made for endorsers. So I did a little research and I came up with some pretty sweet custom microphones to share with you guys. No microphone knowledge needed, only a love for killer customized mics!

To start, some of you may have seen Fun.’s performance on SNL in December where lead singer Nate Ruess used a customized SM58 to belt out their hit “Some Nights.”

Here you can see the UHF-R SM58 with metallic gold body and grill. I like this twist, it makes the microphone a little more unique and gives it some flavor. I’ve always been one for originality and simplicity and this mic hits both those. It’s more than just the original, but it’s not over the top.

Next, comes perhaps some of the most known and recognized custom Shure microphones, Yasiin Bey (formerly Mos Def)’s classic Super 55 red and black customized mics. Red and black are bold colors by themselves, but when put together they really pop to the human eye.

For those of you who don’t know, Mos Def is also part of a duo called Black Star with friend and fellow Shure endorser Talib Kweli. These two are THE duo for custom Shure mics. While, Mos Def rocks the red mics, Talib works the green.

Drum roll please…

Meet the white and red Shure Super 55 microphone:

I love it. Talib Kweli has style with this guy. It’s simple, rockin’ the white powder coating with a little pizzaz added with the red foam. It’s by far my favorite Talib mic!

One of the guys behind the scenes of Talib Kweli and Mos Def’s mics is Project Manager Andy Henninger. “The favorite custom mics that I worked on were the custom painted Super 55s for Talib Kweli and Mos Def, said Henninger.”

So I had to ask him: If you could customize a mic specificically for you, what would it be?

…That’s what you hear as the 55th Annual GRAMMY Awards go live to air in the packed to capacity Staples Center in downtown Los Angeles. However, before all of the applause and packed seats of onlookers, the GRAMMYs go through a rigorous schedule of rehearsal and timed perfection. What you at home see on TV is the result of A LOT of hard work. The madness that is GRAMMY week is bigger than any single concert you’ve been to, and it is where we spent most of last week as things began to take shape for music’s biggest night.

Prior to entering the bowels of the Staples Center, Shure once again sponsored the Producers & Engineers Wing GRAMMY Week Celebration honoring Quincy Jones & Al Schmitt. Hang on… prior to that, we made a stop to In-N-Out Burger in honor of Mr. Mike Lohman, who could not be with us on this trip. It was worth the wait. It was delicious. Why don’t we have this in Chicago? Back to the GRAMMY stuff…

Making our temporary home in Studio B of The Village Recording Complex, Shure served up some fresh seafood and the latest in wired mics and headphones. It was amazing to hear so many stories about Shure mics being used on classic recordings from the engineers and producers in attendance. The Super 55 tree, as we have dubbed it, was a bit of a challenge to construct, but I’m happy to say that it made through the entire evening without incident! Aside from being in such esteemed company, the highlight of the night for me was watching a few very critical ears try on the Shure SRH940 and SRH1840 headphones and be completely blown away! That and the countless offers that were made to purchase the SM7B on site or the questions about it being included in some sort of raffle. Most visitors to Studio B had something positive to say about the sleeper hit that is the SM7B.

Okay, so breakfast at the hotel was not that good and VERY expensive, not doing that again. Never mind that, we were making our way to the tunnel into the madness I referenced (there it is on the left) to join in the fun of rehearsals, day one. By the way, the “we” in question is Ryan Smith, Artist Relations Nashville and Jenn Liang-Chaboud, Market Development Senior Specialist. There is so much that goes into this show and everything is in the same place every year… good thing, as I’m just starting to get this whole thing down. As we arrived to the backstage area, we were called into a meeting with production who were concerned about how much “fun” the band fun. was going to be having on GRAMMY night. The “fun” in question was the rain curtain you all undoubtedly witnessed, where the band, all of their instruments and microphones were all drenched in a rain storm. Of course there was concern that the mics may fail if exposed to that level of water, but we were never all that concerned… that’s how we test this stuff! Aware of production’s concern, we immediately put a few phone calls in to the home office in Chicago to have back up transmitters and capsules sent out the next day (thanks to all of the Shure people who came through in the clutch)! Needless to say, we never needed back ups. Those mics you saw on Sunday night were the same mics from rehearsal and dress rehearsal… that’s multiple rain storms!

Making our way around the arena, we found some familiar faces in Mike Parker and Tom Pisa working stage left and stage right respectively. We were also happy to see some familiar product in place as the exclusive in ear monitor system for all artists performing at the GRAMMYs. Twenty-four channels of Shure’s PSM 1000 was once again the preferred choice by production and most of the artists that performed this year. Rehearsals did not begin until about 1:30 pm on day one, so it gave us some time to catch up with everyone and provide them a little Shure swag in the meantime. It actually got cold there in California… nothing like what Chicago was going through, but even a hooded sweatshirt (this year’s swag item) struggled to keep me warm. I did refuse to opt for the winter coat stashed back at the hotel… I’m from the midwest and way too many people would be a little upset and quite possibly revoke my man card if I was discovered wearing a winter coat in California.

So anyway, as the rehearsals moved into full swing, lots of Shure mics were in some pretty important positions on stage. It was nice to see the KSM313 on the guitar amps of the Lumineers and Jack White, that’s quickly becoming everyone’s favorite mic for guitar amp… it looks pretty sweet, too! On vocals you saw Taylor Swift on an Axient Wireless System with a Beta 58, fun. on UHF-R Wireless with Beta 58s, Mumford & Sons on Beta 58As, Justin Timberlake & Jay-Z on UHF-R Wireless with SM58s… a last minute vocal mic change put Justin on a Shure mic for the evening and I thought he sounded pretty damn good on it too! Adam Levine from Maroon 5 was on a UHF-R with a Beta 58 when he joined Alicia Keys onstage, The Black Keys rocked on their SM58s. Kelly Clarkson brought the house down on an SM58! The Lumineers had everyone singing along on SM58s. Jack White tore up the stage while on an SM58. The Levon Helm tribute featured amongst others, Mavis Staples on a UHF-R SM58, Brittany Howard on a UHF-R SM58 and Mumford & Sons on UHF-R SM58s. Juanes sounded amazing on a UHF-R KSM9 and Frank Ocean debuted a new track on a UHF-R SM58. The night ended with two hip-hop icons blazing up the stage as LL Cool J and Chuck D performed on UHF-R SM58s.

All in all, a pretty good selection of Shure mics helped to provide the audio on music’s biggest night!  I would also like to mention the big win by Shure endorsers Mumford & Sons for Album of the Year, fun. for Best New Artist and Song of the Year, and The Black Keys for Best Rock Song, Best Rock Album and Best Rock Performance.

So, things are kind of normal around here now, but I would be lying to you if I said I haven’t started thinking about next year!

Rock Out!
Cory

There’s another part of NAMM season that keeps us on our toes, though. By then, products we’ve launched in the past year or so have been rigorously evaluated by users and industry experts alike, and it’s time to hear their thoughts. How do we know what they think? There are the reviews. And then, there are the awards.

We’re thrilled to have received the following awards recently. They inspire us to keep pushing the envelope year after year.

TEC Awards

The TEC Foundation recognized Axient® Wireless Management Network for Outstanding Technical Achievement in the Wireless Technology Category.

ProSoundWeb and Live Sound International Readers’ Choice Awards

Axient was named Wireless Microphone System of the Year. KSM9HS won in the Condenser Microphone Category, and PSM®1000 received its second Readers’ Choice Award as the sole winner of the In-Ear Monitor System Category.

Musical Merchandise Review’s Dealers’ Choice Awards

MMR polled more than 650 retailers across the country about their favorite products. The SM58® received the Microphone Line of the Year trophy at NAMM last month.

Pro Audio Review’s PAR Excellence Awards

The Pro Audio Review editors, contributors, and subscribers named ULX-D™ Digital Wireless System a winner in the Wireless Microphone Systems Category.

Music & Sound Retailer 27th Annual Music & Sound Awards

The Music & Sound Retailer editorial team stopped by our NAMM booth to award the KSM9HS the Best Cabled Microphone of the Year and ULX-D Digital Wireless the Best Wireless System of the Year.

Pro Sound Network’s Best of Show Awards

The Pro Sound News and Pro Audio Review editorial teams recognized the new GLX-D Digital Wireless System with a Best of Show award at NAMM.

In our final Part 4 video, we discuss the myth that the SM58 is not supposed to have ‘proximity effect.’

Get up close and personal with an SM58, and the sound gets all warm and deep.  It’s called ‘proximity effect’.  In this video, Shure’s Chad Wiggins explains that this is perfectly normal – and how a savvy singer can use it creatively.

SM58 Facts vs Fiction Overview

• Part 1 – Myth: The SM58 is “old technology”
• Part 2 – Myth: The SM58 grille should never dent
• Part 3 – Myth: The SM58 causes feedback
• Part 4 – Myth: The SM58 is not supposed to have ‘proximity effect’

THURSDAY, November 8; The Story of the SM58®
Overview
The Shure SM58 microphone has been the world’s most popular microphone for decades. Find out why in this 60-minute webinar.

Chris Lyons, Technical and Educational Communications Manager, and a panel of SM58 experts will discuss the origins of the SM58 and separate the facts from fiction about this legendary workhorse.

Additionally, we will discuss the amazing amount of technology and production advancements that have gone into this storied product, including one of the unknown secrets of the 58′s great performance.

The webinar will be followed up with a Q&A session.

Times
10:00 AM – 11:00 AM CDT  Register for the 10 AM webinar
2:00 PM – 3:00 PM CDT  Register for the 2 PM webinar

After you register, you’ll get a confirmation email that’ll tell you how to join the webinar.

System requirements for PC-based attendees: Windows® 7, Vista, XP, or 2003 Server. For Macintosh®-based attendees: Mac OS® X 10.5 or newer required.

Happy learning!

 
View archives of our webinars at your convenience on shure.com.

In part 3, we discuss the myth that the SM58 causes feedback.

When feedback strikes, the microphone usually takes the rap.  But feedback isn’t all the mic’s fault.  In this video, Chad Wiggins comes clean, and reveals that feedback is an acoustic conspiracy.

SM58 Facts vs Fiction Overview

• Part 1 – Myth: The SM58 is “old technology”
• Part 2 – Myth: The SM58 grille should never dent
• Part 3 – Myth: The SM58 causes feedback
• Part 4 – Myth: The SM58 is not supposed to have ‘proximity effect’

In Part 2, we discuss the myth that the SM58’s grille should never dent.

Like scars on a heavyweight prize fighter, a bashed and bruised grille reveals the long, hard road that an SM58 microphone has traveled.  Like a bodyguard, the grille’s job is to take a beating to protect the “VIP” – the more-delicate microphone transducer inside.  In this video, Chad Wiggins explains why a 58 keeps working long after other microphones have gone down for the count.

SM58 Facts vs Fiction Overview

• Part 1 – Myth: The SM58 is “old technology”
• Part 2 – Myth: The SM58 grille should never dent
• Part 3 – Myth: The SM58 causes feedback
• Part 4 – Myth: The SM58 is not supposed to have ‘proximity effect’

In Part I, we discuss the myth that the SM58 is “old technology”.

It’s true that the SM58 has been around longer than many bands.  But believe it or not, the technology that makes it work is still cutting-edge today!  In this video, Shure’s Chad Wiggins explains why other dynamic mic manufacturers work so hard at imitating the fabled 58 – and the one thing they all get wrong.

SM58 Facts vs Fiction Overview

• Part 1 – Myth: The SM58 is “old technology”
• Part 2 – Myth: The SM58 grille should never dent
• Part 3 – Myth: The SM58 causes feedback
• Part 4 – Myth: The SM58 is not supposed to have ‘proximity effect’

I love doing artist interviews.  It’s not just sitting down and picking the brains of our endorsers that I find engaging.  In a way, it’s a bit like doing live sound.  We Artist Relations guys often function as interviewer, camera operator, and audio engineer when we go out and shoot interviews.  There is a rush in getting everything set up quickly and making sure it all looks and sounds decent for those ten to fifteen minutes you’re hosting artists. It has been a learning process for me – much of what I’ve come to know has been through trial and error.  Like live sound we have our good and bad days.  Fortunately we’ve gotten some new production tools that have made things easy.

Shure has added quite a few broadcast production tools in the last two years and it’s been fun for me to get to know them in this capacity.  They’ve sure made my job easier.   Here’s a rundown on the gear we take to the gigs.

Mics:

VP89M medium shotgun

RPM89S short shotgun cartridge

WL51B or MX150 lavalier mic

A dynamic mic – SM57, SM58, or Beta57A

My first go-to for a mic is the VP89M.  I just love it.  I’ll engage the low-frequency roll-off because we’re working with human voices.  The mic sits in the A89M-PG pistol grip mount, made by Rycote.  In the event we find ourselves in a small space where I’m very near multiple subjects I will swap out the medium shotgun tube for the short one.  This gives a wider pickup pattern.  Lavalier mics come in handy for very noisy environments.  Some on our team prefer them over the shotgun mic.  I’ll use them if I have to, but I’ve had interviews where some unpredictable element has caused me headaches.  People move lapels, scratch necks, shake their heads vigorously, wear noisy jewelry…trying to plan for those unknowns takes time I’d rather spend getting to know the interviewee, conversing, finding a good starting point for the interview.   Of course, the most dead-simple thing to do is put the UR3 plug-on transmitter right in to the back of a mic, and for that having a dynamic mic is handy.  However, it is really only for single subject interviews and, like the lavalier, I’m dependent on the subject’s behavior.

Wireless:

UR3 plug-on transmitter

UR5 portable diversity receiver

UR1 or UR1M bodypack transmitter

Most of the time I’m using the UR3 and the UR5 together.  The UR3 fits right at the bottom of the A89M-PG pistol grip holding the VP89M shotgun mic.  The UR5 has a shoe mount and fits our HD DV video camera and our photographer’s DSLR for when he’s shooting video.  The best practice is to turn on the UR3 with the RF off.   We do an on-site scan with the UR5 receiver to find an open frequency, then sync the transmitter and turn the transmitter’s RF on.  This is to avoid stepping on anything that the show might be using at the moment.  In the event we prefer to use lavalier mics, we’ll have a bodypack transmitter in the kit.

Monitoring:

SE earphones (interviewer’s preference)

SRH240A or SRH440

If I’m flying solo I’ll just do my monitoring from the camera with my SE425-CL earphones.  I use those most of the time.  We also have a set of SE315-K earphones in the kit in the event that we left our personal earphones at home.  Earphones are not for everybody, so if we’re going to have Paul Natkin shoot the interviews on his DSLR we know to bring some headphones.  Those are usually SRH240A or SRH440.  Those take up much more space in an audio kit than earphones though.

The goal is to be set up and ready to go inside of five minutes if need-be.  The options available in our audio kit have been honed over time, though I expect that new situations will cause further changes over time.  Right now the main concerns are finding some place with decent lighting, enough space to get a tripod set up, and an area where the artist will be comfortable.  That’s very important.  If you’re going to go for great lighting but there is no place to sit or elbow room to move it’s likely that information sought will be in shorter supply.  I try to remain empathetic and listen for a natural point to start and end the interview.  Having the tools to execute the technical side of the interview without too much effort allow for the human side to show itself.  Hopefully that’s reflected in the finished interview.

Richard

Speaking of William Shatner, Ben produced one of William’s recent albums entitled “Has Been.”  I have my good friend and fellow Shure Artist Relations comrade Richard Sandrok to thank for introducing me to this record.    It’s full of fun songs, some deep lyrical content and just plain craziness.  The craziness comes in the form of a song called “I Can’t Get Behind That” in which Bill and Henry Rollins go off on all kinds of topics.  If you are still reading this, take a short break and go to iTunes to download this entire record.  It’s worth your time and money.  Joe Jackson’s on the first track and Brad Paisley is on the last.  The band is killer!

The other time I got to experience Ben Folds was when he was backed by the Nashville Symphony at TPAC in Nashville.  Amazing show!

Back on track now….

So the title of this blog is Ben Folds Five, right?  Never seen them before and I am not familiar with any of their songs.  I do like it sometimes when I go to a concert that I am not familiar with the groups catalog.  It causes me to pay closer attention to the show and the band rather than just rocking out and signing along.  (I like those concerts too!)

I arrived at The Ryman in time for sound check where the group was joined by Ke$ha and Wayne Coyne of The Flaming Lips.  They were working up a special cover of a Conway Twitty/Loretta Lynn duet called “You’re the Reason Our Kids Are Ugly.”

The opening act was an Australian singer named Kate Miller-Heidke who was joined by a great acoustic guitar player.  Kate has had operatic training and works it very well into her material.  During the set they rattled off a pretty funny version of Eminem’s “The Real Slim Shady.”

When Ben Folds Five hit the stage to thunderous applause, Ben kicked it off and the crowd went wild.  After the first song, he announced that this was their first tour in 13 years.  As the show went on, Ben prepared for another song by installing mute’s on certain piano strings to get a muted guitar sound.  As he explained what he was doing to the audience, a crowd member shouted out an exclamation of doubt.  Ben quick shot back through his SM58 vocal mic “No, I’m actually going through a car wash backwards with a plastic bag over my head.”  (crowd laughs) Then he proceeded to play the muted piano keys, which sounded exactly like they should and Ben said to the crowd member “See?  No but that’s OK,  I encourage ignorant heckling like that.”

Ben Folds Five is such a great band to see live because there is such a fun aspect to their personalities.  People come to see great music and are treated to some comedy along the way.  They have a few shows left in the States before they head overseas to Australia and then to Europe.

Ryan

We just started working with Alabama Shakes this year but I had yet to see them live.  We have been working with Justin Townes Earl and The Civil Wars so I was happy to see them make an appearance.  Other highlights of the show included the house band that featured such legends as Buddy Miller and Don Was.  Brittany Howard of Alabama Shakes commanded the stage during their performance of “Be Mine.”

Joy Williams and John Paul White of The Civil Wars were awarded the Vocal Duo/Group of the Year award.

Bonnie Raitt was in attendance to accept a Lifetime Achievement award and then treated the crowd to a performance at the end of the show.  John Hiatt joined her on “Thing Called Love.”  The Mavericks also performed towards the end and their sound just filled up the room.

A generous combination of Shure mics, both wired and wireless covered the stage.  SM58’s were the main elements of choice.

_________

The show ended, but my night was far from over.   I heard about a new vocal group called and watched a few of their videos online.  They are a new group that formed in Durham, NC with a great vocal blend and music that sounds like its straight out of New Orleans with a percussive hint of Blast!

I met several members right after the awards show and told them I would make their midnight show at The Rutledge.  I arrived a bit before their performance and met the rest of the band.  Half of the band are siblings and the rest compliment the others’ talents.

There have been several instances when I’ve gone to see a new act and thought that they have already outgrown the stage they are performing on.  This was one of those times.  They are ready for bigger stages and I’m almost certain that more crowds will get to experience their sound.  It’s pretty fun to watch them and see how passionate they are in the moment.

Look them up and you may find a new favorite for your music library.  They’ve got my attention!

Ryan

This is the tool that helped blow away the crowd during Riot Fest 2012′s headliner. Whose was it?

Click the image below to scope the dressing room sign.