Shure KSM9-HS mic - finally a condensor we can use?!

[se7ent7]

If you're like me, and don't use in-ear-monitors, you've probably struggled with using higher-end condensor vocal mics (Neumann KMS-105, Sennheiser 965, Shure KSM9, Audix VX-10)..

They just pick up waaay too much and you can't get them loud enough in the monitors, if you're lucky enough to get them not to feedback from the FOH in small venues...

Enter the Shure KSM 9 HS, a hypercardoid version of the KSM 9, designed to solve problems of bleed and feedback on loud stages.
(See here)

Anyone tried one and compared it to some of the above?

Disclaimer: I know there are some cheaper condensors like the Beta87 and Sennheiser 865 that are useable, but in my experience their extra bit of detail and fidelity aren't worth the hastle over a good detailed dynamic like a Telefunken M80, AKG D7 or Heil PR-35)

[AndyC]

I've never used one - but I've heard GREAT reports about them....!

[pieterh]

The regular KSM9 is also switchable, between cardioid and super-cardioid which can help compensate for monitor placement and microphone technique.

The downside of the HS in hypercardioid mode is its increased sensitivity immediately behind the mic. This would potentially make it more sensitive to reflections from the room and monitors placed immediately behind. Personally I like my vocal monitor to one side so super- and hypercardioid suit me fine.

The polar pattern of the sub-cardioid option would be great for neutral or studio environments or even shared mic situations.

The regular KSM9 has become our wireless condenser of choice, it sounds fantastic and has enough sensitivity so that it sounds good with inexperienced as well as experienced vocalists as well as during conferences or lectures.

[Goodallboy]

Never had that problem with my Neumann KMS 105........

[buzzardwhiskey]

Last weekend my five-man band played a medium loud gig with four monitors, an electric lead guitar, an acoustic rhythm guitar player, a drummer and an electric bass... and two condenser vocal mics (AKG EB535C and Miktek PM5) plus a dynamic Blue enCore100. The secret for us was a dbx goRack babysitting the monitors assuring no feedback.

[pieterh]

Originally Posted by Goodallboy

Never had that problem with my Neumann KMS 105........

Nor I, (well, I have 104). It’s all about the right tool for the right job. If the volume levels on stage are so high that a sensitive condenser won’t work then a) change mic and/or b) look at the stage levels and monitor positioning.

That said, the KSM9 in both variants are great mics too.

[pieterh]

Originally Posted by buzzardwhiskey

Last weekend my five-man band played a medium loud gig with four monitors, an electric lead guitar, an acoustic rhythm guitar player, a drummer and an electric bass... and two condenser vocal mics (AKG EB535C and Miktek PM5) plus a dynamic Blue enCore100. The secret for us was a dbx goRack babysitting the monitors assuring no feedback.

And that surely is half the trick - using feedback busters or doing a ringing out of the system in order to minimise problem frequencies.

Different mics suit different sources. I love my KMS104 and regularly use the 104 or 105 at work, often in tricky stage setups. The C535 is also a fine mic and is a classic for good reasons!

Not everyone has the luxury of notching out monitor eq or playing with placement so for these occasions a dynamic or an extremely directional condenser might be the answer - though as I mentioned earlier extreme directionality comes with a price: increased sensitivity behind.