SM and BETA Digital Wireless Systems, Receive a Second Battery for Free

SM BETA Digital Wireless

If you are in the market for a new Digital Wireless System, consider an SM or BETA Digital Wireless System from Shure.
Shure SM and BETA Digital Wireless Systems deliver excellent sound quality and wireless reliability. Systems are available in various microphone configurations, for example with the SM58: The industry leading professional microphone for everyday use, club gigs and studio projects.

In addition, when you buy an SM or BETA Digital Wireless System you will now receive a second batter for free! *

Battery promotion

Intelligent rechargeable functionality
SM and BETA Digital Wireless Systems are equipped with special lithium-ion batteries, fully charged they have an operation time of 16 hours. This battery is extremely durable and economical. One lithium-ion battery is equal to 2.500 standard alkaline disposable batteries!
Think about all those AA batteries you won’t need.  The benefit of this is twofold: batteries are costly, and you can’t monitor how much time you have left before they run out. We’ve all been in that situation where you end up having to throw out perfectly decent batteries in order to reduce the risk of a drop out during that crucial guitar solo. With advanced GLX-D power monitoring features, you’ll be able to rely on your battery charge and the unit will pay for itself in no time!

Additional advantages include being able to charge through multiple methods, including the ability to charge through any USB power source.
So, imagine this scenario; you turn up to your venue and realise you’re out of power. However, thanks to the convenience and abundance of USB, you’re able to charge your battery off a laptop or in your car. 15 minutes of charge alone will reward you with 90 minutes run time, which is more than enough to get you through the first set and then some.

Automatic frequency management
The whole concept of SM and BETA wireless systems was to bring advanced wireless features to an affordable level, without the user having to think about setup. With LINKFREQ technology, all you have to do, is switch the unit on – the transmitter and receiver will then automatically find each other. The receiver, which has frequencies and backup frequencies on each usable channel, assesses the environment and automatically puts you on the best available frequencies. If there’s ever any RF interference, the receiver will seamlessly switch frequencies to ensure that you are always on the cleanest available frequency. You’ll have peace of mind at every gig, without having to be an RF wizard.

Globally License Free
All Shure GLX-D systems operate in the 2.4GHz frequency band, meaning you can tour with your band anywhere in the world and the system will work reliably. No costly license fees required.

Visit our website for more information on SM and BETA Digital Wireless Systems:

  • SM Digital Wireless (FR | NL)
  • BETA Digital Wireless (FR | NL)

SM and BETA Digital Wireless Systems are available from authorised Shure Dealers in the Benelux.
Find a Shure dealer near you on our dealer locator:

* Promotion is only valid in the Benelux (Belgium, Luxembourg and The Netherlands)

* Available for Systems purchased between 18th of October 2014 and 21st January 2015, while stocks last.

The Roots – Mics of the Tonight Show

Mics the RootsBy now, you’ve heard the news that Jimmy Fallon is the new host of the late-night pinnacle that is The Tonight Show. You may have even seen an episode or two, or at least caught some of Jimmy’s celebrity-tinged antics on YouTube the next day. If you haven’t seen the show yet, it’s quite a bit different from the days of Carson and Leno… Fallon’s sense of humor is second to none, and it is amazing to see what he can convince his celebrity friends to take part in.

Still one of Fallon’s biggest loves is the musical portion of the show, which is why he chose to bring along his friends from The Roots to continue as the house band on this new version of The Tonight Show. Along with The Roots came an arsenal of Shure mics and wireless systems. Perhaps you’ve even noticed a few here and there? I’m certain you’ve noticed Jimmy’s chromed-out Axient® SM58® handhelds, which he uses for musical numbers with guests.

I recently spoke with Musical Director Keith McPhee about the Shure mics on the show and their applications on the band stand. Keith not only sent along a list of mics, but also included some beautiful imagery (sans band) to illustrate what these mics are used for. Scroll down just a bit and see if you can identify the mics before you take a look at the list. Everything on the show is Shure, and I can tell you they put this stuff to the test night after night. Be sure to catch a future show to see and hear these mics in action!
Cory Lorentz – Artist Relations Manager at Shure Inc.

Questlove and Black Thought’s Mics

Mics the Roots2

1 Questlove VoxBeta 58 2 Drum RackBeta 98AMP 3 Questlove TalkbackBeta 57 4 Black Thought’s VoxKSM9HS 5 Hi HatKSM137 6 Snare Top 1Beta 181 7 Snare Top 2KSM32 8 Snare Bottom 1 Beta 181 9 Kick 1Beta 91A 10 Kick 2Beta 52

Knuckles, Captain Kirk, and Questlove’s Mics

Mics the Roots3

11 GuitarKSM32 12 Conga LowBeta 98AMP 13 BongosBeta 98AMP 14 Conga HighBeta 98AMP 15 Drum UnderheadSM81

Tuba Gooding Jr., James Poyser, Kamal Gray, and Mark Kelley’s Mics

Mics the Roots4

16 Damon VoxBeta 58 17 FluteSM58S 18 Kamal VoxBeta 58 19 SaxKSM32 20 TrumpetKSM313 21 James Vox – Beta 58 22 Mark VoxBeta 58

Complete list of Shure Microphones
Click on your preferred language for more information


What’s the Difference Between the Shure SM57 and Beta 57A?

You’d be hard pressed to find a band that hasn’t used the celebrated SM57 at least somewhere in their career. To this day, the SM57 remains the number one choice for guitar amps and snares, both live and in the studio. It has even been used for many vocal recordings – despite being intended for instruments.

With such an impressive history and track record on numerous albums and live performances, we’re often asked what applications would call for its newer counterpart – the Beta 57A. The simple answer is, it depends. However, there are some key differences which could aid your decision.

SM57 vs Beta57

Polar Pattern

Just like the Beta 58A, the Beta 57A has a supercardioid polar pattern in-place of the SM57 cardioid design. As you can see from the diagram below, a cardioid microphone will reject best from the back, while a supercardioid microphone will reject better from the sides. The supercardioid polar pattern also has the added advantage of being more directional and therefore less susceptible to feedback when the monitors are positioned correctly.


The Grill

Perhaps the most immediately obvious difference (at least from a visual perspective) is the grill design. The SM57 does not have a full protective grill. The reason for this design is to allow full use of the proximity effect, by allowing the microphone to be positioned closer to a sound source thanks to the absence of a ball grill. The Beta 57A offers the best of both worlds, featuring a uniquely shaped grill that offers the full protection of a ball grill, while still facilitating use of the proximity effect. Beta microphone grills are also much harder in comparison to their SM counterparts, which makes then more difficult to dent. Great for touring pros.

Shure Beta57A

Frequency Response

The Beta 57A, has an extended frequency response for brighter highs and more low frequencies, being described as having a tailored frequency response for drums, guitars, vocals, and horns. If you prefer more sparkle on your vocal or more low end chunk on your guitar cab – you’ll likely prefer the Beta 57A.


Thanks to the neodymium magnet, the Beta 57A has an increased output level. This is great for getting the best possible signal into the desk and improving signal–to–noise ratio.

Handling Noise

Both microphones feature Shure’s unique pneumatic shock mount system. The Beta 57A has an advanced version that further reduces transmission of mechanical noise and vibration.

The Bottom Line

In summary, the Beta 57A is no doubt an upgrade for many applications, but this does not necessarily make it better at everything. For example, if your guitar amp has a particularly glassy tone, you might not necessarily want to emphasise this with an extended frequency response. Additionally, if you capture more bottom-end on a vocal or instrument, this might not necessarily work within the context of a full mix. It’s important to consider what you want the final result to be and referring to the key differences to help you make an informed choice.

Product information
For more information visit our website:

Both microphones are available from Authorized Shure Dealers.
Click on your country to see a dealer in your area. (Belgium | The Netherlands)

“Shure, never a problem, always the solution”


We recently interviewed Jan van Antwerpen, live sound engineer for over 30 years. Some of the artists he works with are: Caro Emmerald, Candy Dulver, Kraak & Smaak and New Cool Collective.

Why Shure

Jan: Above all, the sound is very good and it is extremely reliable. In 30 years it has never let me down.
And the artists I work with tell me it is really pleasant to work with Shure.

Shure is never a problem, but always the solution.

Shure, a unique brand

Jan: Unique to Shure is a certain sound that is reflected in all products. In our world we call it fat, things sound fat. Whether it is in-ears or microphones it applies to all products. And that matches my personal taste.

Favorite products

Jan:  One of my favorite products is the AXT600 Spectrum Manager from Axient (NL | FR). In times where it is difficult to find free frequencies for transmitters and in-ears this product is a blessing to have. The Spectrum Manager searches and finds free frequencies and assigns them automatically. That is really convenient and I can recommend this to everyone.

Furthermore the usual SM57 (NL | FR) multi-purpose microphone that everyone still uses for the most varied situations and purposes.

My personal favorite is the BETA91 base drum microphone (NL | FR), I always get good results with it.

Shure is different

Jan:  I Love working with Shure because it is an innovative company. Often they are the first with new products on the market and the rest follows quickly.
Important is that it is great to work with and reliable.

And the most important thing is that it sounds good, everything they make!

Watch the interview ( Dutch )

What is Shure’s Pneumatic Shockmount?

The pneumatic shockmount featured in Shure microphones, is an essential, but often misunderstood piece of audio engineering. We look at why microphones have shockmounts and what makes the Shure pneumatic design so unique.


Why Microphones Need Shockmounts

For a dynamic microphone to work, the diaphragm and the coil need to move. In an ideal world, we only want this to happen when the signal we’re trying to pickup produces a sound. In reality, there are all kinds of other, unwanted sounds that can stimulate the diaphragm and produce a signal. This could be anything from mechanical sounds to handling noise or a simple rumble from the microphone stand. Shock mounts are used to isolate the microphone from undesirable vibrations that would otherwise be added to the output signal.

In 1964 Shure introduced the pneumatic shock mount, which is a sophisticated system designed directly into the acoustics of the cartridge and has not been duplicated by any other competitor to this day.


How does the Shure Pneumatic Shockmount work?

To prevent handling noise, the Shure pneumatic shockmount pumps like a piston to cancel out vibrations. As the vibration occurs, a chamber of air (See point 1 above) behind the diaphragm shrinks, forcing more air into the microphone cartridge (See point 2 above). This increases the pressure under the diaphragm which counteracts the pressure being induced by the vibration, thus minimising movement of the diaphragm. The science and engineering behind the pneumatic shockmount is impressive to say the least. Conventional shockmounts (as pictured below) are more simple in design, and not nearly as effective.



Marc Henshall

Five Common Microphone Mistakes

Over the years, we have encountered numerous mistakes people make when using microphones. We made a top 5 of the most common mistakes. Have fun reading this and don’t forget to add an example of your own in the comment box below!

1: Hanging microphones over the guitar amp

You see this technique used regularly as a substitute for missing mic stands. The problem is, when using a directional microphone, such as a cardioid, the frequency response of the microphone changes as you move around to the side and back. The severity of this effect can vary from manufacturer, but essentially, your microphone will sound better from the front than the side. Pay attention to the polar pattern of your mic – and use it to your advantage. Shure were in-fact the first microphone company to develop a truly unidirectional microphone in 1939, and the Shure Unidyne capsule (as used in the SM58) remains cutting edge to this day.



2: Cupping the mic head

You might think you’re dope, or whatever the newest word for cool is. But, to your sound engineer – you’re their worst nightmare! Blocking the back of the microphone covers ports, which are vital to the microphone polar pattern and frequency response. Sounding the part, is surely more important than looking the part!

3: Using the Most Expensive Mic by Default

Everyone’s been there. You purchase a brand new posh microphone and use it on absolutely everything. But the truth is, there isn’t really a true correlation between microphone price and the end result. Of course you get what you pay for to some degree, however, although your expensive condenser microphone might sound great on one voice – you might find that with other voices sound better with a dynamic mic. As an example – every John Lennon vocal was actually recorded using the SM57.

4: Too Many Mics

It’s a common mistake to use lots of microphones, with the assumption that more microphones will produce a fuller sound. Unfortunately, due to phase cancellation, the opposite is often the case. Phase coherence must be taken into account when using multiple microphones or your end result will sound thin due to cancelled out frequencies.


5: Lazy Mic Positioning

Paying little or no attention to mic positioning, or taking the attitude of “We’ll just fix it in the mix” is a recurring issue. Modern recording software has made it very easy to hide poor recordings or make the best of a bad situation. My advice – save yourself a headache, get it right from the start! The result is always better and you’re only as strong as your weakest link.

Do you know any examples which you like to add to this list? Post it in the comment box below!

Expert advice

Dont want to make the same (or similar) mistakes?
Shure knows how: For almost every application there are specially designed Shure microphones and wireless solutions. This guide provides you with a basic overview on how microphones, wireless systems and in-ear-monitoring systems work, what you need to consider to select the best product for your requirements, and how to set them up and use them.

First look at the DC 5900 F Flush-mounted Discussion Unit

We at Shure are proud to introduce a new solution for installed conferencing applications. The DDS 5900 F Flush-Mounted Discussion Unit is an attractive alternative for those meeting rooms where there is a need for a permanent discussion system and the aesthetic is a priority. Working with our DDS 5900 series, it easily installs in a tabletop with all the cables conveniently hidden below.


Take a “first look” at the DDS5900 F with Chris Lyons:

The DDS5900 F uses an innovative modular design that provides numerous configuration options. The complete unit consists of a base unit, front plate, button overlay, gooseneck microphone and an optional external loudspeaker. By selecting different combinations of components, the system can be configured with the controls, loudspeaker placement and alternate language selection capabilities that the installation requires.

For more information about the DIS 5900 Digital Discussion System, visit our website: for Dutch: | For French:

Read more about conferencing systems in our previous post: Conferencing Solutions: When to Choose a Digital Discussion System.

QLX-D Digital Wireless video overview

QLX-D Digital Wireless SystemsShure recently launched the new QLX-D Digital Wireless Systems.
This system is packed with technology and delivers incredible wireless audio performance, allowing users to operate more channels on-air than any other wireless system in its class.

To give you an overview we’ve rounded up the videos of the key features.

QLX-D transmits accurate audio with extended flat frequency response

The antennas of the bodypack are detachable and easy to replace

Secure transmission due to the AES-256 Encryption Standard

19 inch rack mounting available with mounting kit included 

Remote monitoring and control of the system

The Bodypack Transmitter

The Handheld

Digital Wireless Receiver, featuring 24-bit digital audio quality and incredibly efficient RF spectrum usage

Lithium-Ion rechargeable batteries reduces costs and extends battery lifetime

Transparent audio that captures every detail of the performance

More channels on air (up to 22) and solid coverage over the full 100m operating range

Automatically optimise the dynamic range for any level of input source

Wide selection of Mics

For more information visit our website:
In Dutch  | In French 

Shure SE846 Review Summary

The Shure SE846 is the flagship model in the Sound Isolating Earphones category and also the most expensive one.
The big question is, are they worth the investment?

SE846 Sound Isolating Earphones

In the end it comes down to your own preferences and the following factors:

  • What is the quality of your existing sound source and gear?
  • How much do you prioritize audiophile sound quality.

If you currently own a top quality portable audio player, or are the owner of high end hi-fi equipment, the SE846 will ensure you get the most from your sound source.

To help you distinguish the difference between the SE846 and other high-end earphones, we’ve rounded up a few recent reviews below..
(To find out the main differences between the SE535 and the SE846, read our previous blog post “What’s the difference between the SE535 & SE846”)

What Hi-Fi Review

Rating: 5/5

“You’d have to spend thousands of pounds on speakers before you find as much detail.”

“It’s fair to say they’re the most capable in-ears we’ve heard.”

Read the full review

Rating: 9/10

“stunning examples of what can be done with audio engineering in 2014″

Read the full review

“Bass rarely gets better than this. If you have the cash to spend and want audiophile earphones that can pump out the low end, you need to hear the Shure SE846.”

Read the full review


“This is why the price is so high — the miniaturization of tech at this level wasn’t even available in 2012.”

Read the full review

Unbox Therapy

“The Best earphones I have ever heard”

For more information about the SE846 visit our website: in Dutch | in French

Multi-Pattern Microphones: What, Where and How?

Is it really a cardioid world? While the cardioid polar pattern is undoubtedly the most often used in live sound applications (after all, the Shure SM57 and SM58® microphones are both cardioid types), there’s a case to be made for models that, with the flip of a switch (or the changing of a head) offer directionality options.

Being able to custom-tailor what the mic picks up and rejects by understanding the pattern’s coverage angle can help you reduce feedback, isolate sound sources from one another, control proximity effect, and create a sonic image in both live and recording applications. Plus, if you have a limited selection of mics in your locker, a multi-pattern mic is really two mics in one.

Before we get into some specific benefits for the stage and studio, let’s review the basic polar (or pickup) patterns.  There are three basic types: omnidirectional, unidirectional and bidirectional (also called figure-of-eight).

Polar Pattern Refresher

Often misunderstood, a mic’s polar pattern defines how it responds to sounds coming from different directions. The polar pattern tells you how the mic should be placed to maximize pickup of the desired sound source while minimizing feedback or pickup of unintended sound sources.

Omnidirectional polar pattern

Omnidirectional Polar Pattern

An omnidirectional (or ‘omni’) microphone picks up equally from all directions since it has the same 360-degree output regardless of its orientation to the sound source. Its polar pattern is a sphere, and on paper, it looks like a nearly perfect circle. An omnidirectional mic can pick up a group of people sitting around a table, but it can’t be aimed to favor one source over another. That means it is also prone to feedback.

Unidirectional Polar Patterns

A unidirectional mic is most sensitive from sound coming from one direction (with one notable exception: the bidirectional mic, but more about that to come). A ‘uni’ mic picks up less ambient noise than an omni type and is less susceptible to feedback when used with a sound system. There are several different types:

Cardioid polar pattern

Cardioid Polar Pattern

The most common unidirectional pattern is the cardioid. It gets its name from its resemblance to a heart. It is most sensitive to sounds coming from in front of the mic and least sensitive directly behind the mic. A cardioid mic has a useful pickup angle of 131 degrees, so it can accommodate one or two singers and is forgiving enough to still pick up a vocalist with a wandering mic technique. The cardioid pattern offers very good feedback rejection.

Subcardioid polar pattern

Subcardioid Polar Pattern

Subcardioids, sometimes called “wide cardioids,” are only slightly more directional than omnidirectional mics and slightly less directional than cardioids. They are most easily distinguished by their rear sensitivity, which is 3-10 dB lower compared to their front sensitivity. The subcardioid pattern allows wide, even, natural pickup and can capture a group of instruments or vocalists with very little proximity effect. They are, however, prone to feedback.


Supercardioid Polar Pattern

A supercardioid mic has a tighter pickup angle than a cardioid, but unlike the cardioid, it offers more side rejection. It is, however, slightly sensitive to sound sources that are directly behind the mic.  A supercardioid provides better isolation from room noise and nearby instruments and can be more resistant to feedback than a cardioid mic, but it requires the user to maintain a more consistent position directly in front of the mic.


Hypercardioid Polar Pattern

Hypercardioids feature some of the characteristics of a bidirectional microphone (described below) in that they have more sensitivity to the rear; however, they reject sound well from the sides and are exceptionally good at rejecting feedback. Because they are so directional, they require very precise placement to the source. Like a supercardioid pattern, the hypercardioid provides extreme rejection of ambient sound sources.

Bidirectional or Figure-of-Eight polar pattern

Bidirectional Polar Pattern

A bidirectional mic, sometimes called a figure-of-eight, is equally sensitive to sounds coming from the front and rear of the mic and least sensitive to sounds coming from the sides. Bidirectional mics have a very narrow pickup angle, which makes them useful for isolating one voice, or instruments that are surrounded by other sound sources, as long as there is nothing directly behind the mic. They are useful for picking up two sources that are positioned side by side. The deep null rejects everything else.

Comparison of Polar Patterns

Cardioid Super-
360° 150° 131° 115° 105° 90°
Angle of
(null angle)
180° 180° 126° 110° 90°


Specific Mics, Switchable Patterns and Typical Applications

Shure has four switchable pattern mics and they’re all condenser microphones.  Here’s how to use them.

Pattern KSM44A KSM141 BETA 181 KSM9/KSM9HS
How It Changes Dual-diaphragm design changes cartridge properties electrically via on-board switch. Mechanical rotating collar blocks side entry ports and acoustically changes pattern. 4 Different Interchangeable heads offered. Simply unscrew collar and remove head from body to switch out pattern. 2 Versions are offered covering 4 different polar patterns. Switch under grille electrically changes pattern using a dual-diaphragm design.

The Shure Multi-Pattern Line-up

Now, let’s look at them one by one.

Shure KSM44A Microphone


Large, 1″ dual-diaphragm side-address condenser, with switchable patterns.

Live Sound

  • Cardioid on drum overheads or guitar amps
  • Bidirectional between congas or toms
  • Omni for ambient mics for IEM mixes


  • Excellent stereo room mic pair in Mid/Side (cardioid/bidirectional setting)
  • Great spaced omni for piano
  • Bidirectional for two background singers on one mic, or omni in an isolation booth to eliminate proximity effect and reduce plosives


For more information about the KSM44a visit our website: in Dutch | in French

Shure KSM141 Microphone


Small pencil condenser with rotating collar that switches pattern.

Live Sound

  • Cardioid on hi hat, snare, percussion, or stringed instruments
  • Omni for an ambient mic in IEM mixes


  • An excellent orchestral/symphony live recording stereo pair or spot mic (cardioid in XY with A27M stereo mic adapter)
  • Great spaced omni pair for piano or room mics
  • Two set to cardioid for drumset in Recorderman technique


For more information about the the KSM141 visit our website: in Dutch | in French

Shure Beta181 Microphone

BETA® 181

Ultra-compact side-address small-diaphragm condenser mic with interchangeable pattern heads.

Live Sound

  • Use them everywhere! Cardioid for drum overheads, bidirectional between toms and congas, supercardioid hanging on a guitar amp
  • A pair of cardioids can normally fit under the lid of a piano (using an A75M Universal Mic Mount) allowing you to close the lid and reduce bleed


  • With all available heads, a stereo pair can perform any stereo technique (XY, Mid Side, Blumlein, Spaced Omni, Recorderman, ORTF)
  • Brilliant on acoustic guitar and drum toms
  • Excellent piano mic


For more information about the the BETA181 visit our website: in Dutch | in French

Shure KSM9 Microphone


Dual-diaphragm handheld condenser mics with a variety of polar pattern options to further reduce feedback and handle a variety of challenging mic techniques.

Live Sound

  • A good choice for switching between IEM singers and floor monitor singers
  • Cardioid for IEMs allows a little ambience and supercardioid offers better gain before feedback in a floor monitor
  • Hypercardioid setting offers great rejection for unconventional stage and PA placements (e.g. PA behind the stage)
  • Subcardioid setting is perfect for Q&A mics, broadcast interviews, or TV show host mics
  • Offers a forgiving wide pattern


  • Hypercardioid offers exceptional rejection and large-diaphragm condenser-like sound quality, allowing a scratch track to be used in the final mix
  • Cardioid is also a great snare and bass amp mic
  • Good for an artist who is comfortable holding a mic while tracking
  • Handling noise and plosives are not issues and vocals sound like they were recorded using a stand-mounted, high-end large-diaphragm condenser mic


For more information about the the KSM9 visit our website: in Dutch | in French


Understanding Mic Specs

Multi-pattern mics offer exceedingly specific sound isolation that will allow you to tailor the mic to the sound source or even the vocal style of the singer.  They can be used to reduce feedback, control bleed in live recordings, and create sonic images using the full spectrum of stereo-miking techniques. According to pro audio expert Hugh Robjohns, “The one big advantage of a multi-pattern mic is that it affords the opportunity to experiment easily, so make use of that opportunity whenever you can. You’ll be surprised at how often cardioid really isn’t the best choice!”

Check out this Shure educational video for a discussion on polar patterns: