Shure SRH1540 vs SRH940

SRH1540 vs. SRH940Recently, Shure released the new SRH1540 premium closed back headphones.
The new model complements our existing closed back range, which includes: SRH240A, SRH440, SRH840, & the SRH940. However, from a price perspective, they’re actually on par with our premium SRH1840 open back model; making them the new top dog closed back model, which might lead you to ask what makes them different from SRH940′s…

Which is the best headphone for you?

As always, the answer to this question depends on what you want to achieve – combined with an element of personal taste. It’s less of a question of ‘which is better’ and more a case of which application you’ll be using them for. In short, the SRH940′s are reference studio headphones, whereas the SRH1540′s are a premium closed back design. So what does this mean?

Essentially, the biggest difference is the sound signature. For the SRH940, the sound is flat, which basically means the sound is not coloured or biased. Hence, they’re referred to as reference models (they reproduce your mix as accurately as possible). The SRH1540 on the other hand actually accentuate certain aspects of your music or mix. Their speaker design drives warm bass and detailed, extended highs. If you’re an audiophile and this is your thing, you’ll no doubt welcome the extra detail and energy. However, if it’s accuracy you’re looking for, the SRH940 is still the best choice as it’s generally advised to have at least one good pair of flat, accurate, studio reference headphones when checking your mix.

Design & Comfort

At Shure we pride ourselves on great design, and the SRH1540 is undoubtedly one of the most comfortable headphones we’ve ever made. The headband is extremely ergonomic and lightweight, which when combined with the ultrasoft Alcantara® earpads makes it a pleasurable listening experience (just another factor in their appeal to audiophiles, where many hours of wear calls for greater comfort).


The frequency response delivered by SRH1540′s makes for a great listening experience and they’re some of the most comfortable headphones you’ll wear. However, despite the cheaper price point, the SRH940′s are still the most accurate model on offer. To summarise, it’s likely you’ll prefer the 940 in your studio, and the 1540 for your Hi-Fi.

Features and more detail available on our website:
BE-FR SRH940 & SRH1540
NL SRH940 & SRH1540

Alternatively, you can try them for yourself at one of our Authorised Shure Dealers:
Dealers in Belgium & Luxembourg
Dealers in the Netherlands

QLX-D Digital Wireless System

Shure recently introduced QLX-D, the latest in digital wireless microphone systems. But with so many other wireless systems on the market, what makes the new Shure system special?

Put simply, the new Shure QLX-D wireless system uses the same technology as higher end Shure digital wireless systems in a more affordable package with a streamlined feature set. However, before we understand the importance of this, we first need to take a step back….

All roads lead on from Axient

During a time of great uncertainty for the RF spectrum, with an increasingly crowded environment, and greater pressure from mobile phone companies to allocate more and more space for high speed mobile internet, Shure introduced Axient Wireless.

In a nutshell, Axient delivers a dramatic new threshold of control and confidence in RF applications with zero tolerance for failure. This is achieved through advanced features, such as: spectrum management, interference detection and avoidance, and advanced power management. With the future of the RF spectrum remaining uncertain, such features are essential for mission critical wireless applications, where interference is simply not an option.

Recognising the importance of Axient’s feature-set in delivering a future proof wireless solution, Shure have set upon (wherever possible) bringing the same advanced technology to their entire wireless product range – starting with ULX-D in the professional range, and now with QLX-D, the entry into pro quality.


Shure QLX-D – Incredibly Efficient Wireless

QLX-D packs in a lot of sophistication and delivers incredible wireless audio performance. It has outstanding spectrum efficiency and frequency bands covering up to 72 MHz, allowing QLX-D users to operate more channels on-air than with any other wireless system in its class!

Other key features include:

  • An all-metal construction, built to match demanding environments.
  • AES-256 encryption as standard, which can be enabled for secure wireless transmission.
  • Intelligent lithium-ion rechargeable power options. Providing up to ten hours of continuous use and reporting remaining runtime in hours and minutes.

For more information on what makes QLX-D a leader in its class and why Shure are leading the Digital Wireless Revolution, watch the video overview below or visit the QLX-D overview page on or


Marc Henshall

Wired vs Wireless for Guitar, which sounds the best?

The subject of wired vs wireless for guitar is a much debated topic. Opinions vary on how both setups can affect your tone, but the issue is really more about application and signal flow. In this post we’ll cover the basics of good practice for each setup, and draw a conclusion for you to consider based on your requirements.


What makes a good wired guitar setup?

Anything that stands between your guitar and the amplifier will affect the final result. Therefore, it’s essential to invest into good quality cables. The following are some key points to consider:


If you’ve ever purchased or used a very cheap guitar cable, you’ll likely be familiar with the unwanted noise and buzzing typical of inferior cables with poor shielding. Good quality cables will keep noise to a minimum by shielding the conductor from electrical interference, usually with a metal shield, insulation, and a plastic jacket.

Note: No matter how good your shielding is, all guitar cables are unbalanced, meaning they use only one conductor and do not cancel out interference at the other end of the cable. Therefore, it is good practice to keep cables away from any potential source of interference, such as: power supplies, radios etc.


Capacitance is essentially the cables ability to store an electrical charge. For high impedance sources (such as passive guitars and basses), lower capacitance results in better frequency response. The cable length is also important because it is directly related to capacitance. Longer cables have a higher capacitance and signal loss over distance. Keep cable lengths to a minimum for the best results.


As previously mentioned, anything that stands between you and your amplifier will affect sound quality. Connectors are no different. Some higher end cable manufacturers (such as Monster) use gold plating to help improve connectivity. They also have the added advantage of helping to prevent corrosion.


What makes a good wireless guitar setup?

Just like wired, what happens to your wireless signal on the way from pick-up to amplifier will have an impact. Therefore, it is crucial to invest in a good quality wireless system to protect your precious guitar tone. The following are some frequently asked questions from new wireless users:

Will it colour my tone?

Possibly. Analogue wireless systems need to compress the dynamic range of the audio before it can be carried on a radio wave. It is compressed in the transmitter and expanded in the receiver – this process is known as “companding”. Budget analogue wireless systems may have a compander with a fixed ratio and this can make your sound unnatural. Better quality analogue systems have more natural sounding companders and make it much harder to tell the difference between wired and wireless sounds. Nevertheless, an analogue system can never completely recover perfectly the original audio signal.

Digital systems do not need a compander. With a digital system, the first thing your audio signal hits is an analogue to digital (A to D) convertor. This process preserves the full dynamic range of the input signal. The bit stream of 1s and 0s is transmitted to the receiver and is reconstructed by a digital to analogue convertor (D to A) to reform the original audio signal. Providing the units’ AD/DA converters are of a high quality, this gives a completely natural sound and means that your original tone is maintained.

Do I need a license?

Maybe. Most analogue systems operate in the UHF (Ultra High Frequency) spectrum. These systems may require a license, depending on which region you are in, and the frequency range that you are operating in. Digital systems, such as Shure’s GLX-D all operate in the 2.4GHz band and do not require a license.


The bottom line

The question of wired vs wireless and which sounds best is somewhat redundant. Essentially, providing you invest into high quality gear, both setups will deliver professional results. A good quality wired set-up is relatively cost effective. A wireless system on the other hand, does require some further investment to retain the same signal quality. It can be tempting to buy a cheap wireless system as a compromise – not a good idea if you want your live shows to sound great.

Cheaper wireless systems with low quality companders or unreliable RF performance, will only prove to be a false economy in the bigger scheme of things. After all, what is the use of going wireless if your rig no longer sounds like your guitar?

PlayforLA – Win a Shure GLXD16 Wireless (The guitar player’s Swiss army knife) & More..

At the time of writing, we’re offering guitar players the chance to win a wireless system that sounds like your wired setup. The Shure (GLXD16) Beta Digital Wireless Pedal System, delivers great “bang for your buck” and could be described as a kind of Swiss army knife or secret weapon for guitar players.

For more information about PlayforLA – Visit the competition page (Belgium) / (The Netherlandsand yes, you guessed it right, there’s also a fantastic trip to LA California on offer.

Fingertrap Rocks Montreux

They did not only bring their good mood, but also the weather with them from Wales. Despite the pouring rain the 4 guys from Fingertrap, winners of the Shure “Call for legends” band contest, rocked the “Music in the Park” stage in Montreux.

“Our performance went aweseom. Shure treated us like kings this weekend.” 

After their Nightliner ride from Paris, a boat trip on the Lake Geneva, a backstage tour at the Montreux Jazz Festival and a giant gig, followed by a backstage party, they are already on their way back home.

Rock’n’roll lifestyle at its best!

How to find the right microphone

Have you ever wondered which microphone is best for you? It’s possibly the most commonly asked question by musicians and in many ways – one of the most difficult to answer. The truth is, there isn’t a clear cut answer, and the easiest answer is – it depends, are you singing pop ballads? or leading the next big rock group?

Although it isn’t easy to provide a simple answer to this question, there are a few basic points to consider, and the following information should get you started when choosing your microphone:

Handheld Headset Lavalier

What are you trying to pick up?

There is no such thing as a one size fits all microphone, they all sound different, and they all have their uses depending on application. However, microphones for vocal applications can be split into 3 categories:

  • Handheld - Handheld microphones offer great sounding, durable and practical solutions for the majority of live performance situations, but can be an issue in other scenarios such as presentations and theatre, where a more discreet and usually wireless solution would be more practical for performance reasons. In this situation you could consider one of the following:
  • Headset - As the microphone is stationary, the performer or presenter can move freely, without restriction, and the microphone will still pick up an even and clear sound.
  • Lavalier - A similar option to headsets, with the added advantage of being discreet. A lavalier microphone can easily be positioned in a costume or attached to a suit – a great solution for theater or presentation applications where a discreet PA is necessary.

Where are you?

The environment you’re in plays a big part in the selection of your microphone and the polar pattern you use. For example a highly sensitive mic with an omni directional pickup pattern can work great in the studio, but in a live environment, where stage monitors and other sound sources are present, it is important to choose a directional polar pattern – such as cardioid or super cardioid. These polar patterns will pick up sound from the front, and reduce sound from other directions – reducing the chance of feedback.

polar pattern cardioid

Cardioid polar pattern

 – A directional pickup pattern, which picks up sound from the front and reduces sound from other directions.

Omni Directional – Picks up sound evenly from around the microphone.

Super Cardioid – Similar to Cardioid, but more directional.

Bi-directional - Receives sound evenly from both the front and back, and rejects from the sides.

Note: Cardioid pickup patterns are effected by a physical occurrence known as the “Proximity Effect”, which causes bass frequencies to be boosted as the microphone is positioned closer to the sound source – this can be used to the singer or engineers advantage to fatten up a vocal if desired. 

How do you want it to sound?

Another key element to consider that will have the greatest impact on general tone quality, is the type of microphone capsule you select, and these can be broken into 3 main categories:

Dynamic – A warm and full sound. Dynamic microphones are highly durable and able to handle very high sound pressure levels, making them ideal for live applications and noisy environments. If you play in a loud rock band, a dynamic microphone is most likely the most suitable for your live gigs.

Condenser – A brighter and more detailed sound. Condenser microphones are much more sensitive than their dynamic counter parts and have a much wider frequency response. For this reason, they are able to pick up a very honest and true sound, which is favoured by studios around the world. However, for some live applications, these sensitive characteristics may require some fine tuning – particularly with noisy performances.

KSM313NE Ribbon – Prized for their ability to pick up high-frequency detail, without being harsh or brittle. Ribbon microphones are great as a vocal or drum overhead solution in the studio, but are rarely used live due to their more delicate construction.

The rules were made to be broken

As we have concluded, there are many factors to consider when choosing a microphone, and the reality is, the best microphone for you is the one that sounds best on your voice or instrument. There are no rules, only guide lines, and we encourage you to experiment with as many types as possible. There are plenty of examples in pop history of unconventional uses for microphones. For example: John Lennon recorded all his vocals with a Shure SM57 (A microphone usually regarded as an instrument mic).

Have fun and experiment next time you’re choosing your mic, and if you have a story to share with us on unconventional microphone use – please leave a comment below. In the meantime, we will leave you with some resources below to assist you in finding the right mic.

Find out which microphone(s) best suits your needs on or Just answer 3 questions about your situation and we will provide the best microphone solution.

Dynamic vs Condenser Mics on Toms

For years, the most common method of miking tom-toms has been to use a dynamic microphone. Over time however, the introduction of purpose built, discreet condenser microphones have given engineers more tonal choice and some practical benefits. Consequently, dynamic and condenser tom-tom options now divide opinion among sound engineers. In reality, both have distinct advantages depending on your application – so which is right for you?

Dynamic Mics on Toms

Dynamic mics such as the SM57 or Beta56 will give you great weight but modest detail. Secondly, their less sensitive response means they pickup relatively low amounts of spill, helping you to isolate the drum more easily. For a floor tom, consider a large diaphragm dynamic mic (such as the SM7b), which can handle higher SPL and extended low end. The disadvantage to dynamic mics is their less responsive sound, meaning the attack is less present. They’re also generally less discreet than modern purpose built condenser mics – meaning your drummer is more likely to hit them! dynamic-condenser-toms

Condenser Mics on Toms

Purpose built condenser microphones for miking tom-toms such as the Shure Beta98 (pictured above) will pick up a more open sound with pronounced attack thanks to their high frequency response. The Beta98 in-particular is very discreet and has the advantage of allowing you to position the mic more accurately using a gooseneck. The drawback for condensers is increased spill from the cymbals. Depending on your application, this may or may not be an issue.

The Bottom Line

If you like the more weighty isolated sound of close mic drums, you’re likely better off using a dynamic microphone. Alternatively, if a more natural, open sound, and increased attack is your thing – it’s condenser mics all the way. Moreover, style of music and a drummer’s performance can also influence your decision. For example: if your drummer is heavy on the cymbals (many rock or metal drummers are) then you might find controlling spill difficult using a condenser mic. On the other hand, if your drummer is using brushes, condenser microphones are perfect for picking up delicate details.

Additionally, your selection of dynamic/condenser mics can be used to either accentuate the detail in a darker sounding kit or tame down an excessively bright kit. As always, it’s important to trust your ears.

For more information about the different mics:
For BelgiumSM57 / Beta56 / SM7B / Beta98 | All available at authorized Shure Dealers
For the NetherlandsSM57 / Beta56 / SM7B / Beta98 | All available at authorized Shure Dealers

Would you like microphone advice? Leave us a comment in the box below.



Beta Digital Wireless Guitar Pedal System, Videos

This is where 85 plus years of legendary performance and groundbreaking digital technology meet. The Shure Beta Digital Wireless Pedal Receiver provides easy mounting on and powering from pedal boards. A built-in chromatic instrument tuner has both strobe and needle tuning views. The foot switch enables shifting between wireless display and tuner mode with the option to mute.

Shure Beta Digital Wireless Guitar System

This, combined with rechargeable technology (up to 16 hours of continious use!) makes it the obvious choice for touring musicians looking to go wireless.
We made a series of videos to show you all about the Beta Digital Wireless Guitar Pedal, from unboxing to the basic setup and advanced settings.

Visit our Dealer Locator for an Authorised Shure Dealer nearby! Dealer locator Belgium/Luxembourg | Dealer locator the Netherlands
For more information visit the Beta Digital Wireless Product page on or

What’s in the box

System Setup

Multi-Receiver Setup



Gain Settings

Sounds like Wired