The transformer is really the weak point in any ribbon mic because it takes a very low impedance (well below an ohm) and turns it into a higher impedance the mic preamp can deal with. This mic is bright without being shrieky or gritty. You're essentially getting two high quality ribbon microphones in one. My favorite feature of ribbon microphones is how well it tames transients and those undesirable mouth noises (lip smacking, sibilance, etc). — Ed.]. This microphone just really caught the body and the warmth from the guitar amp. Pulled back six feet in front of a bel canto singer it seemed a bit thin but the room acoustics were not exaggerated in any bad way. The mic provided a perfect tonal balance allowing the guitar to sit right up front in the mix when it needed to without being overly bright. Typical ribbon transformers have a ratio of 1:100 or more, and it is very difficult to make a transformer with such a high ratio. Packaged as a side-addressed microphone, the KSM313 is extremely compact and almost jewel- like in appearance. When I purchased this mic, I received a nice wooden box, but they have since now switched to an aluminum case. The Shure is priced on the higher end of the microphones that I think also fit into its price bracket: Royer, AEA, and coles. Shure acquired Crowley and Tripp microphones a few years ago. Whether this is an advantage or a disadvantage is up for discussion but it’s clearly deliberate. This microphone review is part of the Recording Magazine Microphone Review Archive, which exists thanks the kind permission and support of Recording Magazine. The KSM313 sounds like someone tried to take a ribbon mic design and make it sound like a U87. You can change things drastically with just a little movement of a ribbon. JON THORNTON checks out the new versions to see if all is still good. Next I tried the mic at a live club gig, micing a guitar amp for a loud electronic/rock band. There’s no internal shockmounting, but everything inside is very tightly supported so that shocks won’t be exaggerated by internal resonances. This impression is reinforced by the use of a black body coupled with a grille assembly finished in … It's almost like ribbon microphones are inherently compressors and de-essers . He still loved the sound he got from the KSM 313. It was a very in-your-face sound; for this application, I put it back and put up an Electro-Voice RE20 instead. I wasn’t crazy about the mic on a bass amp. Next I tried it on bass and guitar amps in the studio. However they tracked LOUD and bright! This would also be a really great microphone for voiceover and announcer work, and the fact that it does well with a wide variety of different vocalists makes it a good versatile performer. It’s hard to get all the points tightened down to where I felt confident it wouldn’t move around. This is a serious problem on stage risers that may not be in good condition, especially with a bass amplifier nearby. WOW! The smaller (and cheaper) of the pair is the KSM313. … Now, a number of newer ribbon mics do this (including some other Shure mics and some of the Royer mics), and it provides a larger palette of sounds for close-miking. A beautiful and versatile sounding ribbon microphone. This is certainly not the typical “ribbon mic” sound. It’s not anywhere near as sparkly and bright as a U87, mind you, but it sounds like this is an attempt to push the ribbon design in that path. Issue #27. Brad's guitar sound was often 2-3 amps blended in a live room so it was great to have a dependable warm sounding mic I could monitor with at high levels when the whole band were in the control room. They have come a bit of a full-circle over the … Specific to the KSM 313, I recently had a singer in and at the end of the session he asked if I could do whatever I did every time he comes in. This microphone has two distinct sounding sides of it's figure 8 polar pattern. When pulled way back into the far field, the mic performed reasonably well. The Shure 300 turned up on a lot of record sessions in the Fifties and Sixties. But so far it’s proving to be “just right” for most things I throw it up against. Oh, yes, and this mic does require a lot of gain. I do recommend spending a little more time in the room with a good set of earphones and moving the mic around. My talent used to work in television and had one of those deep, expressive voices that you often hear in movie trailers, commercials, etc. Boy oh boy do I love this microphone. The Shure KSM313 is a rebadged Crowley and Tripp Naked Eye Roswellite ribbon microphone, a passive bidirectional ribbon microphone with two distinct voices and … It sounds AMAZING! This side is IDEAL for voice. I was regularly using 60 dB of preamp gain for testing. It may not be right for every voice or situation. Like the older Crowley and Tripp mics, it uses some sort of foamed metal alloy they call Roswellite, instead of conventional Duralumin. The KSM313 has a steel body that’s painted black, and its red mesh screening covers the machined sound-entry ports. All the things you read about high-end ribbons are true. It’s good when you want to exaggerate something like a vocal and bring it forward in a dense mix without it being too over the top and piercing.

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