Shure SM81-LC Cardioid Condenser Instrument Microphone for Guitar, Piano, and Cymbals, includes Swivel Adapter, Attenuator-Switch Lock, Windscreen, Carrying Case, No Cable Included (SM81-LC)

£169.5
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Shure SM81-LC Cardioid Condenser Instrument Microphone for Guitar, Piano, and Cymbals, includes Swivel Adapter, Attenuator-Switch Lock, Windscreen, Carrying Case, No Cable Included (SM81-LC)

Shure SM81-LC Cardioid Condenser Instrument Microphone for Guitar, Piano, and Cymbals, includes Swivel Adapter, Attenuator-Switch Lock, Windscreen, Carrying Case, No Cable Included (SM81-LC)

RRP: £339.00
Price: £169.5
£169.5 FREE Shipping

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Description

For many, the acoustic guitar is the ultimate instrument for songwriting. There’s nothing that can beat the convenience and ease of use of a 6-string acoustic, and if that’s not small enough, you can even consider a half-sized acoustic guitar. As opposed to more traditional microphones, Sennheiser’s SKM 835-XSW-A sports a customizable audio adjustment range of up to 45 decibels (in increments of 5 decibels). In terms of construction, Shure’s SM81-LC is made of the finest steel materials and was designed to last for years. The Transport Group Terracciano, commanded by Maggiore Egidio Pellizzari, was formed in Bergamo and transferred to Goslar, in Lower Saxony, Germany, in January 1944. Here 44 SM.81s were waiting for Italian pilots. [2] The aircraft, in bad condition, were restored to an operational state by their future crews. Administratively the Italians were subordinated to the ANR but operationally to the Luftwaffe under the German designation of "Transport Gruppe Italien 10". [3]

The Shure KSM44A features a dual-diaphragm design that makes it an extra special choice. This unique design allows for its large diaphragm to behave like two paired small diaphragm mics that can handle both low and high-frequency transients. Ideally, you want to place the hi-hat mic close to the hi-hats so it can capture a tight and focused sound.

Customer Reviews

The SM.81's bomb bay was divided into two parts with a passage linking aft and mid fuselage between, and could accommodate a wide range of ordnance up to a total of 2,000kg (4,410lb) over short ranges, with individual bombs of up to 500kg (1,100lb), arranged either horizontally or vertically: [5] The volume of a hi-hat can vary depending on several factors. When totally closed, the sound is less resonant and tighter than the ringy, somewhat chaotic sound of a fully opened hi-hat. The SM.81 was a robust, three-engine monoplane, with a fixed tailwheel undercarriage, with the mainwheels enclosed by large spats to reduce drag, and had a crew of six. [4] The aircraft was of mixed construction: the fuselage had a framework of steel tubes with a metallic-covered aft portion, while the rest was wood- and fabric-covered. It had a relatively large fuselage, an unnecessary characteristic for a bomber, which determined its future as a transport aircraft. Since the engines were quite small, the fuselage did not blend well with the nose engine, even less so than the SM.79. Many windows were present to provide the fuselage interior with daylight, giving the impression that it was a passenger aircraft. Overall the Shure SM81 captures shimmering high frequencies with clarity, and this makes it perfect for recording the nuances of hi-hats and cymbals. It also has very low noise and it offers superb value for money.

The main career of the SM.81 started on 28 July 1936. On a mission dedicated to supporting General Francisco Franco and his " alzamiento" (uprising) against the Republican government at the start of the Spanish Civil War; 12 SM.81s under the guise of Spanish civilian ownership took off from Elmas, near Cagliari, to fly to Morocco carrying 63 non-uniformed troops led by Colonel Ivanoe Bonomi. The anticipated ferry flight was around 1,135km (705mi), but several problems occurred en route. Closer to the budget end, beyond what's already been mentioned, there's things like the Behringer B5, Studio Projects C4s (the omni caps are decent, if you room sounds good and is quiet enough), and the sE Electronics SE8 (which I like at the price and are pretty quiet for an SDC). Worth thinking about what polar pattern options are available. It’s well-rounded enough to be used with different instruments, and aside from its exclusively wired connectivity, I have nothing bad to say about it. Pros The AKG P170 is a small yet rugged and robust microphone- perfect for drum overheads and hi-hats. It’s a well-built and versatile microphone that makes it suitable for all acoustic instruments, such as acoustic guitars. On acoustic, they produce a slightly more mellow tone than the KM184, or some other SDCs in the arsenal. I personally find them a useful option for jazz guitar. If you are comparing them to SDCs of a more modern design which follow the trend for a brighter tone, you may find them a little dull on anything stringed, However, they do take EQ well.The market is flooded with them, so we’re here to help you make the best decision. Which Are The 7 Best Microphones For Recording Acoustic Guitar?

The Neumann KM 184 is a pencil-style small-diaphragm condenser microphone that can match the sensitivity of large-diaphragm microphones and still manage high sound pressure levels. When choosing a microphone for any application, it's to our great advantage to know the characteristics of the sound source. So what does a ukulele sound like? Compact, sturdy, and reliable, this microphone is one of the best hi-hat mics that you can find in the low-to-mid price range on the market.

The mic comes with a pop shield (essential if using for any vocal recording as this mic is extremely sensitive to plosives), and mic clip. All is contained in a robust, gig-proof plastic case. The SM81 is the perfect choice for a professional musician or sound engineer who is looking to mic up acoustic instruments such as acoustic guitar, piano and cymbals. It can ideally be used on stage and because of its high quality is also at home in the recording studio. Many inexpensive microphones tend to sound great when used for recording or live playing, but they don’t last as many years. Their casing either wears out, or their internal wiring goes awry. I’d suggest placing the hi-hat mic about 4-5 inches above the top hi-hat cymbal, pointing towards the edge of the cymbal. Enter the Voodoo series from sE Electronics. It has been developed by CEO and classical musician Siwei Zou to have a wide frequency response from 20Hz right up to 20KHz. Not only that, but the response curve is not much of a curve at all, it's actually as flat as a pancake that's been run over by a steam roller. Twice. OK, there is a very, very slight presence boost between 2KHz and 10KHz, but essentially this mic will capture everything and capture it authentically.



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