55SH II Legendary ‘Elvis Microphone’
An unmistakable stage icon for 70 years, the Shure 55SH Series II Unidyne Vocal Microphone features a signature satin chrome-plated die-cast casing for pure. Read Sweetwater customer reviews for Shure 55SH Series II. When I set up the Shure 55SH microphone and my Shure Wireless Microphone, here is what. The Shure 55S Unidyne microphone, commonly referred to as "The Elvis Mic," is a vintage unidirectional dynamic microphone manufactured in the. Date, Condition, Sold Price 5 Best Microphones for Recording Drums. Tips and How- To's.
Unlike other capacitor microphones, they require no polarizing voltage, but often contain an integrated preamplifier that does require power often incorrectly called polarizing power or bias.
This preamplifier is frequently phantom powered in sound reinforcement and studio applications. Monophonic microphones designed for personal computer PC use, sometimes called multimedia microphones, use a 3.
Stereophonic microphones use the same connector; there is no obvious way to determine which standard is used by equipment and microphones. Only the best electret microphones rival good DC-polarized units in terms of noise level and quality; electret microphones lend themselves to inexpensive mass-production, while inherently expensive non-electret condenser microphones are made to higher quality.
Dynamic Patti Smith singing into a Shure SM58 dynamic cardioid type microphone The dynamic microphone also known as the moving-coil microphone works via electromagnetic induction. They are robust, relatively inexpensive and resistant to moisture. This, coupled with their potentially high gain before feedbackmakes them ideal for on-stage use.
Dynamic microphones use the same dynamic principle as in a loudspeakeronly reversed. A small movable induction coilpositioned in the magnetic field of a permanent magnetis attached to the diaphragm.
When sound enters through the windscreen of the microphone, the sound wave moves the diaphragm. When the diaphragm vibrates, the coil moves in the magnetic field, producing a varying current in the coil through electromagnetic induction. A single dynamic membrane does not respond linearly to all audio frequencies. For this reason, some microphones utilize multiple membranes for the different parts of the audio spectrum and then combine the resulting signals.
Combining the multiple signals correctly is difficult; designs that do this are rare and tend to be expensive. On the other hand, there are several designs that are more specifically aimed towards isolated parts of the audio spectrum. The AKG Dfor example, is designed for bass response rather than treble. Ribbon Edmund Lowe using a ribbon microphone Ribbon microphones use a thin, usually corrugated metal ribbon suspended in a magnetic field.
The ribbon is electrically connected to the microphone's output, and its vibration within the magnetic field generates the electrical signal. Ribbon microphones are similar to moving coil microphones in the sense that both produce sound by means of magnetic induction.
Basic ribbon microphones detect sound in a bi-directional also called figure-eight, as in the diagram below pattern because the ribbon is open on both sides. Also, because the ribbon has much less mass it responds to the air velocity rather than the sound pressure.
Though the symmetrical front and rear pickup can be a nuisance in normal stereo recording, the high side rejection can be used to advantage by positioning a ribbon microphone horizontally, for example above cymbals, so that the rear lobe picks up sound only from the cymbals.
Crossed figure 8, or Blumlein pairstereo recording is gaining in popularity, and the figure-eight response of a ribbon microphone is ideal for that application.
Other directional patterns are produced by enclosing one side of the ribbon in an acoustic trap or baffle, allowing sound to reach only one side. The classic RCA Type DX microphone has several externally adjustable positions of the internal baffle, allowing the selection of several response patterns ranging from "figure-eight" to "unidirectional".
Such older ribbon microphones, some of which still provide high-quality sound reproduction, were once valued for this reason, but a good low-frequency response could be obtained only when the ribbon was suspended very loosely, which made them relatively fragile. Modern ribbon materials, including new nanomaterials,  have now been introduced that eliminate those concerns and even improve the effective dynamic range of ribbon microphones at low frequencies.
Protective wind screens can reduce the danger of damaging a vintage ribbon, and also reduce plosive artifacts in the recording. Properly designed wind screens produce negligible treble attenuation. In common with other classes of dynamic microphone, ribbon microphones don't require phantom power ; in fact, this voltage can damage some older ribbon microphones. Some new modern ribbon microphone designs incorporate a preamplifier and, therefore, do require phantom power, and circuits of modern passive ribbon microphones, i.
Also there are new ribbon materials available that are immune to wind blasts and phantom power. Carbon microphone The carbon microphone was the earliest type of microphone. The carbon button microphone or sometimes just a button microphoneuses a capsule or button containing carbon granules pressed between two metal plates like the Berliner and Edison microphones.
A voltage is applied across the metal plates, causing a small current to flow through the carbon. One of the plates, the diaphragm, vibrates in sympathy with incident sound waves, applying a varying pressure to the carbon. The changing pressure deforms the granules, causing the contact area between each pair of adjacent granules to change, and this causes the electrical resistance of the mass of granules to change.
The changes in resistance cause a corresponding change in the current flowing through the microphone, producing the electrical signal. Carbon microphones were once commonly used in telephones; they have extremely low-quality sound reproduction and a very limited frequency response range, but are very robust devices.
The Boudet microphone, which used relatively large carbon balls, was similar to the granule carbon button microphones. Carbon microphones found use as early telephone repeatersmaking long distance phone calls possible in the era before vacuum tubes. These repeaters worked by mechanically coupling a magnetic telephone receiver to a carbon microphone: One illustration of this amplifier effect was the oscillation caused by feedback, resulting in an audible squeal from the old "candlestick" telephone if its earphone was placed near the carbon microphone.
Piezoelectric A crystal microphone or piezo microphone  uses the phenomenon of piezoelectricity —the ability of some materials to produce a voltage when subjected to pressure—to convert vibrations into an electrical signal. An example of this is potassium sodium tartratewhich is a piezoelectric crystal that works as a transducer, both as a microphone and as a slimline loudspeaker component. Crystal microphones were once commonly supplied with vacuum tube valve equipment, such as domestic tape recorders.
They were difficult to match to early transistor equipment and were quickly supplanted by dynamic microphones for a time, and later small electret condenser devices. The high impedance of the crystal microphone made it very susceptible to handling noise, both from the microphone itself and from the connecting cable.
Piezoelectric transducers are often used as contact microphones to amplify sound from acoustic musical instruments, to sense drum hits, for triggering electronic samples, and to record sound in challenging environments, such as underwater under high pressure.
Saddle-mounted pickups on acoustic guitars are generally piezoelectric devices that contact the strings passing over the saddle. This type of microphone is different from magnetic coil pickups commonly visible on typical electric guitarswhich use magnetic induction, rather than mechanical coupling, to pick up vibration. Fiber optic The Optoacoustics fiber optic microphone A fiber optic microphone converts acoustic waves into electrical signals by sensing changes in light intensity, instead of sensing changes in capacitance or magnetic fields as with conventional microphones.
Sound vibrations of the diaphragm modulate the intensity of light reflecting off the diaphragm in a specific direction. The modulated light is then transmitted over a second optical fiber to a photo detector, which transforms the intensity-modulated light into analog or digital audio for transmission or recording. Fiber optic microphones possess high dynamic and frequency range, similar to the best high fidelity conventional microphones.
The fiber optic microphone design is therefore ideal for use in areas where conventional microphones are ineffective or dangerous, such as inside industrial turbines or in magnetic resonance imaging MRI equipment environments.
Fiber optic microphones are robust, resistant to environmental changes in heat and moisture, and can be produced for any directionality or impedance matching. The distance between the microphone's light source and its photodetector may be up to several kilometers without need for any preamplifier or another electrical device, making fiber optic microphones suitable for industrial and surveillance acoustic monitoring.
Fiber optic microphones are used in very specific application areas such as for infrasound monitoring and noise-canceling. They have proven especially useful in medical applications, such as allowing radiologists, staff and patients within the powerful and noisy magnetic field to converse normally, inside the MRI suites as well as in remote control rooms. Laser microphone Laser microphones are often portrayed in movies as spy gadgets, because they can be used to pick up sound at a distance from the microphone equipment.
A laser beam is aimed at the surface of a window or other plane surface that is affected by sound. The vibrations of this surface change the angle at which the beam is reflected, and the motion of the laser spot from the returning beam is detected and converted to an audio signal.
In a more robust and expensive implementation, the returned light is split and fed to an interferometerwhich detects movement of the surface by changes in the optical path length of the reflected beam. The former implementation is a tabletop experiment; the latter requires an extremely stable laser and precise optics. A new type of laser microphone is a device that uses a laser beam and smoke or vapor to detect sound vibrations in free air.
On 25 AugustU. Sound pressure waves cause disturbances in the smoke that in turn cause variations in the amount of laser light reaching the photodetector. A prototype of the device was demonstrated at the th Audio Engineering Society convention in New York City from 9 through 12 October Bell's liquid transmitter consisted of a metal cup filled with water with a small amount of sulfuric acid added.
A sound wave caused the diaphragm to move, forcing a needle to move up and down in the water. The electrical resistance between the wire and the cup was then inversely proportional to the size of the water meniscus around the submerged needle.
Scotty Moore - The Shure 55S ("Elvis Mic")
Elisha Gray filed a caveat for a version using a brass rod instead of the needle. The Model 55 Unidyne is the first single-element unidirectional microphone. The Model 40D, Shure. Shure first began manufacturing their own.Shure Super 55 Deluxe Vocal Microphone Review / Test
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