Shure KSM 9 HS

Estaba decidido totalmente a comprar el Neumann KMS105 por su prestigio y de hecho lo compré aquí en Thomann, pero tuve que devolverlo durante el periodo de prueba pues me daba problemas de ruidos de masa, cosa que jamás me había ocurrido con ninguno de mis micrófonos tanto dinámicos como de condensador. También aprecié que se acoplaba con facilidad. Esperé un tiempo y empecé a buscar en google una alternativa al Neumann KMS105, entonces me topé con el Shure KSM 9. Leí buenas críticas pero la única manera de averiguar si realmente era bueno y comparable al Neumann era probándolo, así que decidí pedir los dos a Thomann pues era la única manera de poder compararlos. Una vez en casa, quedé gratamente impresionado por el Shure KSM9, de nuevo el Neumann KMS105 no solo volvió a hacerme ruidos de masa sino que comparando ambos micrófonos el Shure KSM9, aparte de no hacer ni el más mínimo ruido, no tiene ningún problema de Feetback, además tiene una respuesta inmediata, al contrario que el Neumann KMS105 que te da la sensación de retardo. El Shure KSM9 tiene unos sutiles medios-graves que engruesa la voz de manera espectacular haciéndola mas redonda y presente, la definición es tan buena como la del Neumann. El Neumann de entrada te llama la atención sus agudos muy brillantes pero que acoplan si no tienes cuidado, estos mismos agudos incluso mas bonitos aparecen en el Shure KSM9 tan solo realzando un pelín los agudos en la mesa de mezclas.
Otro aspecto importante a tener en cuenta es que el Shure KSM9 puedes cogerlo en mano sin ningún problema mientras que en Neumann KMS105 se perciben más las vibraciones, también observé facilidad para recoger interferencias y chasquidos en el Neumann, cosa que jamás se han producido en el Shure KSM9. El Shure lo puedes usar para cualquier estilo y casi cualquier circunstancias mientras que el Neumann KMS105 solo para sitios con buena acústica, especialmente Jazz, música suave pues acopla y recoge mucho mas el sonido ambiente. Ya llevo varios meses con el Shure KSM9 y estoy encantado. El Neumann lo devolví de nuevo a los pocos días.

Like most people I started with the live singing through an SM58. It was reliable and you knew exactly what you'd get. I play mostly in a pretty loud electronic rock band, but started taking my vocals a lot more seriously as we progressed and got better equipment and bigger stages. Since then I've run through quite a variety of vocal mics, both dynamic, though more and more condensers. Always liked Shure build quality and the Beta-87A was a nice step-up for a while.

Then I got hold of the Neumann KM105 and the quality and ease of singing was a revelation. Often hardly needed much in the way of EQ. Problem was that mic just wouldn't reject feedback and was so fussy with monitor set ups. Even though we use IEM on bigger stages, we mostly like some stage monitors as well for the feel of volume. I think the KM105 probably is the end of your search if you play acoustically or with a quieter band. I really, really rate it.

But then after struggling with my KM105 and going back to the Shure Beta87 a live engineer recommended trying the new Shure KSM 9 HS - he felt it was very close to the KM105 but the feedback rejection was far superior and the slightly flatter response might suit my voice. So bought from Thomann. Don't have the stores round my area to try these out, so was bought more in hope than expectation.

Safe to say, the other review is spot on. The same sort of ease of singing as the very best condenser microphones, but able to handle insane SPL and stage volume without feedback. Far less fussy about monitor placement than the KM105. If you wanted to get ultra-fussy you'd say the Neumann is more 'airy' and the Shure more 'silky' but to most people they wouldn't sound vastly different - it's just a lot easier to use the KSM 9 HS (in hypercardioid mode) on loud stages and, personally, the Shure build quality looks a bit more rugged to me.

Oddly the KSM 9 HS looks a lot simpler than most of Shure's line-up. For their premiere live vocal microphone, it's not got the obvious bling factor of it's rivals, but it's quality is all in the build and sound.

Some people will find the pattern switch between Hyper-C and sub-C is a bit of a leap compared to the older KSM 9 Regular-C and Super-C and I've heard some people complain that you have to open the mic up to make the switch with no outside visible way of telling which pattern is active - but I feel that any external switching would make it too easy to knock live. YMMV.

But if you play loud, especially if you play an instrument and sing too, this is the best mic you can get.

i recently bought neumann kms105 shure ksm8 and shure ksm 9 hs..

i am very satisfied from all as a better sound choice i choose neumann kms105 but for very very hard and dificult situations i mean bad places bad speaker place very easy to get feedback from mics i choose the ksm 9 hs on hypercardioid

Pros
Very good high end quality sound
The best anti feedback microphone.. i got no feedback at all even in the worst set up places..
I very often have live events in small bars which has many many people in there.. and the speakers are in very very bad place with any other microphone i would have feedback.. i got many beta 58s sm 58s neumann kms 105 and 104... all these would have a lot feedback in these places.. the ksm9 hs in hypercardioid pattern its very very hard get feedback... i fully recommend

for us here in greece that we play music on 2 high db over 130 db @1m the ksm 9 hs i think is the best choice it is very very dificult to get feedback from this microphone.