By Mark Johnson
Throughout its existence, Shure has produced products revered by professionals as well as consumers and audiophiles. As a budding live audio engineer, I cut my teeth on the company’s M67 mixers bussed together for more inputs. Next were Shure 108 mixers with internal spring reverb, driving—you guessed it—the venerable Vocal Master loudspeaker system. I also still have a V15 cartridge for my turntable. I made the mistake of not buying a new stylus when it was discontinued. I really liked the cartridge. Now I’ll have to find a third-party stylus.
I even have some Shure mics in my personal collection: a couple of obligatory SM57s, and one that I don’t use much anymore but I really dug it when I used it regularly: a VP88 stereo mic. With all that experience, it’s easy to see why the company is an industry leader.
Shure’s first wireless microphone system debuted in 1953, but it wasn’t until 1990 that its products in this sector truly went mainstream. These days, wireless systems are its main moneymakers. A good example is GLX-D+. While I don’t know specifically what the “+” stands for, I can guess that it’s for all the things that this system does. Shure designed it to be a tool for guitar and bass players, presenters, singers, speakers, and performers. Flexibility and usefulness make the GLX-D+ system worth it and, even then, the pricing is competitive.
Read the full review in Lighting & Sound America
www.shure.com
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