What do you know about the Shure Unidyne III microphone? I have one, but I need to get the cord fixed. The cord and microphone have 4 holes/prongs instead of the 3 hole/prong shure sm 57 microphone. Why? Will someone be able to do anything about it? Is this a good microphone? Bad one? Why are they no longer made? It looks alot like the 57. How are they similar/different? What is the history behind the damn thing? (Generally speaking) Are the applications going to be the same?
Shure Unidyne III Model 545
- Thread starter Irk
- Start date
fretmeister
New member
Like a SM 57, old version, 1960 to 1978. Check this out:
www.shure.com/pdf/discontinued/545.pdf
Call Full Compass for a mic cord or connector.
www.shure.com/pdf/discontinued/545.pdf
Call Full Compass for a mic cord or connector.
Any idea as to how it is different from the 545SD, which looks to still be available?
http://www.shure.com/microphones/models/545.asp
http://www.shure.com/microphones/models/545.asp
fretmeister
New member
I've seen that in Full Compass catalog and it's more expensive. It does have a different cartridge (R45), so I guess its not correct to say that its just an old version of the SM57(R57), although they must be similar. When you call Full Compass about your cord, ask them about the mic.
noisedude
New member
Chessparov is the expert on these mics. I bought one on ebay a couple of weeks ago and it sounds good. I have the 545D with standard XLR connection. Here are some quotes from PMs Chris sent me advising me on the mic:
"The 545's were first popular with West Coast (USA)
studios like Capitol on records by The Beach Boys,
Sinatra, and the like in the 60's."
"If you ever read the Walter Sear interview in Tape Op magazine, he rates the SM57 as "excellent".
(545's fraternal twin)
And he has at least 235(!) microphones in his studio,
many rare-U47's, 251's, RCA ribbons, etc."
"Yes they have the same capsule, however, some other parts like the copper coil are in the 545 making
the frequency response a bit different.
The presence peak is at its highest around 6kHz on the 545 vs. 7kHz on the SM57.
Therefore the 545 is easier to use on sssibilant singers (like me!) usually.
Both the 545 and SM57 are classic choices for guitar cabs in major studios. BTW Little Walter's hamonica
recordings were done on a 545 series microphone,
also Paul Butterfield's (and many more)."
Hope that helps! With a decent preamp (I'm working on getting one of those) they can still be a great-sounding mic. With my Behringer pres I still quite like the sound.
"The 545's were first popular with West Coast (USA)
studios like Capitol on records by The Beach Boys,
Sinatra, and the like in the 60's."
"If you ever read the Walter Sear interview in Tape Op magazine, he rates the SM57 as "excellent".
(545's fraternal twin)
And he has at least 235(!) microphones in his studio,
many rare-U47's, 251's, RCA ribbons, etc."
"Yes they have the same capsule, however, some other parts like the copper coil are in the 545 making
the frequency response a bit different.
The presence peak is at its highest around 6kHz on the 545 vs. 7kHz on the SM57.
Therefore the 545 is easier to use on sssibilant singers (like me!) usually.
Both the 545 and SM57 are classic choices for guitar cabs in major studios. BTW Little Walter's hamonica
recordings were done on a 545 series microphone,
also Paul Butterfield's (and many more)."
Hope that helps! With a decent preamp (I'm working on getting one of those) they can still be a great-sounding mic. With my Behringer pres I still quite like the sound.
mrface2112
Well-known member
i have three 545s, all the SD version. two of them are mexican made, and one is an older unidyneIII and is US made. they all have XLR connectors and switches.
the mexican ones have a slightly lower output than the US, and the US has a slightly "meatier" sound (can't explain it more than that)--i like the US one a bit better than the two mexican made ones.
they're all three fine sounding mics, and i like all 3 better than the 57s i've used......i think they're a little better on the amps and snares i typically record.
cheers,
wade
the mexican ones have a slightly lower output than the US, and the US has a slightly "meatier" sound (can't explain it more than that)--i like the US one a bit better than the two mexican made ones.
they're all three fine sounding mics, and i like all 3 better than the 57s i've used......i think they're a little better on the amps and snares i typically record.
cheers,
wade
chessparov
New member
Thanks for the kind words Noise.
Just a pretty good student of the wise pro AE's who patrol the internet waters like Harvey, Fletcher, and Bob Ohlsson.
Luckily(?) I can make no pop vocal "excuses" with the 545 series as it's a great match for my voice. Better than a U87ai on it IMHO.
Another usual suspect of a giant killer is the EV RE15, RE16, or RE18 BTW.
They have a similar type vocal sound to the (great) RCA 77 ribbon.
So for around $100 or so used they're a terrific value.
Chris
Just a pretty good student of the wise pro AE's who patrol the internet waters like Harvey, Fletcher, and Bob Ohlsson.
Luckily(?) I can make no pop vocal "excuses" with the 545 series as it's a great match for my voice. Better than a U87ai on it IMHO.
Another usual suspect of a giant killer is the EV RE15, RE16, or RE18 BTW.
They have a similar type vocal sound to the (great) RCA 77 ribbon.
So for around $100 or so used they're a terrific value.
Chris
mrface2112
Well-known member
<< Would it not be funny if Mr. Face liked one of his mexican-made mics better than the other one and the US made?>>
yeah, i suppose.
although, i just call em like i see it. the two mexican made ones, while i don't have the ears (or room) to tell if they're truly *identical* (and i'm sure they're not), they sure sound VERY similar to me. the US made one is cosmetically and sonically slightly different, my guess is due to different materials or production techniques, or who knows....i've bought all three of them used and at different times (and one of the mexis from a member here), so who knows what they might have been through at some point, ya know?
what i DO find impressive (albeit not real funny) is that both of the mexican ones do sound so similar (given their unknown origins) and that none of the 3 sound "bad" in the least. i'd feel confident throwing any of the 3 up for any situation i'd use one of them in.....the US just sounds a little "meatier" which is good for some applications and not so good for others....the two mexican made ones are a little more rico suave......smmmooooove in comparison. the mexis are a little nicer on clean guitars and toms, while the US is better on crunchy rhythm, snare and sax.
and i really dig the US one through my VTB-1 with the load switched to 50ohms. talk about fattening up the sound! it fattens all of the 545's and 58s i have--so i suspect that's one of the common "tricks" them there high-falutent record makerers employ when using a 57.
anyway, there are a lot worse mics out there. ;-)
cheers,
wade
yeah, i suppose.
although, i just call em like i see it. the two mexican made ones, while i don't have the ears (or room) to tell if they're truly *identical* (and i'm sure they're not), they sure sound VERY similar to me. the US made one is cosmetically and sonically slightly different, my guess is due to different materials or production techniques, or who knows....i've bought all three of them used and at different times (and one of the mexis from a member here), so who knows what they might have been through at some point, ya know? what i DO find impressive (albeit not real funny) is that both of the mexican ones do sound so similar (given their unknown origins) and that none of the 3 sound "bad" in the least. i'd feel confident throwing any of the 3 up for any situation i'd use one of them in.....the US just sounds a little "meatier" which is good for some applications and not so good for others....the two mexican made ones are a little more rico suave......smmmooooove in comparison. the mexis are a little nicer on clean guitars and toms, while the US is better on crunchy rhythm, snare and sax.
and i really dig the US one through my VTB-1 with the load switched to 50ohms. talk about fattening up the sound! it fattens all of the 545's and 58s i have--so i suspect that's one of the common "tricks" them there high-falutent record makerers employ when using a 57.
anyway, there are a lot worse mics out there. ;-)
cheers,
wade