Shure’s Super 55 is a very classy vintage-looking dynamic microphone aimed squarely at vocalists who want to look and sound good while performing. Unfortunately I didn’t manage to get it onto a stage, but I took it through its paces in the studio against some comparative dynamic mics and a standard studio condenser.
The unit features an old-school metal grille with foam damping inside. It uses a capsule based on that of the ubiquitous beta 58, so I wasn’t expecting any major surprises – the 58 is about as road tested as they come. It comes boxed with a pouch and instruction leaflet, which is on the minimal side compared to some of its more studio-orientated competitors, but it is all you need for stage use. The test unit was one of the limited edition, with red foam and a black grille – the standard model has a more civilised satin chrome grille and blue foam windshield.
The Super 55 uses a dynamic capsule with a supercardiod pickup pattern to reject off-axis sounds on stage and reduce feedback, which is apparently a common problem with this style of microphone. The series boasts a history going back 70 years, so let’s see how it compares to some more modern competitors in the studio.
The first test was on some Jack Parow vocals, running into an A-Designs Pacfica and a Distressor. While the tone and detail were both good, there was a lot of breath noise, as well as some obvious plosives. The delivery was very regular though, with no obvious level changes or pronounced proximity effect, which bodes well for stage use.
After that we did a general shoot out on male vocals with a Rode NT1-A, a Shure SM7B, and a Samson Q8. In comparison to the Rode (a condenser) the Super 55 had a more tailored frequency response – dropping some of the lows and highs and focusing on the middle of the vocal. So it will need less EQ in a live setting – presenting only the necessary frequencies – but at the cost of being less versatile in terms of recording different sources. I clearly preferred the Super 55 over the woolly-sounding SM7B in this test, but the SM7B is probably the most hit-or-miss microphone I have come across.
The comparison with the Samson was the most pertinent – as a budget supercardiod dynamic the Samson is aimed at very much the same market, and is significantly cheaper. Obviously they look completely different, and for performers looking for a visual edge that could well justify the price difference. In terms of sound they both do the job, albeit in slightly different ways – the Samson was a little brighter, which gave some interest and excitement to the vocal, but also made it a little harsher. The Super 55 was a little smoother up top, with more power and body but less detail. While vocalists with delivery issues might prefer one or the other, for the majority either will do the trick on stage.
A quick comparison with a Shure SM57 on vocals and percussion yielded pretty much what I expected – the 57 doesn’t have a wind shield so it had more detail for vocals, but also an unacceptable level of wind noise. On some random percussion the Super 55 was less cutting than the 57, but had some very cool body – it won’t be useful for everything, but could come in handy for a meaty snare or tom sound.
So at the end of the day the Super 55 is pretty much a better-looking, vintage styled version of the standard stage dynamic, at a modest premium over the beta 58. For performers who want to add some vintage style to their show, the Super 55 is an excellent choice, with solid performance and a well tested capsule. In the end it all depends on budget vs. good looks as the Super 55 definitely has the looks.
Supplier: Wild and Marr
011 974 0633 | 021 787 9378 | 031 573 7400
Suggested Retail Price: R 3,400-00
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