I own a Shure instrumental microphone, the Beta 27, and took it for a spin in the spoken word arena. Herein are my thoughts on this mic's performance.
Hidden World | EOS R, RF 85 2.0 Macro IS STM
Beta 27 Features
Launched in 2010, the Beta 27 is a large-diaphragm FET condenser microphone with high SPL ability. It's not a well known mic, but is basically a supercardioid variant of the earlier SM27 and KSM27 models. Like its siblings, the Beta 27 is an side-address design so you play into the side of the mic rather than the end.
Shure Beta 27 | Looks like an electric shaver. | Image courtesy Shure
Shure 27 Series Mics
Other than the supercardioid pattern and flatter frequency contour, the Beta 27 is identical to the SM27 vocal mic. They share the same one-inch 2.5-micron gold-sputtered diaphragm, outer case, switches, three-layer mesh grille pop filter and accessories. I find flat frequency contours easier to work with for both classical guitar and spoken word.
Usage
The Beta 27 has no bass roll-off all the way down to 20 Hz, making it well suited for miking bass cabinets, low brass, organ pipes and percussion. Indeed, Shure marketed the the Beta 27 for instrumental miking, but the manual suggests a wide range of use:
Electric guitar and bass amplifiers
Brass and woodwind instruments
Orchestras, choirs, and wind ensembles
Overhead miking of drums and percussion instruments
Close-miking of acoustic instruments such as piano, guitar, violins, drums, and percussion
Low-frequency instruments such as double bass and kick drum
Vocals and speech
Phantom Power
Condenser mics require power. In the case of the Beta 27, 48 Vdc phantom power supplied with an XLR cable from a mixing board or audio interface.
Build Quality
Although compact for a large diaphragm mic, the Beta 27 has some heft at 428 g (15.1 oz). The desaturated blue matte enamel is attractive and, under stage or video lights, reveals a little sparkle and sheen. A beefy grill and non-resonant die-cast steel body impart a tough as nails vibe. Fit and finish are excellent.
Shure Beta 27 | Attenuator and high pass switches | Image courtesy Shure
Switches
Like the SM27, the Beta 27 has two switches: a two-position attenuator for 0 dB and -15 dB, and a three-position high pass filter for flat, -6 dB/octave below 115 Hz and -18 dB/octave below 80 Hz. Although easy to reach with a short fingernail, the slight inset prevents accidentally switching. A permanently enabled subsonic filter nixes rumble from vibrations at 17 Hz or lower.
Environmental Isolation
The supercardioid polar pattern, narrower than a cardioid pattern, is receptive to a limited field of sound near the front of the capsule, rejecting or reducing off-axis sounds such as nearby instruments. Thus, the Beta 27 is ideal for recording in less than ideal spaces such as home studios, classrooms and stages. However, unlike cardioid mics, there is a tiny area of sensitivity at 180 degrees and one must be careful not to point the rear towards a strong sound source.
Talking Head | In the studio with the Shure Beta 27 and A27SM shock mount.
Shock Mount
I often mount the Beta 27 on a boom clamped to a computer desk. Like most Shure mics, the Beta 27 has an internal shock mount. It does little to nix vibrations and hum from my iMac, external hard drives and the neighbor's AC rumble. In quiet environments, the Beta 27 needs an external shock mount but, unlike the SM27, doesn't ship with one. After finding my YOUSHARES Shure SM7B shock mount useless on the Beta 27, I bought the A27SM ShureLock Rubber Isolated Shock Mount. At $70 it is pricey but works great.
The A27SM threads onto the mic at the base and may be securely used at any angle, including upside down.
RFI Resistance
The thick steel case provides great RFI shielding. In RFI prone Honolulu, no static or rogue radio stations were evident while using the Beta 27.
Sound Quality
The Beta 27 is sensitive and detailed, but with a smooth and natural presentation. The flat frequency contour of the Beta 27 is ideal for acoustic guitar and spoken word, but too mellow for some singing styles. An EQ boost of 2 or 3 dB from 3000 Hz to 7000 Hz would impart similar vocal presence as the SM27.
That flat frequency contour is precisely why I choose the Beta 27 over the SM27: easy to EQ and requires less processing than mics optimized to boost vocal presence (lower highs). Absence of the vocal presence boost nixes sibilance and that cheap twang guitars make when miked with vocal mics like the SM58.
Frequency Response
Shure lists the frequency response as 20 Hz to 20,000 Hz. There is no bass roll-off but a little bump at 50 Hz. Frequency response is essentially flat from 60Hz to 3kHz, with small peaks (+2dB or less) at 5500 Hz and 9000 Hz. Upper frequencies gradually roll-off -6 dB beginning at 16,000 Hz. The Beta 27 has a flatter response than the Shure's other 27 series models. For example, the SM27 has a +4dB peak at 6500Hz.
Shure Beta 27 Frequency Response | Image courtesy Shure
For both guitar and my voice there is nothing going on below 80 Hz, so I leave the high pass filter at 80 Hz. I tried recordings without the high pass filter and rumble from the neighbor's AC was audible in quiet sections of the track. Indeed, with such extended bass response, a high pass filter is essential.
Voiceover
I create instructional videos on music topics, using the Beta 27 for voiceovers and talking head. Here's how I used the Beta 27 in this endeavor.
Speaking Distance
For voiceovers in my video, the "Buzz Threshold," I spoke 10 cm (4") from the mic, no offset, invoking a mild proximity effect. For talking head, I was offset 30 degrees and 20 cm from the capsule to avoid "mic face." The result was a natural vocal rendering: brighter and less bassy compared to the voiceover.
I don't move around much while speaking so the narrow acceptance angle of the supercardioid polar pattern didn't result in dropouts. However, an animated vocalist may be better served with the wider cardioid pattern of the SM27.
Plosives
The Beta 27 is marketed for instrumental use but has the same 3-layer mesh grille used in similar large-diaphragm condensers such as the KSM42, KSM44A, and SM27. For me, the mesh grille did a great job of nixing plosives and mouth noise. I didn't need external pop protection. However, those with an inclination for strong plosives will need an external pop filter or foam windscreen. Shure's official foamie for the Beta 27 is the A32WS.
Buzz Threshold | Peter Kun Frary in action with with the Beta 27 (3:46)
Tools and Software
In the "Buzz Threshold," I paired the Beta 27 with the Rode Streamer X (digital audio interface). Talking head and voiceovers were recorded in TwistedWave (48 kHz and 24-bits) and synced with video. No audio processing was used beyond normalization and engagement of the 80 Hz high pass filter switch on the Beta 27.
Video clips were shot on a Canon R6 MK II. Images were taken with Canon R, R6 MK II and R7 cameras and edited in Lightroom Classic and Photoshop. Guitars were recorded on a Tascam DR-60 MK II with a pair of Neumann KM 184 in X-Y stereo configuration and edited in Logic Pro. Finally, all these components were assembled in Final Cut Pro.
Final Cut Pro | "Buzz Threshold" Timeline
Sound Comparisons
Below are audio tracks of the Beta 27 and other mics I've used for spoken word. Mics were mounted on a boom clamped to a computer desk in a partially treated room. I spoke 8 to 10 cm away from the mic while recording in TwistedWave at 48 kHz and 24-bits. Gain was staged to average about -12 dB. No normalization or processing used. Mics used a foam pop filter unless otherwise noted.
For my speaking voice, not much is going on below 80 Hz and, set flat, the Beta 27 has a bit of the "big bottom" sound. Clarity of my voice increased slightly by using the built-in 80 Hz high pass filter:
The Beta 27 was recorded through the Rode Streamer X with preamp gain at 50 dB. I spoke straight into the capsule from 15 cm (6 inches). The mic’s 3-layer mesh grille did a great job of nixing plosives and mouth noise. Sibilance was well controlled as well.
The tight supercardioid polar pattern made for above average off-axis rejection of sound, besting most of my mics. Unlike the similar SM27, the Beta 27 is ideal for recording on stages and untreated rooms.
Shure Beta 27 with Guitar
Here's a guitar solo I played on a 1990 Jose Ramirez 1A. The Beta 27 is positioned about 20 cm from the treble side of the bridge and does a great job. However, I prefer the sound of small condenser mics—well, the Neumann KM 184—for classical guitar. Plus, I'd need two Beta 27 for stereo recordings! Here's my "Thoughts for Monday" (improvisation):
This mic retails for about $400.
AKG C3000B
The AKG C3000B, circa 2009, is a large diaphragm side-address condenser mic. It remains in production as the AKG C3000 and sells for $350 USD. The lower treble frequency bump makes it too bright for classical guitar. On the other hand, that bump makes it a good mic for spoken word, exhibiting clarity, detail and a bit more treble bite than the PodMic USB.
The AKG was recorded through the Rode Streamer X with gain at 46 dB.
Lewitt LCT 240 Pro
The Lewitt LCT 240 Pro was plugged into the XLR input of the Rode Streamer X. Gain was set to 47 dB. This is a small diaphragm side-address condenser mic designed for home studios. It's an attractive and compact design, especially the effective yet space saving magnetic drop-in pop filter.
The 240 Pro flatters my voice with a pleasing but somewhat bright timbre and above average clarity and legibility of words. With the pop filter, plosives and sibilance were well controlled. Without the pop filter, the 240 Pro sounds like a wind storm. Wear protection!
While the bright character makes for clear and understandable words, it also makes the 240 Pro more prone to picking up background sounds than many of the mics here, save for the Neumann TLM 102.
Without accessories, the 240 Pro is priced at $100 USD. The shock mount and pop filter kit clock in at $159.
Neumann KM 184
Obviously, the KM 184 is not designed for close miking of spoken word: no protection from plosives and moving air. That doesn't mean the KM 184 won't sound good for spoken word, but use of a pop filter is mandatory.
The KM 184 is a sensitive and dynamic mic—why I like it for instruments—but with only a foam windscreen, plosives were out of control. I nixed plosives by speaking offset about 30 degrees but didn't like the duller sound. Finally, I added an external pop filter and that worked well enough to squeeze out a test track. The KM 184 is flattering for my voice: smooth, clear and very clean. As I experienced with guitar, off-axis rejection of sound is excellent.
Would I use this mic for voiceovers? Probably not. It is extremely sensitive and requires good vocal technique to keep plosives and dynamics under control. Somebody with better voice technique may find it doable but the KM 184 cramped my style. With that said, the KM 184 is my pick for best spoken word sound among my mics. My favorite for solo guitar tracks as well.
For this recording, the KM 184 was plugged into the XLR port of the Rode Streamer X. Output from the KM 184 is robust: gain was set to only 36 dB, lower than my other condenser mics.
Music track recorded with two KM 184 in a X-Y stereo configuration aimed at the bridge. "Through the Eyes of Love" played on a Romero Creations 'ukulele by yours truly:
Neumann TLM 102
One of my favorite mics for recording classical guitar is the Neumann TLM 102, a large diaphragm side-address condenser mic. Pointed at the bridge, it renders a beautiful and sweet plucked string tone. For guitar, it needs little or no EQ.
While great sounding for voice—smooth and natural in character and flattering to my voice—it is extremely sensitive to mouth sounds and puffs of air. I used a foam filter from the Deity VO-7U to help control plosives. That wasn't enough so I added a clamp-on pop filter but still had to be careful while speaking.
The TLM 102 is also more sensitive than average to vibrations from the floor, computer fans and off-axis sounds! I used a clone of Neumann's shock mount to help nix vibrations. It is unusable without a shock mount.
I recorded the Neumann TLM 102 through the XLR input of the Rode Streamer X. Gain was set at 46 dB. The TLM 102 is at its best in an acoustically treated and soundproof room.
Currently, the 102 retails for $750 USD.
Rode PodMic USB
I plugged the XLR output of the Rode PodMic USB into the Rode Streamer X and set gain to 63 dB. The Rode PodMic, along with the Shure SM7B, rule over the video blogging and podcast kingdoms. Of course, they sound good and offer excellent isolation but also are large and visually impressive status mics.
Although vocal tone sounds nice, I struggled with plosives and sibilance when using the PodMic USB. Somehow the Shure SM57 and 849 have fewer problems in this area. An external pop filter and 30 to 45 degree mouth angle were required to keep plosives and sibilance under control. I prefer the tone speaking straight into the mic but suffered too many do-overs.
The PodMic USB retails for $200 USD.
Sennheiser MKE 600
That was the unprocessed sound of the Sennheiser MKE 600 recorded into an iMac Pro using the XLR input of the Rode Streamer X. I spoke directly into the MKE 600—no offset—from 10 cm (4 inches) away. At that distance the proximity effect is apparent but still sounds good, similar in character to the MKE 400 but with more bass. Offset speaking of 25 to 45 degrees at close distance rolls off highs a little but not as severely as the MKE 400.
Spoken word on the MKE 600 sounds best at 30 cm (12") or closer. For me, the sweet spot is from 10 to 15 cm. At about 12 cm (5 inches) it yields a noticeably clearer, brighter and less bassy sound. For this sample, I used the high pass filter to reduce the rumble of a nearby AC unit and spoke from 12 cm away:
It helped reduced the AC rumble but ate too much of the bass in my voice.
While the MKE 600 has excellent off-axis rejection, it is extremely sensitive and picks up distant sounds directly in front of the capsule more readily than the MKE 400 and other mics I own. Careful mic placement is critical. The MKE 600 behaves like a traditional shotgun mic rather than an arm's length video blogger mic, and sounds good boomed 25 or 30 cm above a talking head.
The MKE 600 lacks the integral blimp-like housing used on the MKE 400 and 440. It needs a foam windscreen if speaking at close distances. With windscreen installed, the MKE 600 demonstrates excellent control of plosives and sibilance.
This mic retails for about $330 USD but is often discounted.
Rode X Streamer | Mounted on a Manfrotto arm for easy port access.
Shure 849
For this recording, I plugged the 849 into the XLR port of the Rode Streamer X interface. Gain was set to 46 dB.
The Shure 849 was surprisingly flattering for my voice: smooth, warm, clear and very clean. With a foam windscreen or pop filter, it is extremely forgiving of plosives and small puffs of air. Because it was designed for isolating and miking stage instruments, off-axis sound rejection is excellent.
Among the mics I tested, the 849, SM137 and the Beta 57A were the only mics that picked up no vibrations or hum from my hard drives and nearby AC units. These mics were designed for hand held use and, thus, have internal pneumatic shock mounts.
Shure Beta 57A
You just heard the sound of the Shure Beta 57A plugged into the XLR input of the Rode Streamer X.
Beta 57A isolation from off-axis sound is excellent: better than the Rode PodMic USB, Neumann TLM 102 and AKG C3000B, and on par with the Shure 849 and SM137. Like the 849 and SM137, the Beta 57A features Shure's internal pneumatic shock mount to smooth away handling noise and minor vibrations.
With the Shure A57AWS - Locking Foam Windscreen installed, resistance to plosives is highly effective, easily besting the Rode PodMic USB and Neumann TLM 102 in this regard. Without the A57AWS, it is plosives galore albeit a little better than a bare SM57.
The sound is smooth, clear and surprisingly sensitive for a dynamic mic—dare I say almost condenser like? Clarity and legibility of words is above average—can cut through a busy sound track without cranking gain too much. The Beta 57A has a brighter character and more extended frequency range compared to the darker voiced SM57. Although they share two digits in their names, the SM57 and Beta 57A have little in common in terms of tonal character.
Although the Beta 57A is small and traditional in appearance, the faded matte blue finish and matte silver grill are more upscale in appearance compared to the industrial look of the SM57.
The Beta 57A retails for $150 USD.
Shure KSM8
The KSM8 was recorded through the XLR port of the Rode Streamer X with gain at 57dB. For this track, I spoke straight into the mic from 10 cm (4 inches) away.
Although designed as a vocal mic, the KSM has a significantly flatter frequency profile than the SM58. Shure claims the dual diaphragm design reduces the proximity effect and enlarges the sweet spot. I found that claim to be true and loved the ease of working with this mic: didn't need to worry about small changes in positioning changing the sound. Of course, this design is not for everybody, especially those into strong proximity effects and radio DJ timbre, but I love its more natural rendering compared to typical vocal and broadcast dynamic mics.
I don't own a shock mount for the KSM8, so I expected plenty of noise when testing it on a boom arm clamped to my computer desk. Amazingly, unlike most of my other mics, the KSM proved to be immune to hard drive and fan vibrations. Shure's user guide claims that an "advanced internal pneumatic shock mount and the Diaphragm Stabilization System (DSS™) work together to prevent handling noise." Apparently it nixes vibration much better than my other internal pneumatic shock mount equipped Shore mics.
This tough but beautiful mic sounds great: warm, smooth and easy on plosives and sibilance. Off-axis sound rejection is excellent. Among all my dynamic mics, I found the KSM8 the most flattering for my voice. It is also easy to work with, not too gain hungry, has a big sweet spot and tolerates close sound sources with only slight but a pleasing proximity effect.
The KSM8 is pricey, retailing for $399 USD, albeit I snagged one on sale for $319.
Shure SM57
The Shure SM57 was recorded through the XLR port of the Rode Streamer X with gain at 67dB.
For this track, I spoke straight into the mic from 10 cm away. If you prefer less brightness, speak offset to the capsule. Sound is warm, smooth and easy on plosives. SM57 tone is more flattering for my voice than the Rode PodMic USB. Rejection of off-axis sound is excellent.
Despite great sound and joint rock and presidential legacies, the SM57 is unlikely to replace the oversized status symbol mics used in YouTube productions.
The SM57 retails for $99 USD.
Shure SM137
For this recording, I plugged the Shure SM137 into the XLR socket of the Rode Streamer X and set gain to 47dB. The Shure A3WS Foam Windscreen was installed. Like the Beta 57A and 849, the SM137 has excellent rejection of background and handling noise. Indeed, Shure's pneumatic shock mount system smooths away minor vibrations and makes hand held use practical. Albeit slightly brighter, it sounds similar and looks like the Shure 849. The SM137 retails for $190 USD.
Final Blurb
Why use the Beta 27 for spoken word when there are so many dedicated vocal mics? I already owned one and most importantly, it sounds great for spoken word right out of the box. I didn't even need a pop filter. After all, the Beta 27 design is based on the SM27 and KSM27 vocal mics. Compared to a vocal mic like the Shure KSM8, the Beta 27 requires a little more care due to the extended bass response and supercardioid polar pattern. However, if you engage the high pass filter and don't move around too much, you can use the Beta 27 with abandon.
For spoken word, especially in untreated spaces typical of home studios, it excels with solid tone, good plosive rejection and impressive off-axis isolation. And it is versatile—a studio and stage workhorse—suitable for almost anything you throw at it, including spoken word.
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Build Quality
RFI Resistance 
Sound Quality
Features & Specs
Physical
