Founded in 1925 as the Shure Radio Company, Shure has a long history of transducer technology innovations during the past 100 years. Introduced in 1929, Shure’s first microphone was the Model 33N two-button carbon design, followed by the Model 40 D condenser and 1935’s Model 70 crystal mic. In 1939 Shure engineer Benjamin Bauer developed the “Uniphase” acoustical system, resulting in the first single-capsule unidirectional mic, the Unidyne Model 55. Later, Unidyne III variants of that capsule were incorporated into industry-standard SM57s and SM58s followed by Shure’s 1989 Beta 57 and Beta 58 models with high output neodymium magnets and supercardioid patterns.
In 2024, Shure introduced the Nexadyne 8 line of advanced vocal dynamic mics based on Shure’s patented Revonic™ dual-engine technology. Unlike typical single capsule dynamic microphones, this innovative approach employs two precisely calibrated transducers working together to achieve optimal performance. The result is a high performing microphone lineup that combines state-of-the-art acoustic signal processing and exceptional linearity in the polar response.
Nexadyne for Instruments
Shure expanded the Nexadyne offering to include three new instrument microphones. Also using Revonic Technology, the dual transducers in each microphone work together to provide acoustic optimization, maximizing specific frequencies while minimizing unwanted noise and mechanical vibration. The transducers are mechanically identical and wired electrically out of phase. The top transducer captures the acoustical signal with increased isolation and clarity while the bottom transducer works in conjunction to cancel mechanical noise while providing a more controlled polar pattern. This built-in passive signal processing delivers a stronger output with exceptional off axis rejection and reduced stage bleed, allowing the desired sound to cut through the mix. Revonic Technology enables Nexadyne mics to faithfully capture the instrument’s sonic detail for an authentic, natural sound requiring little to no additional EQ or outboard signal processing.
For this review, Shure provided a Nexadyne 2 Kick Drum mic, three Nexadyne 6 Tom/Snare Mics and the Nexadyne 5 Guitar Amp Mic. Each mic was packed in environmentally friendly packaging and included appropriate mounts along with a zipper vinyl storage pouch.
Nexadyne 2 Kick Drum Microphone
Slightly smaller than the flagship Shure B52, this mic really packs a punch. Its compact die-cast aluminum housing sports a rugged steel dual mesh grille with internal foam liner to keep dust and debris from the capsule. The Revonic dual motor element is securely supported in the housing and is protected by a rubber-like surround with a translucent third layer mesh over the diaphragm. Four ports located halfway down the outside of the capsule assembly allow sounds to enter the rear of the capsule to provide the mics’ polar response. The mic element has a QR code printed on the back side of the capsule. Wired Shure microphones typically do not have serial numbers on the mic body — could this be a new trend?
An integral swivel mount with thumbscrew allows quick and secure microphone positioning. Designed to mount on a standard 5/8 x 27” microphone stand, the microphone also includes a 3/8” thread stand adapter insert. The discreet black finish offers a non-reflective low-profile look on stage.
I found the microphone’s smaller size ideal, allowing for easier positioning than my B52. On a jazz gig, I noticed the kick sound was tighter overall and the Nexadyne 2 captured a nice round tone. On a rock gig, I could get a powerful full-bodied kick without it sounding overdone. Compared to my trusty B52, the Nexadyne 2 had more low-mid response along with a nice rise at 12kHz that captured beater smack. I found that the Nexadyne 2’s excellent off-axis rejection allowed me to push the kick in my mix without low-end feedback worries.
Nexadyne 6 Tom/Snare Mic
Designed to clip to snare and tom rims, the compact Nexadyne 6 has a die-cast aluminum housing with rugged steel mesh grille and includes a robust adjustable clamp. Two locking thumbscrews enable the microphone to slide up, down, rotate, and tilt in the clamp for accurate positioning. The part that attaches to the drum securely holds the mic but is larger and stiffer than other similar mounts. I did find it awkward to mount the clamp on a drum that has “rims-type” holders. A mic stand clamp option for this mic would solve this issue.
The Nexadyne 6 response is tailored for snare and toms with a smooth low-end, defined rise in the high mids and a small peak in the 12 kHz range. I prefer its super-cardioid polar pattern, as I could mount the mic out of the drummer’s way on snare while minimizing high-hat bleed. On a jazz gig, the Nexadyne 6 easily captured the subtle snare nuances of the drummer’s brushes, and on the rock gig, I got a punchy snare sound with minimal channel EQ.
On toms, the Nexadyne 6 brought out the full drum tone while its excellent off-axis rejection reduced cymbal bleed. I also tried the Nexadyne 2 on floor tom and prefer its fuller low-end.
At one gig, the drummer played a four-piece kit with one rack tom, freeing up a Nexadyne 6. Since they had two guitar players, I tried the Nexadyne 6 on the rhythm guitar amp. I removed the clip, hung the mic and was quite pleased with the result.
Nexadyne 5 Guitar Amp Mic
Rounding out the mix (no pun intended) is the Nexadyne 5. Designed for amplified guitars, its 50 Hz to 16 kHz response range with its smooth low end and midrange shaping enhances the natural guitar sound while the high end rolls off above 12 kHz to tame unwanted amp noise. As a result, every note cuts through with accurate lows, natural midrange and high-end clarity while the excellent off-axis rejection minimized unwanted sound even on a loud stage.
Like the other Nexadyne models, the Nexadyne 5 features a die-cast aluminum side address housing with a rugged steel grille. Finished in non-reflective black, the low-profile mic is designed to hang over a guitar amp. Unlike lightweight guitar amp microphones, once I positioned the Nexadyne 5, it stayed in place. Its unique shape kept it from rotating even when deployed using a twisted mic cable. For applications where the mic needs to be stand mounted, it securely slips into the included Shure mic clip.
On every gig, the Nexadyne 5 faithfully captured the desired guitar tone with little channel EQ or processing making it quick and easy get it dialed in.
Step Up to Nexadyne
In the short time I have used the Nexadyne instrument mics, I found them to be a go-to choice for drums and guitar. Easy to deploy and requiring minimal EQ work at the console, they accurately captured the sound of everything I put them on. Ruggedly built around Shure’s real-world reliability standards, Nexadyne mics are the road-ready choice for touring. Shure’s Revonic transducer technology has raised the bar for high-performance dynamic microphones, and I like what they are doing.
At a Glance:
New Mic Tech for Instruments
Designed for kick, snare/toms and guitar amps, Shure’s new Nexadyne instrument mics incorporate innovative Revonic™ dual-capsule technology.
Shure Nexadyne Instrument Mics
PROS
- Detailed clarity
- Excellent off-axis rejection
- Minimized mechanical/handling noise
- Rugged construction
CONS
- Nexadyne 6 Drum clip can be hard to attach to some drum rims
SPECS
Type: Dynamic with secondary vibration cancelling dynamic transducer
Polar Pattern: Supercardioid
Response: Nexadyne 2: 20 Hz to 16 kHz; Nexadyne 5 & 6: 50 Hz to 16 kHz
Sensitivity: Nexadyne 2: -66.0 dBV/Pa (0.5 mV/Pa); Nexadyne 5 & 6: –61.0 dBV/Pa (0.9 mV/Pa)
Connectors: XLRM 3-pin
Weight: Nexadyne 2: 535 g (1.18 lbs.); Nexadyne 5: 295 g (0.65 lbs.); Nexadyne 6: 245 g (0.54 lbs.)
Price (Street): Nexadyne 2: $249; Nexadyne 5: $219; Nexadyne 6: $249; Nexadyne 6 (Three-pack): $649
MANUFACTURER: Shure
More Info: www.shure.com
