Founded in 1925 as the Shure Radio Company, Shure has a long history of innovations in transducer technology during the past 99 years. Just a few of these include: Shure’s first microphone — the Model 33N two-button carbon design — launched in 1929, followed by 1933’s Model 40 D condenser and 1935’s Model 70 crystal mic. A breakthrough came in 1939 with the Unidyne Model 55 — the first single-capsule unidirectional mic, and later, Unidyne III variants of that capsule were incorporated into industry-standard SM57s and SM58s. High-output neodymium magnets and supercardioid patterns joined the line with Shure’s 1989 Beta 57 and Beta 58 models. Another innovation in dynamic transducer technology arrived with 2016’s cardioid KSM8 Dualdyne — the world’s first dual-diaphragm, dynamic handheld mic, offering condenser-like detail from a dynamic design.
Until April 30, 2024, Shure had been tight-lipped about its new Nexadyne 8 line of advanced vocal dynamic mics, yet there were a few clues that something was afoot, such as a year ago, when Shure registered multiple international trademarks on the terms “Nexadyne” and “Revonic.” Anxious to explore these new technologies, FRONT of HOUSE secured some samples from the initial production run to check out. We were not disappointed.
Enter the Nexadynes
Designed for professional vocal performance, Shure’s Nexadyne series are now available for immediate delivery in handheld models in versions featuring either cardioid (NXN8/C) and supercardioid (NXN8/S) polar patterns, priced at $299.
Also available from Shure are interchangeable capsules (also priced at $299/each) compatible with Shure’s Axient Digital, ULX-D, QLX-D and SLX-D digital wireless ecosystems (as well as units from other manufacturers that share the standard 1.25-inch/28-thread screw-mount format) in either nickel-plated or black finishes. And later this year, Nexadyne capsules will be optional bundled with Shure’s pro digital wireless systems.
Key to the Nexadyne microphone’s design is Shure’s patented Revonic dual-engine technology. Most dynamic microphones are designed a single transducer. Breaking from the mold, the innovative Revonic technology employs two precisely calibrated transducers working together to achieve optimal performance. The result is a high performing microphone line that combines state-of-the-art acoustic signal processing and exceptional linearity in the polar response. The end result minimizes the amount of time and effort required by sound engineers to enhance performers’ live vocals and cut through the mix.
Working together, these dual transducers provide acoustic optimization, maximizing specific frequencies and minimizing unwanted noise, particularly handling noise and mechanical vibration. This built-in passive signal processing delivers a stronger output than traditional single transducer designs, while eliminating the need for a traditional shock mount and time-consuming, corrective audio tweaking.
Going Inside
An outer cardboard box contains the microphone, which comes in a fitted nylon-covered, semi-rigid zippered case that provides great protection for the mic and is a cut above the usual vinyl pouch. Also included is a standard Shure soft-flex swivel 5/8-27 thread mic stand adapter and 3/8” threaded insert.
The grill assembly — with its tough, outer steel mesh — unscrews easily for cleaning access (there are no user-serviceable parts inside), revealing a fine cloth layer fitted inside the grill and the capsule assembly, which is protected by a rubber-like surround with a translucent third layer just over the diaphragm as a final protection from dust, smoke and particulates. About halfway down the outside of the capsule element are four ports (smaller on the NXN8/C; larger on the NXN8/S) that allow sounds to enter the rear of the capsules to provide the mics’ polar response. Each mic element has a QR code printed on the back side of the capsule. Wired Shure microphones do not typically have serial numbers on the mic body — maybe this is a new trend.
Step Up to the Mic
I was anxious to put these to the test. Note that the two mics are almost identical in size. The NXN8/C weighs in at 9.1 ounces and NXN8/S weighs slightly more at 10.4 ounces, but less than the 11.6-ounce KSM8. Both the cardioid and supercardioid versions have a matte, non-reflective black finish and a quality feel throughout.
On the subject of feel, both the NXN8/C and the NXN8/S exhibit almost no handling noise (sometimes a problem with many vocalists) and are very well isolated from stand-borne noise being transmitted up through the mic body from stage thumps, bumps and grinds.
I’m not sure (Shure?) if this is a coincidence or not, but the cardioid NXN8/C’s sensitivity clocks in at -54 dBV/Pa, which is in the range of an Audix OM7 or sE Electronics V7 — or the venerable Shure SM58. The supercardioid NXN8/S comes in hotter: -51 dBV/Pa, which is nearly identical to Shure’s Beta 58A. So if you’re running very long mic lines and need a little extra oomph in the gain department, the NXN8/S is your choice.
In term of pop protection, the three-stage pop filtering on both the NXN8/C and the NXN8/S is highly effective and does an outstanding job of handling breath noise, P’s, B’s, T’s and other plosive sounds. Along similar lines, the Nexadynes had no problem with close-in and very high volume vocalists. Shure does not provide a max SPL spec for the mics, but unless you’re trying to capture jet exhaust in the near-field, you’ll have no issues with overload distortion.
The Sound
Both microphones offer useful and quite smooth proximity effect to the performer that truly understands how to work the mic to advantage, with the pure-cardioid NXN8/C taking a slight edge in this area. In fact, this points to one of the key differences between the two mics — the overall sound of the NXN8/C is best described as more lush and smooth, while the NXN8/S has a bit more upper-mid frequency “attitude” for punching through a mix. Yet despite their sonic differences, both mics deliver an almost condenser-like, high degree of articulation and detail.
Obviously, one thing that clearly sets the two Nexadynes apart is their polar response. In creating the cardioid NXN8/C and the supercardioid NXN8/S, Shure has done a remarkable job of delivering mics with very consistent polar patterns. Not only does this provide for a very smooth off-axis response which is attenuated (as it should be) but not harsh, and the accuracy of the polar patterns’ 180° (cardioid) and dual-60° (supercardioid) null points keeps feedback under control without any surprise or “gotcha” frequencies leaping out.
I like this new Nexadyne Series. I should admit that I am more of supercardioid fan, yet both the NXN8/C and the NXN8/S are welcome tools to nearly anyone’s mic package. And particularly after the wireless capsules begin delivering, I’d expect to see a lot of these showing up on stages, clubs, festivals and houses of worship in the years to come.
At a Glance:
A Two-in-One Design
Shure’s new handheld vocal microphone series is based on an innovative Revonic approach combining two capsules into a single high-performance dynamic design.
Shure Nexadyne 8 Vocal Microphones
PROS
- Great Sounding
- Tight Polar Response
- Excellent feedback rejection
CONS
- Wireless bundled systems presently unavailable
SPECS
- Type: Dynamic moving coil
- Pattern: Cardioid NXN8/C; supercardioid NXN8/S
- Response: 50 Hz to 20k Hz
- Sensitivity: NXN8/C, -54 dBV/Pa (2.0mV); NXN8/S, -51.0 dBV/Pa (2.81mV)
- Housing: Cast aluminum, black satin finish
- Weight: NXN8/C, 9.1 oz; NXN8/S, 10.4 oz
- Price: $299
MANUFACTURER: Shure
MORE INFO: www.shure.com/nexadyne
