545's must have had their inception somewhere in the 60's as I remember them from that era. Maybe earlier. Certainly an xlr connector would make it a 'later' model.

Sorry, I have no particular knowledge of the mics in question, I just wonder what you intend to use them for? Should be "good" mics and all that, but I'm thinking PA use in their time? When you get them I hope you'll repost about what you find - connectors, impedence, maybe a pic, etc.(Couldn't access the pic site) - for reference, as it were, incase I find any, sometime...

Thankx!

TG

Thanks for replies...

TeddyG, I've got 5 or 6 SM57s laying around for various tracking apps (snares, guitar amps, occasionally toms), and saw these on ebay - they are basically the predecessor to the 57, made in US. Have heard a lot about how they seem to have a "meatier" sound, etc, and people seem to like them more than the 57, so bought them. Not an expensive investment at least for the sake of some knowledge anyways!

Thanks,
Jon

Many years ago, it was explained to me by a Shure engineer that they would manufacture 1 type of cartridge for several different model mics. Then they would "grade" them according to whatever QC criteria they had set up. The 57/58 models got the "A" version, the 545 and 565 would get the "B"version. I remember doing some sort of "A/B" test between the 545 and the 57 and not really hearing a difference. My test between the 565 and the 58 was more discernible in that the 565 was much more susceptible to feedback. I still have a pair of well-worn 545's and they are pretty much relegated to the guitar amps due to their HF loss over the years.

Moon is right on about the 'grading' system in place at Shure, and certainly other companies with a large amount of product in their line that have similarities. I dont think the 545/565 series was relevant after the UnidyneIII moniker was dropped. It was pretty much SM this and SM that after that period although they have reissues of the 545/565 series now.

Much of the tonal difference between a 57 and a 58 can be attributed to this grading system. I dont remember what criteria was used and where the breaking points were, but the 58's had a bit less proximity effect in the response and with the 'ball' were able to be worked better by a singer.

Perhaps this is one reason they just dont quite cut it for guitar micing in the same way as a 57.

The 545's I've owned were tremendous mics and the PE56 was a superb sounding thing. They do age though and some not gracefully. Buyer beware.

I will say this and its a reiteration from many many posts....the UnidyneIII's for whatever reason, in the 57 and 58 configurations, blow away ALL the 57 and 58 models I've heard since. I have two left from my large PA days that are cold-dead-finger-prying pieces in my kit. One I would not hesitate for a moment to record an entire album with if it was the only choice I had.

Thanks guys.

I got the mics in the post just then. I'll give them a shot later on, and let you know how it goes! BTW they ARE 4-pin connectors, I'll have to make some cables up.

http://shop.synthplanet.com/product-froogle.lasso?pr=010657&-Session=shop:1898DD500a6d224C83HjM2717861&stid=synthplanet&from=http%3A//www.google.com/search%3Fhl%3Den%26q%3Dshure+545+unidyne+III

A picture of same microphone? I do remember seeing these, now I'll have to actually LOOK at them when I see them again!

TG

Very good, TG! I hope that I never run across another mic with a "silent, magnetic reed switch" as long as I live! They were 'silent' because they went bad!
I took another look at my Unidynes and they are these 548 models with a longer black-and silver grille head. I kept them because I had some pix of McCartney singing into one when he was with 'Wings'. Goofy mic, goofy me.

Hi,

No, they're not the switched models, which is good. Still haven't had a chance to try them out yet...

I'll let ya know how they are