Shure

Browse Shure vintage audio equipment in the Vintage Technology Archive.

Cartridges

• M-93E — Shure M-93E moving-magnet phono cartridge, documented 1970–1980 — factory-fitted on the BSR 610/X, Garrard SL 95B (Altec 911A), and AR-XB turntables.
• M44G — Shure M44G phono cartridge — obscure, little-documented variant of Shure's M44 series. M44G-specific specs unverified; series prices appear in High Fidelity 1981.
• V-15111 — The Shure V-15111 is a little-documented audio model. Period sources may link it to the V-15 Type III phono cartridge, but no specs are confirmed.

Headphone

• HTS-50CF — Shure HTS-50CF center-front speaker from the HTS Theater Reference System: twin 6.5-inch shielded woofers, 1-inch dome, 55 Hz–18 kHz, 37 lb.

Microphone

• 15-III — Shure V-15 Type III phono cartridge — stylus resonance pushed to 23 kHz, laminated body for flat response, tracks most records at ¾ gram.
• 520D (1980-1997) — Shure 520D Green Bullet (1980-1997): the omnidirectional controlled-magnetic harmonica mic, 100 Hz–5 kHz, dual impedance, 630 g of die-cast grit.
• 55S — The Shure 55S Small Unidyne — satin chrome, 50–15,000 Hz, Ultra-Cardioid, three-position impedance switch. The working mic behind the famous silhouette.
• 585-SA — Shure 585-SA Unisphere A — high-impedance budget dynamic vocal mic, $65 list, pop-suppressing spherical filter. The cheap seat in Shure's Unidyne family.
• BETA-58 — Shure Beta 58 supercardioid dynamic vocal mic — neodymium capsule, pneumatic shockmount, $258 street. The SM58's hotter, tighter sibling.
• M-610 — Shure M-610 Feedback Controller — eight dip filters, roll-off switches, rack-mountable, $117 net. A 1970s utility box for taming room feedback.
• M-615AS — Shure M-615AS Equalization Analyzer System — 11-lb portable room analyzer with pink-noise generator, ES615 mic, 10-band LED display (32 Hz–16 kHz), ±1 dB accuracy. $429 net.
• M-688 — Shure M688 stereo microphone mixer — four inputs, 600-ohm transformer I/O, 20 Hz–20 kHz ±1 dB, simultaneous stereo and mono PA feed.
• M100 — Shure M100 compact stereo system (mid-1960s) — Shure electronics and speakers around a Dual 1009 and V-15 cartridge, $389.50–$450.
• SM-83 — Shure SM-83 omnidirectional lavalier condenser — the 730 Hz chest-resonance dip, 9V or simplex power, and $210 broadcast pricing.
• SM-91 — Shure SM-91 — the first unidirectional surface-mounted condenser mic. Half-cardioid boundary design, battery or phantom power, switchable low-cut.
• SM53 — Shure SM53 (1969–1984): a professional unidirectional dynamic with 70–16,000 Hz response, built-in shock mount, and a reputation among engineers like Wally Heider.
• SM54 — Shure SM54 (1972) professional cardioid dynamic mic with pop-filtering acoustic network, minimal proximity effect, and on-camera no-glare finish. Original price $162.
• SM56 — Shure SM56 dynamic cardioid — the narrow-pattern workhorse engineers used on toms, snare, and close-miked synth. Period reviews and session credits.
• SM85 — Shure SM85 cardioid condenser — hand-held stage mic with 11–52V phantom power, aluminum body, and a vocal-tailored response.
• SM86 — Shure SM86 handheld cardioid condenser vocal mic — 50 Hz–18 kHz, 11–52 Vdc phantom power, three-point shock mount, two-stage pop filter, $300 period price.
• SM87A — Shure SM87A condenser vocal mic — a capsule-first design sold as a wireless handheld option and a wired mic, documented mainly through Shure's interchangeable-capsule lineup.
• SM94 — Shure SM94 small-diaphragm condenser — 141 dB SPL handling, AA battery or phantom power, steel case. The utility condenser that ended up on hi-hat and floor tom.
• SR-107 — Shure SR-107 ten-band octave equalizer — 31 Hz to 16 kHz, ±15 dB per band, 99 dB SNR, $250 list. Companion to the M615AS analyzer.

Microphones

• 15-II — Documentation on the Shure 15-II is thin; period reviews identify it as the V-15 II stereo phono cartridge, noted for improved trackability.
• Beta 58A — Shure Beta 58A supercardioid dynamic vocal mic — true supercardioid pattern, neodymium magnet, hardened steel grille. The stage workhorse that follows the SM58 and sharpens the attack.
• BLX288 — Shure BLX288 wireless dual vocal system: dual-channel handheld wireless rig in Shure's BLX family. Little documented — no production years or full specs.
• M212 — Shure M212 Studio Dynetic integrated tonearm and cartridge (c. 1958–1961), $89.50 net, 1½-gram tracking, upgradeable to the N22D stylus.
• M60 — Shure M60: obscure late-1960s vacuum tube stereo line preamplifier. 17 dB gain, 35 mV out for 5 mV in. Documented in Audio, May 1967.
• M91 — Shure M91 (M91E) phono cartridge — 1969 Easy-Mount Hi-Track model at $49.95, praised by Stereo Review and High Fidelity for tracking and neutral sound.
• M91E — Shure M91E phono cartridge, c. 1970–1971. Positioned below the V-15 Type II; known mostly through period Shure ads quoting Stereo Review and High Fidelity.
• MX185 — Shure MX185 cardioid condenser lavalier — 50 Hz–17 kHz, 150Ω, 730 Hz chest-resonance dip. Specs and family details from Shure Microflex documentation.
• N21D (c. 1961) — Shure N21D tubular stylus (c. 1961) — high-compliance upgrade for M3D/M7D cartridges, 20-20,000 cps, 2-gram optimum tracking, $12.50 as a standalone stylus.
• SLXD24/B58 — Shure SLXD24/B58 digital wireless system with Beta 58A capsule, SLXD2 transmitter, SLXD4 receiver. Retail listings document 24-bit audio; little else is known.
• SM-58S (1984–Present) — Shure SM-58S — the switched variant of the SM58 dynamic vocal mic, with on/off toggle, cardioid pattern, and 50–15,000 Hz platform response.
• SM-81 (1978–) — Shure SM-81 (1978) small-diaphragm cardioid condenser — 20 Hz–20 kHz, 85-ohm output, lockable 10 dB pad, steel body built to survive a six-foot drop.
• SM-89 — The Shure SM-89 is a little-documented shotgun condenser microphone, documented mainly by a December 1990 Audio equipment profile.
• SM48 — A cardioid dynamic vocal microphone designed for live performance and spoken word. Covers the complete spec table and when it was made.
• SM58 (1966–) — Shure SM58 (1966–), 298g cardioid dynamic vocal mic, 50–15,000 Hz, -54.5 dBV/Pa — the live sound standard for sixty years.
• SM7B (2001–) — Shure SM7B (2001–): the cardioid dynamic broadcast mic that became a podcasting icon. Warm, flat response, 766 g, and hungry for +60 dB of gain.

Phono Cartridge

• M-75 — Shure M-75 phono cartridge — the workhorse behind the V-15, with N75 stylus options for LP and 78. Period reviewers compared it closely to the flagship.
• M-92E — Shure M-92E phono cartridge (1969): the $44.95 middle model of Shure's easy-mount trio, ¾–1½g tracking, elliptical diamond, 6.5mV output.
• M-95ED — Shure M-95ED phono cartridge — flat 20-20,000 Hz response, pole piece derived from the V-15 Type III, and a stylus upgrade path to Hyperelliptical.
• M44-7 — Shure M44-7 phono cartridge: 15° tracking angle, .0007-inch conical stylus, 1½–3g tracking, $19.95 in period ads. The working-man's Shure that became a DJ legend.
• M97HE — Shure M97HE phono cartridge — hyperelliptical stylus, ½–1½g tracking, $112.50 list. The V15's ideas at a working price.

Speakers

• SR-112W — Shure SR-112W: a little-documented 1981 Shure loudspeaker, known mainly through a High Fidelity review at $220 with a 55Hz-20kHz response.

Tonearm

• SME-3009 — Shure/SME 3009 tonearm (1959–) — British-built, Shure-branded. Reviewed at $100.50 in 1966. 9-inch effective length, static balance, detachable headshell. A reference vintage arm.

Tonearms

• SME-3012 — The Shure SME-3012 was a tonearm for 16-inch records, listed at $99.50 in 1963. Little else is documented. This page has production years.

Unknown

• 3009-III — Shure 3009-III — a little-documented tonearm; Audio's 1981 reviews identify it as the SME 3009 III, static-balance, paired with Shure's V15 Type IV.
• D-6000 — Obscure Shure D-6000 — period reviews describe a CD player reviewed by Audio in 1987 at $599. Little else is documented.
• HTS-50SPA — Shure HTS-50SPA power amplifier from the HTS Theater Reference System, circa 1989–1991. Little standalone documentation survives; known specs and period pricing included.
• HTS-5200 — Shure HTS-5200 second-generation Dolby Surround processor, successor to the HTS-5000, reviewed in High Fidelity and Audio in early 1988.
• HTS-5300 — Shure HTS-5300 surround decoder (c. 1989), heart of the HTS Theater Reference System. Dolby Surround, Image Analyzer display, $999.
• V15 Type — Shure V15 Type phono cartridge family — fragmentary archive record, 1967–1979 advertising, $67.50 Type II, hyperelliptical Type III tip.
• VN-15E — Shure VN-15E — the $27 improved stylus for the V-15 Type II cartridge, sold as a tracking-force upgrade for bass-heavy records.

Other Models

• 520DX — Shure 520DX Green Bullet harmonica mic — the bullet-bodied effects mic Les Claypool and countless harp players reach for when clean won't cut it.
• 545L — Shure 545L — the low-impedance, attached-cable Unidyne III lavalier of the 545 Series. 50–15,000 Hz, cardioid, $70 in 1966.
• AMS-8000 — Shure AMS-8000 eight-channel automatic mic mixer — direction-sensitive gating, 70Hz–20kHz response, AMS mic system. The conference-room brain that keeps open mics quiet.
• Beta 181/BI — Shure Beta 181/BI bidirectional side-address condenser — sub-12cm body, interchangeable capsules, Blumlein-ready figure-of-eight.
• Beta 27 — Shure Beta 27 side-address supercardioid condenser — 20 Hz–20 kHz, 154 dB max SPL with pad, 24k gold diaphragm. A live-sound condenser built for loud sources.
• Beta 52 — Shure Beta 52 dynamic kick-drum mic, introduced 1996 to give Shure its first serious low-end contender. Round, chunky low end per period reviews.
• Beta 52A — Shure Beta 52A kick-drum dynamic mic — supercardioid, neodymium magnet, locking XLR stand adapter, steel grille. Built for kick and bass cab.
• Beta 54 — Shure Beta 54 headworn condenser — supercardioid, 20 Hz–20 kHz, 149 dB SPL handling, debuted at Winter NAMM 2003. A fit-and-feedback workhorse with a divisive midrange.
• Beta 56 — Shure Beta 56 — compact supercardioid dynamic drum mic with integral swivel mount, launched 1996. Built for toms, snares, and amps in tight spaces.
• Beta 56A — Shure Beta 56A — compact supercardioid dynamic for toms, snare, and amps, with integrated locking stand adapter and hardened steel grille.
• Beta 57 — Shure Beta 57 supercardioid instrument mic — snare, congas, guitar amps. Tour and studio testimony from Mix, EQ, and Recording-Engineer.
• Beta 57A — Shure Beta 57A dynamic supercardioid mic — 50 Hz–16 kHz, die-cast body, steel grille, built for live sound.
• Beta 87 — Shure Beta 87 vocal condenser — the condenser of Shure's Beta line, marketed on a smooth tailored response and used on high-profile live vocals.
• Beta 87A — Shure Beta 87A hand-held electret condenser vocal mic — supercardioid, 11–52 Vdc phantom power, presence rise and controlled bass roll-off for live vocals.
• Beta 87C — Shure Beta 87C cardioid condenser vocal mic — phantom powered (11-52 Vdc), 139 dB SPL handling, rear rejection for ear-monitor stage use.
• Beta 91 — Shure Beta 91 condenser boundary mic — flat body, detachable inline preamp, 160 dB max SPL. The studio kick-drum secret that started as a lectern mic.
• Beta 91A — Shure Beta 91A boundary condenser mic for kick drum and piano — half-cardioid, 20Hz–20kHz, 155dB max SPL, integrated XLR preamp, 470g.
• Beta 98 — Shure Beta 98 miniature condenser for toms — 160 dB max SPL, gooseneck mount, a live-drum workhorse since the late '90s.
• Beta 98AMP — Shure Beta 98AMP cardioid condenser drum mic — 20 Hz–20 kHz, 157.5 dB max SPL, integrated preamp, A75M gooseneck mount.
• Beta 98H/C — Shure Beta 98H/C clip-on cardioid condenser for horns and percussion — gooseneck mount, shock isolation, $397 in 2002.
• ES615 — Shure ES615 omnidirectional dynamic measurement mic for the M615AS analyzer—flat omni response, prized today as a room mic.
• FP-33 — Shure FP-33 portable 3-input, 2-output field mixer — 3.5 lbs, 8 hours on two 9V batteries, 48V/12V phantom and T-power, over 100dB dynamic range.
• FP11 — Shure FP11 portable mic-to-line amplifier — 84 dB gain, 15-step rotary control, 9V battery, built for ENG/EFP field production.
• FP12 — Shure FP12 battery-powered in-line headphone amp — bridging XLR loop-through, 70–96 dB mic gain, 40 Hz–15 kHz, 10-hour 9V runtime.
• FP16 — Shure FP16 field distribution amp — 1-in/6-out, transformer-coupled, 30–20,000 Hz, phantom power, AC or 3x 9V battery.
• FP22 — Shure FP22 stereo headphone amp — 16 oz field monitor, 9V/12-24VDC, Stereo+I mono/stereo routing, 16dB quieter than FP12.
• FP32 — Shure FP32 stereo ENG field mixer — 3 inputs, 50–15k Hz response, built-in slate and limiter. The stereo companion to the FP31.
• FP32A — Shure FP32A portable stereo field mixer — 30dB lower self-noise than the FP32, 100dB+ dynamic range, three transformer-balanced inputs, $1,795 list.
• FP42 — Shure FP42 stereo field mixer — four channels, pan pots, cuing, headphone amp, adjustable limiters. Built for ENG/EFP and film work.
• KSM 109 — Shure KSM 109 — the budget entry in Shure's KSM instrument condenser line, with transformerless circuitry and low self-noise. A working studio tool.
• KSM 137 — Shure KSM 137 pencil condenser — the studio-workhorse of the KSM line, sold solo or as a matched stereo pair, with pad and rolloff switching.
• KSM 27 — Shure KSM 27 cardioid condenser — 1-inch gold-layered diaphragm, Class A transformerless preamp, 15dB pad, 137dB SPL handling. A project-studio value.
• KSM44 — Shure KSM44 side-address condenser: dual 1-inch diaphragms, cardioid/omni/figure-8, 15 dB pad, 3-position filter, 492 g.
• KSM9 — Shure KSM9 handheld condenser — dual diaphragms, cardioid/supercardioid, 50 Hz–20 kHz, 152 dB max SPL. A studio-grade stage vocal mic.
• L2/Beta 58 — Shure L2/Beta 58 wireless handheld — interchangeable Beta 58 head, supercardioid pattern, 12-hour battery, listed at $748.50 in diversity form.
• M-33-7 — Shure M-33-7 Stereo Dynetic phono cartridge — high-compliance moving magnet, 1.5–3g tracking, 6mV output, $36.50 in the early 1960s.
• M-80E — Shure M-80E Gard-A-Matic — spring-mounted elliptical cartridge for Garrard Lab 80/A70 (and M-80E-D for Dual 1009), $38 in 1966, retracts past 1½g to prevent record damage.
• M267 — Shure M267 four-input broadcast mic mixer — 30 Hz–20 kHz, 30V phantom, 3×9V battery backup, limiter. The remote mixer that outlived them all.
• M268 — Shure M268 four-channel mic mixer — paging and tape utility box, simplex power, battery backup, ~$195–$257 in early-80s trade press.
• M44-5 — Shure M44-5 stereo cartridge: .0005-inch stylus, 25x10-6 compliance, 3/4–1½g tracking, 15° angle. The light-tracking M44.
• M55E — Shure M55E moving-magnet cartridge — 15° tracking, elliptical stylus, 5mV output, $35.50 in 1966. The affordable alternative to the V-15.
• M62V — Shure M62V Level-Loc: a 9V battery-powered compressor/limiter from Shure's early-'70s control line, up to 40 dB compression, £39.20 original.
• M68-RM — Shure M68-RM four-channel reverb mixer, announced 1969 at $180 — high/low impedance switching, master gain, built-in reverb for vocalists and small PAs.
• M7/N21D — Shure M7/N21D moving-magnet phono cartridge — high-compliance N21D tubular stylus, 2-gram tracking, 20–20,000 cps, $17.95–$36.75 period price.
• M91ED — Shure M91ED phono cartridge — the prince to the V-15's king, 20-20,000 Hz, 5.0 mV, bundled with countless 1970s turntables.
• Model 420 — Shure Model 420 Commando — a moderate-cost, general-purpose Shure microphone of the early 1960s, marketed for indoor and outdoor use.
• MODEL-300 — Shure 300-inch multi-impedance ribbon broadcast mic: 40–15,000 cycles, three impedance options, voice-music switch. $135 new in 1954.
• MODEL-330 — Shure Model 330 Unitron ribbon mic — supercardioid, 30–15,000 cycles ±2½ db, 50/150/250-ohm taps, $120 list. A broadcast workhorse.
• MODEL-535 — Shure Model 535 omnidirectional dynamic mic — 60–13,500 c/s response, dual 50–250 ohm/high-Z switch, Alnico V, brass body, A25 swivel adaptor.
• MODEL-548 — Shure Model 548 Unidyne IV — hand-held cardioid dynamic, 40–15,000 Hz, $100 list, Cannon connector; the rugged stage mic The Who's ads name-checked.
• N55E — Shure N55E elliptical stylus — the $20 upgrade needle for the M44 cartridge, 15° tracking, for arms that can track at 1½ grams or less.
• P6HW — Shure P6HW hardwired PSM 600 beltpack — 20 Hz–20 kHz, MixMode, 9V, the wired in-ear monitor that stayed on arena stages for 15 years.
• SC39 — Shure SC39 Series broadcast cartridge — SC39ED, SC39EJ, SC39B, with SIDE-GUARD stylus protection and MASAR tips.
• SE30 — Shure SE30 Gated Compressor/Mixer — a three-input broadcast remote box with Gated Memory compression, 600-ohm line out, and standby battery power.
• SM-61 — Shure SM-61 omnidirectional dynamic mic — ±1 dB 20 Hz–20 kHz, shock-mount, Blast Barrier, $66 net. The pro hand-held that killed handling noise.
• SM-76 — Shure SM-76 dynamic omni mic — 45 Hz–20 kHz response, dual 38/150 ohm impedance, slender steel body. A wideband studio and remote workhorse.
• SM-84 — Shure SM-84 supercardioid condenser lavalier — 730 Hz chest-resonance dip, 12 dB/oct low-end rolloff, beltpack or phantom power. A broadcast workhorse.
• SM-87 — Shure SM-87 supercardioid condenser vocal mic — 50 Hz–15 kHz, phantom powered, $329 at launch. The live vocal condenser that earned its Crowd Pleaser name.
• SM-90 — Shure SM-90 omnidirectional boundary condenser microphone, $310 list, built for inconspicuous surface placement in broadcast and installed sound.
• SM10A — Shure SM10A head-worn dynamic mic — 78g, cardioid, 50–15,000 Hz, 150 ohms, 20° pivot boom. The hands-free vocal tool for drummers and keyboard players.
• SM11 — Shure SM11 dynamic lavalier mic — under a third of an ounce, omnidirectional, 50–15,000 Hz, no batteries. A 1977 broadcast workhorse.
• SM12A — Shure SM12A head-worn dynamic mic with integral earphone receiver — cardioid, 50–15,000 Hz, hands-free for drummers and broadcasters.
• SM33 — Shure SM33 ribbon microphone — super-cardioid, 40–15,000 Hz, dual impedance, $129 new. A broadcast and studio workhorse.
• SM50 — Shure SM50 omnidirectional dynamic mic with self-windscreen, 40–15,000 cps, $125 at launch. A field workhorse built to be rinsed clean.
• SM51 — Shure SM51 — 1967 omnidirectional dynamic lavalier for radio, TV and film. Machined-steel case, recessed grille, snap-in Positive Lock mount.
• SM57-LC — Shure SM57-LC cardioid dynamic mic — 40Hz–15kHz, gray enamel finish, the working engineer's workhorse.
• SM58-CN — Shure SM58-CN — the cable-included SM58. Cardioid dynamic, 50–15,000 Hz, 150 ohms, 298 g, with 25 ft Triple-Flex cable.
• SM58-LC — Shure SM58-LC dynamic cardioid vocal mic — 50 Hz–15 kHz, -56 dB output, under 11 oz. The stage standard that survives everything.
• SM59 — Shure SM59 cardioid dynamic mic — champagne finish, 50–15,000 Hz, 150 ohms, low handling noise, built for broadcast and institutional installs.
• SM5B — Shure SM5B unidirectional dynamic boom microphone, 50–15,000 Hz, a broadcast workhorse advertised from 1967 into 1969.
• SM5C — Shure SM5C — unidirectional dynamic boom microphone with a 100 Hz high-pass filter, built to tame subsonic transients in broadcast and location work.
• SM62 — Shure SM62 — compact 4 oz cardioid dynamic mic, 100–10,000 Hz, 150 ohms, champagne enamel. The podium mic that vanishes and still cuts through.
• SM81-LC — Shure SM81-LC small-diaphragm condenser — 20 Hz–20 kHz, 135 dB SPL, 10 dB pad, cardioid. A working studio instrument mic from the late 1980s.
• SM82 — Shure SM82 cardioid condenser broadcast mic with built-in line-level amp and limiter at 100 dB SPL — the field reporter's self-contained hotline.
• SM91A — Shure SM91A boundary condenser — the kick-drum snap mic producers like Kimsey and Kramer kept on the shelf. Period reviews and session use.
• SM96 — Shure SM96 cardioid condenser vocal mic, late 1980s. Phantom or AA battery power, 70 Hz–16 kHz, 150 ohms. A home-studio workhorse.
• SM98 — Shure SM98 miniature condenser instrument mic (introduced 1985): 12g capsule, 40Hz–20kHz, 153dB max SPL, battery or phantom.
• SM98A — Shure SM98A — the tiny instrument condenser Shure billed as great for drums, favored by producers Kimsey and Kramer and used close-miked on sax.
• SM99 — Shure SM99 miniature supercardioid gooseneck condenser for multi-mic installs — 80 Hz–20 kHz, 150 ohms, integrated low-noise preamp.
• SR-105 — Shure SR-105 professional power amp: 200W rms into 4 ohms, 70V option on the SR105A, short/open-load protection, 20Hz–20kHz ±1.5dB.
• SR-112 — Shure SR-112 compact two-way reinforcement speaker — 95.5 dBA at 1.3m on one watt, 100W/8-ohm rated, 45Hz–16kHz. The indoor sibling of the SR-116.
• SR106 — The Shure SR106 is a rack-mount, unity-gain electronic crossover with 500/800/2600 Hz points—the biamp heart of Shure's SR sound-reinforcement line.
• Super 55 — Shure Super 55 — chrome die-cast Unidyne revival with a Beta 58A-based supercardioid capsule, blue windscreen, and no on/off switch.
• ULTRA-500 — Shure Ultra 500 moving-magnet cartridge — blueprinted V15 V-MR, hand-built and computer-screened. Period reviews called it superb.
• V-15-IV — Shure V-15-IV moving-magnet cartridge — Shure's early-1980s flagship, the benchmark for the MV30HE. Period used prices, stylus notes, and collectibility.
• V15 Type III — Shure V15 Type III moving-magnet cartridge — the benchmark Shure's own V15 Type IV had to beat, with 1.25g max tracking force and a deep stylus upgrade path.
• V15 Type V — Shure V15 Type V moving-magnet phono cartridge — beryllium MICROWALL/Be stylus shank, Dynamic Stabilizer, 10–25,000 Hz response, reviewed by High Fidelity and Stereophile.
• V15-III — Shure V15-III phono cartridge — stylus resonance at 23,000 Hz, new body to match, $50 trade-in pricing in 1974. A trackability landmark.
• VP64 — Shure VP64 handheld omni dynamic for ENG — neodymium element, 50 Hz–12 kHz, $89 street, the newsroom workhorse of the early '90s.
• VP88 — Shure VP88 single-point M-S stereo condenser, $995 list, phantom or battery powered, three switchable stereo spread settings, mono compatible.