Shure KSM141 Bedienungsanleitung
KSM141
Dual-Pattern Instrument Microphone
The Shure end-address, condenser microphone, KSM141, user guide.
Version: 2 (2020-A)
Shure Incorporated
2/11
Table of Contents
KSM141Dual-Pattern Instrument Microphone 3
General Description 3
Features 3
Performance Characteristics 3
Model Variations 3
Applications 3
Power Requirements 4
Mounting the Microphone 4
Selecting Low-Frequency Response 4
Setting Attenuation 5
Load Impedance 5
Selecting a Polar Pattern 5
Stereo Pair Stand Adapter 6
Installation 6
Stereo Techniques 7
Specifications 7
Accessories 10
Furnished Accessories 10
Optional Accessories 10
Certifications 10
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KSM141
Dual-Pattern Instrument Microphone
General Description
The Shure KSM141 is a premium, end-address, condenser microphone with a unique rotating collar that allows for easy
switching between a highly consistent cardioid or true omnidirectional polar pattern. Its class A, discrete, transformerless pre
amplifier captures an extremely transparent sound, and a three-position attenuation switch and low-cut filter allow for handling
of extremely high sound pressure levels (SPL) and controlled bass response. An ultra-thin, 24-karat gold-layered diaphragm
and superior build quality make the KSM141 ideal for studio use, yet rugged enough for the most demanding live applications.
Features
A mechanical polar pattern switch for highly consistent cardioid and true omnidirectional polar patterns, providing flexibility
in a wide variety of recording and performance applications.
Ultrathin, 2.5 μm 24karat goldlayered, lowmass Mylar diaphragm for superior transient response.
Class A, discrete, transformerless preamplifier for transparency, extremely fast transient response, no crossover distortion,
and minimal harmonic and inter-modulation distortion.
Premium electronic components, including gold-plated internal and external connectors.
Subsonic filter eliminates low-frequency rumble (less than 17 Hz) caused by mechanical vibration.
Three-position attenuation switch (0 dB, 15 dB, and 25 dB) for handling extremely high SPLs.
Three-position low-frequency filter switch reduces stand vibration noise and counteracts proximity effect.
Performance Characteristics
Extremely uniform polar response
Extended frequency response
Minimal self-noise
Exceptional low-frequency reproduction
Able to withstand high SPLs
High output level
No crossover distortion
Superior common-mode rejection and suppression of radio frequency interference (RFI)
Model Variations
This microphone can be purchased as a stereo pair (KSM141/SL STEREO). In addition to the standard accessories, the stereo
pair includes a stereo stand adapter (A27M) for mounting two microphones on one stand.
Applications
Brass and woodwind instruments
Orchestras, choirs, and wind ensembles
Overhead miking of drums and percussion instruments
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Close-miking of acoustic instruments such as piano, guitar, violins, drums, and percussion
Low-frequency instruments such as double bass and kick drum
Electric guitar and bass amplifiers
Vocals and speech
Room ambience
Note: Sound quality is strongly affected by microphone location and room acoustics. To achieve the best overall sound for a particular application, it may
be necessary to experiment with microphone placement and room treatments.
Power Requirements
This microphone requires phantom power and performs best with a 48 Vdc supply (IEC-61938). However, it will operate with
slightly decreased headroom and sensitivity with supplies as low as 11 Vdc.
Most modern mixers provide phantom power. You must use a balanced microphone cable: XLR-to-XLR or XLR-to-TRS.
Mounting the Microphone
Use the supplied microphone mount with floor or boom stands. Visit www.shure.com for more mounting options:
To reduce the pickup of unwanted low-frequency mechanical vibrations, use an isolating shock mount.
For stereo applications, use the optional Shure A27M Stereo Microphone Adapter.
Selecting Low-Frequency Response
A three-position switch on the back of the microphone lets you adjust the low-frequency response. Use the low-frequency filter
to reduce wind noise, room noise, or proximity effect.
Flat response. Provides the most natural sound in most applications.
Low frequency cutoff. Provides an 18 dB-per-octave cutoff at 80 Hz. Helps eliminate floor rumble and low-frequency room
noise from heating and air conditioning systems. This setting may also be used to compensate for proximity effect or to reduce
low frequencies that make an instrument sound dull or muddy.
Low frequency rolloff. Provides a 6 dBperoctave rolloff filter at 115 Hz. Use this to compensate for proximity effect or to re
duce low frequencies that could make an instrument sound dull or muddy.
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Setting Attenuation
The attenuation switch lets you reduce the signal level without altering the frequency response. This can prevent extremely
loud sounds from overloading the microphone circuitry.
0 dB For "quiet" to "normal" sound levels.
−15 dB For use with extremely loud sound sources such as drums, horns, or loud guitar cabinets.
−25 dB For use with in close proximity (less than 10 cm) to extremely loud sound sources such as drums, horns, or loud guitar
cabinets.
Load Impedance
Maximum SPL capability, output clipping level, and dynamic range vary with the input load impedance of the preamplifier to
which you connect the microphone. Shure recommends a minimum input load impedance of 1000 Ω. Most modern microphone
preamplifiers meet this requirement. Higher impedance results in better performance for these specifications.
Selecting a Polar Pattern
To select either the cardioid or omnidirectional polar pattern, rotate the knurled ring on the microphone in either direction until
you feel a detent. The image of the desired polar pattern should be directly above the notch at the base of the ring.
Note: Operating the microphone in a non-detent position (no polar pattern selected) will produce an unpredictable polar pattern and may adversely affect fre-
quency response.
Cardioid. When this pattern is selected, the microphone picks up sounds directly in front of the microphone and is least sensi
tive to those in back. This is the most commonly used pattern in studio recording and live-sound applications.
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Omnidirectional. Picks up sounds from all directions. This pattern is best for picking up room ambience and for miking several
sources, such as an ensemble or multiple singers, simultaneously. The omnidirectional polar pattern exhibits no proximity ef
fect.
Caution: Rotating the polar pattern switch produces mechanical noise which, when amplified, may damage the loudspeakers.
Turn down any loudspeakers or mute the microphone at the mixing console before changing the polar pattern.
Stereo Pair Stand Adapter
Stereo microphone techniques give depth and spatial placement to sound sources for broadcasting, recording, or sound rein
forcement applications. The Shure A27M allows you to mount two microphones on a single stand with a wide range of angles
and vertical separations for a variety of coincident and closely-spaced stereo configurations.
Installation
Adjust the vertical separation as shown.
Mount on a stand and attach microphones using 5/8"-27 thread stand adapters.
Adjust the microphone angle using the knurled knob. Use the 45 degree reference marks at the top of the knob to set
the desired angle.
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Stereo Techniques
The following table displays the most common stereo techniques. Keep in mind that microphone technique is largely a matter
of personal taste; there is no one “correct” microphone position. For more information, search “Stereo Techniques” at
www.shure.com (www.shure.com/stereo-tech).
Specifications
Cartridge Type
Electret Condenser
Polar Pattern
Cardioid, Omnidirectional (selectable)
Frequency Response
20 to 20,000 Hz
Output Impedance
150 Ω
Sensitivity
open circuit voltage, @ 1 kHz, typical
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–37 dBV/Pa (14.1 mV)
Maximum SPL
1 kHz at 1% THD
PAD ON
5000 Ω load 170 dB
2500 Ω load 164 dB
1000 Ω load 159 dB
PAD OFF
5000 Ω load 145 dB
2500 Ω load 139 dB
1000 Ω load 134 dB
Signal-to-Noise Ratio
80 dB
Dynamic Range
@ 1 kHz
5000 Ω load 131 dB
2500 Ω load 125 dB
1000 Ω load 120 dB
Clipping Level
20 Hz to 20 kHz, 1% THD
5000 Ω load 15 dBV
2500 Ω load 9 dBV
1000 Ω load 3 dBV
Self Noise
equivalent SPL, A-weighted, typical
14 dB SPLA
Common Mode Rejection
10 to 100,000 kHz
≥50 dB
Attenuator Switch
0, -15, -25 dB
Low-Frequency Filter Switch
Flat, –6 dB/octave below 115 Hz, or –18 dB/octave below 80 Hz
Connector
Three-pin professional audio (XLR), male, balanced
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Polarity
Positive pressure on diaphragm produces positive voltage on pin 2 with respect to pin 3
Power Requirements
11–52 V DC phantom power (IEC-61938) 4.7 mA, maximum
Net Weight
156 g (5.5 oz.)
1 Pa=94 dB SPL
THD of microphone preamplifier when applied input signal level is equivalent to cartridge output at specified SPL
S/N ratio is the difference between 94 dB SPL and equivalent SPL of self noise, A-weighted
All specifications measured with a 48 Vdc phantom power supply. The microphone operates at lower voltages, but with slight
ly decreased headroom and sensitivity.
Overall Dimensions
Cardioid
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Omnidirectional
Accessories
Furnished Accessories
Carrying Case for two KSM137 or KSM141 microphones and A27M stereo bar A100C
Foam Windscreen for KSM141 and KSM137 A100WS
Microphone Clip for AMS26, BETA181, KSM137, KSM141, MX412, MX418, MX412S,
MX418S, MX412SE, MX418SE, SM62, SM63, SM63L, SM63LB, SM81, VP64, VP64A,
VP64AL and standard microphone stands
A57F
Stereo Microphone Adapter A27M
Optional Accessories
Isolation Mount/Swivel Adapter for KSM109, KSM137, KSM141, SM63, SM81, SM94
and VP64 A53M
Popper Stopper Pop Filter with Metal Gooseneck and Microphone Stand Clamp PS-6
Note: KSM141/SL stereo only.
Certifications
This product meets the Essential Requirements of all relevant European directives and is eligible for CE marking.
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