Shure KSM141 Bedienungsanleitung

KSM141

Dual-Pattern Instrument Microphone

The Shure end-address, condenser microphone, KSM141, user guide.

Version: 2 (2020-A)

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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.

Ultrathin, 2.5 μm 24karat goldlayered, lowmass 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 dBperoctave 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 SPLA

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

[1]

[2]

[3]

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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

[4]

[1]

[2]

[3]

[4]

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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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