SHURE SM27-LC

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SHURE SM27-LC - Кондензаторен микрофон с широка диафрагма

Features:

• Includes a padded carrying bag and low-profile stand mount
• Uniform cardioid pattern for superior off-axis rejection
• Superior transient response from a low-mass large Mylar® diaphragm
• Flat, neutral frequency response for natural reproduction on stage or in the studio
• 3-position switchable low-frequency filter helps reduce unwanted background noise or counteract proximity effect for consistent, extended low-end
• Durable metal construction.
• Three separate mesh layers reduce wind and breath noise.
• 15dB pad for performance consistency across a wider range of high SPL sources

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)

Applications

• Brass and woodwind instruments
• Orchestras, choirs, and wind ensembles
• Overhead miking of drums and percussion instruments
• 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 ambiance

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.

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.

Positioning the Microphone

The front of the microphone is marked by the Shure logo. Position this side toward the sound source.

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 reduce low frequencies that could make an instrument sound dull or muddy.

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.

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.

Integral Pop Filter

The microphone grille consists of 3 separate mesh layers that act as an integral pop filter. This helps reduce wind and breath noise. Depending on the performer, an external pop-protection screen or windscreen may be necessary when close-miking vocalists.

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.

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.

Specifications 

• Type: Condenser (externally biased)
• Frequency Response: 20 to 20,000 Hz
• Polar Pattern: Cardioid
• Output Impedance: 140 Ω
• Sensitivity: at 1kHz, open circuit voltage: -37 dBV/Pa[1]
• Maximum SPL: 1 kHz at 1% THD[2]
• 2500 Ω load 138  dB (152  dB, PAD ON)
• 1000 Ω load 133  dB (147  dB, PAD ON)
• Signal-To-Noise Ratio: 84.5  dB
• Dynamic Range: at 1kHz
• 2500 Ω load - 128  dB
• 1000 Ω load - 123  dB
• Common Mode Rejection
• 20 Hz to 20 kHz
• >50  dB
• Clipping Level: 20 Hz to 20 kHz, at 1% THD
• 2500 Ω load - 7  dB
• 1000 Ω load - 1  dB
• Self Noise: equivalent SPL, A-weighted, typical - 9.5  dB
• Polarity: Positive pressure on diaphragm produces positive voltage on pin 2 with respect to pin 3
• Weight: 642  g(22.6 oz.)
• Switch
• Attenuator Switch: -15  dB
• LOWFrequency Response: Flat, –6 dB/octave below 115 Hz, or –18 dB/octave below 80 Hz
• Connector: Three-pin professional audio (XLR), male, balanced
• Power Requirements: 48  V DCphantom power, 5.4  mA