The ADX20iP is applicable for professional stage and studio applications. This mic is primarily used for miking most reed and brass instruments. The ADX20iP has a uniformly controlled cardioid polar pattern, which provides excellent isolation and feedback control on stage with natural sound reproduction at very close distances. The ADX20iP is lightweight, compact and simple […]
The ADX20iP is applicable for professional stage and studio applications. This mic is primarily used for miking most reed and brass instruments.
The ADX20iP has a uniformly controlled cardioid polar pattern, which provides excellent isolation and feedback control on stage with natural sound reproduction at very close distances.
The ADX20iP is lightweight, compact and simple to use. Included with the ADX20iP is a gooseneck clip with spring tension for easy mounting to the bell of an instrument.
Model Variation: ADX20i – for use with RAD360 wireless system. No power adapter is included with this model.
The ADX20i requires phantom power of 9-52 V.
Type
Pre-polarized Condenser
Polar Pattern
Cardioid, Hypercardioid
Frequency Response
40Hz – 20kHz
Impedance
250 Ohms
Sensitivity
6 mV/Pa @1k (C) / 5.6 mV/Pa @1k (HC)
Weight
1.00 kg
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The ADX20iP is applicable for professional stage and studio applications. This mic is primarily used for miking most reed and brass instruments.
The ADX20iP has a uniformly controlled cardioid polar pattern, which provides excellent isolation and feedback control on stage with natural sound reproduction at very close distances.
The ADX20iP is lightweight, compact and simple to use. Included with the ADX20iP is a gooseneck clip with spring tension for easy mounting to the bell of an instrument.
Model Variation: ADX20i - for use with RAD360 wireless system. No power adapter is included with this model.
The ADX20i requires phantom power of 9-52 V.
Type
Pre-polarized Condenser
Polar Pattern
Cardioid, Hypercardioid
Frequency Response
40Hz - 20kHz
Impedance
250 Ohms
Sensitivity
6 mV/Pa @1k (C) / 5.6 mV/Pa @1k (HC)
Audio Frequency Response 50 Hz - 16,000 Hz
Case Material Die cast zinc
Connector Type 3-pin XLR
Element Dynamic
Finish Textured Satin Black
Impedance, Low-Z balanced 600 Ω
Mic Type Instrumental
Open Circuit Voltage 2.2 mV/Pascal
Polar Pattern Supercardioid
Power Requirement Passive
Wired/Wireless Wired
Weight Net 8.32 oz (236 g)
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New volume control knob allows musicians to adjust the volume to fit each musical situation
New rugged, dynamic cartridge with improved response
The Shure KSM137 is an end-address condenser microphone with a cardioid polar pattern. Designed for studio use, yet rugged enough for live applications, the KSM137 can withstand extremely high sound pressure levels (SPL). Its low self-noise and extended frequency response make it ideal for recording musical instruments.
Features
A highly consistent cardioid polar pattern
Ultra-thin, 2.5 micron, 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 intermodulation 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
Switchable 15 dB pad for handling extremely high sound pressure levels (SPLs)
Three-position switchable pad (0 dB, 15 dB, and 25 dB) for handling extremely high sound pressure levels (SPLs)
Superior common mode rejection and suppression of radio frequency interference
APPLICATIONS
Some typical applications for the KSM137 are listed below. Microphone use, however, is a matter of personal taste. The KSM137 may be used for a variety of applications other than those listed.
Acoustic instruments -- such as piano, guitar, drums, percussion, strings
Wind instruments -- brass and woodwind
Low frequency instruments -- such as double bass, electric bass, kick drum
Overhead miking -- drums or percussion
Ensembles -- choral or orchestral
Room ambiance pick-up -- guitar amplifier or drums
Both the acoustic environment and microphone placement strongly affect the sound obtained from miking a source. You may need to experiment with microphone placement and room treatments to achieve the best overall sound for each application.
Suggested Applications
Acoustic Guitar
Acoustic Bass
Cymbals
Brass/Woodwinds
Orchestra
Ensemble Vocals
Piano
Strings
Room Ambience
Live Recording
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