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, […]
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
Weight
0.50 kg
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Legendary, universal all purpose microphone classic
Perfectly suitable for stage and studio
Unbelievably rich sound
Made in germany
Content
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
Like all members of the M series, the M 88 TG is handcrafted in Germany. The materials and the precise craftsmanship that go into the microphone ultimately create a world-class product, a level of quality that turns an ordinary microphone purchase into a long-term investment.
Perfect for heavy bass Sources
The M 88 TG excels on the kick drum, saxophone and percussions, the result of a balanced sound profile and deep bass tones. It is a must-have for every microphone collection. And why shouldn’t it be when you consider its features? It is both insensitive to high sound pressure levels and feedback resistant thanks to its nearly perfect hypercardioid!
Flexible tool iN The studio
The M 88 TG excels in the studio with the help of its multifaceted flexibility. No matter whether the job involves vocals, horns, guitar amplifiers or drums – the microphone is the perfect choice for the widest range of sources. It is all the result of its exceptionally broad frequency response and rich sound.
NEW Wider mounting base capable of accommodating a larger range of microphone stands. Even works with the LP Claw.
Specifically engineered for drum and instrument applications, the Beta 56A's compact, pivoting design makes it the ideal choice for these applications.
Its extremely uniform supercardioid pickup pattern provides high gain before feedback and excellent rejection of unwanted noise. A built-in dynamic locking stand adapter with an integral XLR connector simplifies installation. The stand adapter keeps the microphone securely in place, even if it is struck by a drumstick. Typical Beta 56A applications include close miking of tom-toms and other percussion instruments, as well as guitar amplifiers, brass instruments, and woodwinds.
Built-in stand adapter with dynamic locking system and XLR connector simplifies setup and provides greater flexibility
Uniform supercardioid pattern for high gain-before-feedback and superior rejection of off-axis sound
Compact design reduces stage clutters
Hardened steel mesh grille resists wear and abuse
Neodymium magnet for high signal-to-noise ratio output
Advanced pneumatic shock mount system that minimizes transmission of mechanical noise and vibration
Frequency response: 50 to 16,000 Hz
Legendary among harmonica players for its classic blues harp sound, the 520D's tradition is carried on by the 520DX "Green Bullet" and has a contoured size and shape that fits perfectly between harmonica and hands.
New volume control knob allows musicians to adjust the volume to fit each musical situation
New rugged, dynamic cartridge with improved response
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