Shure SM27 Manuel d'utilisateur télécharger pdf (Page 3)

GENERAL DESCRIPTION

The Shure

SM27 is a rugged and versatile large-diaphragm, side-address car-

dioid microphone. Low self-noise and extended frequency response picks up vocal

and instrument nuances with clarity. Durable Shure construction features three

separate mesh layers that reduce wind and breath noise. Equally comfortable on

the stage or in the studio.

FEATURES

Cardioid polar pattern—the most commonly used pattern for both studio and •

live applications

1inch,externallybiased,ultra-thin,2.5μm,24Karatgold-layered,lowmass,•

Mylar

diaphragm provides superior transient response

Class A, discrete, transformerless preamplifier for transparency, extremely fast •

transient response and no crossover distortion, while minimizing harmonic and

intermodulation distortions

Premium electronic components and gold-plated internal and external •

connectors

Subsonic filter eliminates rumble from mechanical vibration below 17 Hz•

Switchable 15 dB pad for handling extremely high sound pressure levels (SPLs)•

3-position switchable low-frequency filter helps reduce unwanted background •

noise or counteract proximity effect

Integrated three-stage “pop” protection grille reduces plosives and other breath •

noise

Internal shock mount reduces handling and stand noise•

PERFORMANCE CHARACTERISTICS

Extended frequency response•

Low self-noise•

Exceptional low-frequency reproduction•

Can withstand high sound pressure levels (SPLs)•

High output level•

No crossover distortion•

Uniform polar response•

Superior common mode rejection and suppression of radio frequency •

interference (RFI)

APPLICATIONS

Voice and vocals•

Electric guitar amplifiers•

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•

Room ambience pick-up (guitar amplifier or drums)•

Note: Sound quality is strongly affected by microphone location and room acous-

tics. To achieve the best overall sound for a particular application, it may be neces-

sary to experiment with microphone placement and room treatments.

Mounting the Microphone

Thread the supplied stand adapter onto a floor or boom stand, then thread the

microphone onto the adapter.

NOTE: Since this microphone reproduces ultra-low frequencies, use an isolating

shock mount (available at www.shure.com) to reduce low-frequency mechanical

vibrations transmitted through the stand.

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-fre-

quency 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 condi-

tioning 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 fre-

quency 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 varies with the

input load impedance of the preamplifier to which you connect the microphone.

Shurerecommendsaminimuminputloadimpedanceof1000Ω,andmostmodern

microphone preamplifiers meet this requirement. Higher impedance results in bet-

ter performance for these specifications.

Power Requirements

Thismicrophonerequiresphantompowerandperformsbestwitha48Vdcsupply

(IEC-268-15/DIN45596).However,itwilloperatewithslightlydecreasedhead-

room and sensitivity with supplies as low as 11 Vdc. Most modern mixers provide

phantom power. Phantom power can only be transmitted through a cable termi-

nated with XLR connectors at each end.

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Shure SM27 Manuel d'utilisateur Page 3

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