Shure KSM 141 SL
Shure KSM 141 SL Condenser Microphone
- Voor professionele opname en live-toepassingen
- Schakelbare Polar Karakteristieken (cardioïde/ omni)
- 20-20000 Hz
- 150 Ohm
- 24 k vergulde Mylar diafragma
- 3-traps HP filter
- Pad schakelaar met 15/25 dB demping
- Gewicht: 156 g
- Inclusief Case, microfoon houder en windscherm
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Leverbaar sinds November 2006
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artikelnummer 108318
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verkoopseenheid 1 stuk
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Battery Powered No
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Directional Microphone No
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Stereo Pair No
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Switchable Lowcut Yes
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Pad switchable Yes
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Polar Pattern Omni, Cardioid
Professional dual-pattern condenser
The Shure KSM141 is a professional small-diaphragm condenser microphone designed for engineers who need the flexibility to switch between focused close-miking and natural room capture without changing microphones. Its rotating collar mechanically selects either cardioid or omnidirectional operation, locking positively into each position while retaining the same 2.5μm gold-layered Mylar diaphragm and Class A transformerless preamplifier in both modes. The frequency response extends from 20Hz to 20kHz, remaining largely flat with only a subtle presence lift around 8kHz, which adds clarity without exaggerating brightness. A recessed three-position pad (0/-15/-25dB) and low-cut switch provide effective control over loud sources, proximity effect, and unwanted low-frequency rumble. A mic clip, foam windscreen, and carrying case are included; 48V phantom power is required.
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One capsule, two patterns
Unlike conventional multi-pattern condensers, the Shure KSM141 achieves its switchable polar patterns using a single-diaphragm capsule and a precision mechanical switching system, rather than employing dual diaphragms. Rotating the collar opens or closes the capsule's rear acoustic ports, transforming the microphone from a directional cardioid into a true omnidirectional microphone while preserving the same low-noise Class A electronics. In cardioid mode, the microphone develops the useful proximity effect expected of a directional condenser, while the omnidirectional setting eliminates it entirely, producing a more open, distance-independent response with a gentle low-frequency rise that adds subtle body when recording rooms and ensembles. The ultra-thin 2.5μm diaphragm preserves fast transients with precision, while the permanent subsonic filter and switchable low-cut filter help control room rumble and unwanted low-frequency build-up.
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Multiple natural perspectives
The Shure KSM141 is aimed at recording engineers, producers, and musicians who regularly move between close-miked sources and more natural, spacious recordings. In cardioid mode, the microphone's job is to get out of the way of the instrument rather than add character. The source is captured as it is, leaving microphone placement to shape the recording. Switching to omnidirectional changes the recording perspective entirely, capturing room ambience, ensembles, and multiple performers with a natural sense of space while eliminating proximity effect. The fixed mechanical switching system gives each pattern the consistency and reliability of a dedicated design. Engineers who work exclusively in cardioid will find the KSM137 delivers the same core performance in a lighter, fixed-pattern version.
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About Shure
The American company Shure began developing microphones during the early 1930s and is one of the pioneers of the audio engineering sector. Models such as the 55 Unidyne – known to many as the "Elvis microphone" – and the SM57 and SM58 which appeared in the mid-1960s are still ubiquitous in live sound production today. They enjoy cult status among musicians and technicians alike. In the 1990s, Shure introduced the first wireless microphones and in-ear monitoring systems and became a market leader in this field. In addition to microphones, Shure offers a wide range of earphones and headphones for studio and live use, as well as various accessories.
From focus to openness
The Shure KSM141 suits an unusually broad range of recording situations. In cardioid mode it excels on acoustic instruments, drum overheads, brass, woodwinds, and close-miked amplifiers, combining low self-noise with high maximum SPL to handle everything from delicate fingerpicked guitar to close-miked percussion without audible noise or distortion. Switching to omnidirectional opens the soundstage to choirs, chamber ensembles, orchestras, room ambience, and stereo recording where a more natural sense of space is required. The omni pattern's freedom from proximity effect also makes it a practical choice for very loud close sources – brass, timpani, and large percussion – where a cardioid's directional pressure response would introduce unwanted low-frequency build-up. Used as a matched pair, two KSM141s suit coincident X-Y, ORTF, or spaced omnidirectional configurations, giving engineers the freedom to choose not only the pickup pattern but the fundamental character of the recording itself.
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