The KSM141 is a large diaphragm end-addressed condenser microphone with a rotating collar allowing easy switching between a highly consistent cardioid or true omnidirectional polar pattern for smooth and extremely focused sound reproduction.
Dual pattern instrument microphone offers transition between cardioid and omnidirectional patterns and features extended frequency response, pad for handling SPLs, a gold-layered Mylar diaphragm, and a subsonic filter for low frequency rumble.
The KSM141 is a dual-pattern end-addressed condenser microphone with a rotating collar, allowing easy switching between a consistent cardioid or true omnidirectional polar pattern for smooth and extremely focused sound reproduction.
Designed for studio use, yet rugged enough for live applications, the KSM141 can withstand extremely high sound pressure levels (SPL). Its low self-noise and extended frequency response make it ideal for recording musical instruments.
- tern switch for highly consistent cardioid and true omnidirectional polar patterns. Provides flexibility in a wide variety of recording applications
- 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
- Three-position switchable pad (0 dB, 15 dB, and 25 dB) for handling extremely high sound pressure levels (SPLs)
- Three-position switchable low-frequency filter to reduce background noise and counteract proximity effect
- Extended frequency response
- Low self-noise
- Exceptional reproduction of low-frequency sounds
- Can withstand high sound pressure levels (SPL)
- High output level
- No crossover distortion
- Uniform polar response
- Superior common mode rejection and suppression of radio frequency interference
Some typical applications for the KSM141 are listed below. Microphone use, however, is a matter of personal taste. The KSM141 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.
The Shure® KSM141 is a premium, end-address, condenser microphone with a unique rotating collar that allows for easy switching between a highly consistent cardioid or true omnidirectional polar pattern. Its class A, discrete, transformerless preamplifier captures an extremely transparent sound, and a three-position attenuation switch and low-cut filter allow for handling of extremely high sound pressure levels (SPL) and controlled bass response. An ultra-thin, 24-karat gold-layered diaphragm and superior build quality make the KSM141 ideal for studio use, yet rugged enough for the most demanding live applications.
- A mechanical polar pattern switch for highly consistent cardioid and true omnidirectional polar patterns, providing flexibility in a wide variety of recording and performance applications.
- Ultra-thin, 2.5 μm 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 inter-modulation 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.
- Three-position attenuation switch (0 dB, 15 dB, and 25 dB) for handling extremely high SPLs.
- Three-position low-frequency filter switch reduces stand vibration noise and counteracts proximity effect.
- 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)
This microphone can be purchased as a stereo pair (KSM141/SL STEREO). In addition to the standard accessories, the stereo pair includes a stereo stand adapter (A27M) for mounting two microphones on one stand.
- 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 ambience
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.
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.
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.
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.
The attenuation switch lets you reduce the signal level without altering the frequency response. This can prevent extremely loud sounds from overloading the microphone circuitry.
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.
−25 dB For use with in close proximity (less than 10 cm) to extremely loud sound sources such as drums, horns, or loud guitar cabinets.
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.
Selecting a Polar Pattern
To select either the cardioid or omnidirectional polar pattern, rotate the knurled ring on the microphone in either direction until you feel a detent. The image of the desired polar pattern should be directly above the notch at the base of the ring.
Note: Operating the microphone in a non-detent position (no polar pattern selected) will produce an unpredictable polar pattern and may adversely affect frequency response.
Cardioid. When this pattern is selected, the microphone picks up sounds directly in front of the microphone and is least sensitive to those in back. This is the most commonly used pattern in studio recording and live-sound applications.
Omnidirectional. Picks up sounds from all directions. This pattern is best for picking up room ambience and for miking several sources, such as an ensemble or multiple singers, simultaneously. The omnidirectional polar pattern exhibits no proximity effect.
Caution: Rotating the polar pattern switch produces mechanical noise which, when amplified, may damage the loudspeakers. Turn down any loudspeakers or mute the microphone at the mixing console before changing the polar pattern.
Stereo Pair Stand Adapter
Stereo microphone techniques give depth and spatial placement to sound sources for broadcasting, recording, or sound reinforcement applications. The Shure A27M allows you to mount two microphones on a single stand with a wide range of angles and vertical separations for a variety of coincident and closely-spaced stereo configurations.
- Adjust the vertical separation as shown.
- Mount on a stand and attach microphones using 5/8"-27 thread stand adapters.
- Adjust the microphone angle using the knurled knob. Use the 45 degree reference marks at the top of the knob to set the desired angle.
The following table displays the most common stereo techniques. Keep in mind that microphone technique is largely a matter of personal taste; there is no one “correct” microphone position. For more information, search “Stereo Techniques” at www.shure.com (www.shure.com/stereo-tech).
Cardioid, Omnidirectional (selectable)
20 to 20,000 Hz
open circuit voltage, @ 1 kHz, typical
–37 dBV/Pa  (14.1 mV)
1 kHz at 1% THD 
|PAD ON||5000 Ω load||170 dB|
|2500 Ω load||164 dB|
|1000 Ω load||159 dB|
|PAD OFF||5000 Ω load||145 dB|
|2500 Ω load||139 dB|
|1000 Ω load||134 dB|
Signal-to-Noise Ratio 
@ 1 kHz
|5000 Ω load||131 dB|
|2500 Ω load||125 dB|
|1000 Ω load||120 dB|
20 Hz to 20 kHz, 1% THD
|5000 Ω load||15 dBV|
|2500 Ω load||9 dBV|
|1000 Ω load||3 dBV|
equivalent SPL, A-weighted, typical
14 dB SPL-A
Common Mode Rejection
10 to 100,000 kHz
0, -15, -25 dB
Low-Frequency Filter Switch
Flat, –6 dB/octave below 115 Hz, or –18 dB/octave below 80 Hz
Three-pin professional audio (XLR), male, balanced
Positive pressure on diaphragm produces positive voltage on pin 2 with respect to pin 3
11–52 V DC phantom power (IEC-61938) 4.7 mA, maximum
156 g (5.5 oz.)
1 Pa=94 dB SPL
THD of microphone preamplifier when applied input signal level is equivalent to cartridge output at specified SPL
S/N ratio is the difference between 94 dB SPL and equivalent SPL of self noise, A-weighted
All specifications measured with a 48 Vdc phantom power supply. The microphone operates at lower voltages, but with slightly decreased headroom and sensitivity.
|Carrying Case for two KSM137 or KSM141 microphones and A27M stereo bar||A100C|
|Foam Windscreen for KSM141 and KSM137||A100WS|
|Microphone Clip for AMS26, BETA181, KSM137, KSM141, MX412, MX418, MX412S, MX418S, MX412SE, MX418SE, SM62, SM63, SM63L, SM63LB, SM81, VP64, VP64A, VP64AL and standard microphone stands||A57F|
|Stereo Microphone Adapter||A27M|
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