Description
Large-diaphragm cardioid side-address condenser microphone designed for clear capture of vocal, acoustic, recording applications and live performance. Features include, a high-pass filter, and a switchable attenuator for SPL versatility.
PRODUCT DETAILS
The PGA27 is a professional quality large diaphragm condenser microphone with an updated design featuring a black metallic finish and grille offering an unobtrusive visual presence. Legendary Shure quality construction ensures exceptional performance in rigorous environments.
Additional features include a high-pass filter for extra control of unwanted low-end signal and a -15dB switchable attenuator for additional SPL versatility.
• Large diaphragm cartridge provides wider dynamic range for clear highs and strong lows
• Cardioid polar pattern picks up audio from the source while rejecting unwanted noise
• Updated industrial design with black metallic finish and grille for unobtrusive visual presence
• High-pass filter for additional control of unwanted low-end signal
• -15dB switchable attenuator for additional SPL versatility
• Shock mount included for additional set-up stability and minimization of transient noise
• Padded zipper case included for additional protection during storage or transport
• Legendary Shure quality design and construction for exceptional performance in rigorous environments
General Rules for Use
- Do not cover any part of the microphone grille with your hand, as this will adversely affect microphone performance.
- Aim the microphone toward the desired sound source (such as the talker, singer, or instrument) and away from unwanted sources.
- Place the microphone as close as practical to the desired sound source.
- Work close to the microphone for extra bass response.
- Use only one microphone to pick up a single sound source.
- For better gain before feedback, use fewer microphones.
- Keep the distance between microphones at least three times the distance from each microphone to its source (“three to one rule”).
- Place microphones as far as possible from reflective surfaces.
- Add a windscreen when using the microphone outdoors.
- Avoid excessive handling to minimize pickup of mechanical noise and vibration.
Applications
The following table provides a basic starting point for several instruments. Shure offers additional educational publications on microphone placement and recording techniques. Visit www.shure.com for more information.
| Application | Distance from source | Tips |
|---|---|---|
| Voice | 1-3 inches (2-8 cm) | Use a pop filter (Shure PS-6) to prevent plosives. |
| Acoustic guitar | 6-12 inches (15-30 cm) | Place near the sound hole for a full sound, or near the 12th fret for a balanced, natural sound. |
| Drums | 3-6 feet (1-2 m) | Place in front of the drum kit to capture more of the kick drum, or as an overhead (above the kit, facing down) to capture more cymbals. Consider using additional Shure microphones placed on individual drums for more mixing flexibility and a thicker sound. |
| Amplifiers | 1-6 inches (2-15 cm) | Aim towards the center of the speaker for a clear, aggressive sound, or towards the edge of the speaker for a mellow sound. |
| Strings or horns | 1-6 feet (30 cm - 2 m) | For a single instrument, place the microphone close to the source. For a horn or string section, arrange players at an equal distance from the microphone. |
| Full band | Facing towards the group, centered between instruments | Use the -15 db attenuation switch if the band is very loud to prevent distortion. |
Tip: Close microphone placement results in a full sound due to the proximity effect. Placing the microphone farther from the source results in more room ambience.
Connecting to a Mixer or Computer
|
Cables |
Use only balanced (three-conductor) cables. Otherwise, the cable will not carry phantom power to the microphone. If using an adapter for 6.5mm (1/4") inputs, it must have tip-ring-sleeve (TRS) contacts. |
|
Computer |
To deliver audio directly to a computer, use a USB audio interface with an XLR microphone input that provides +48V phantom power, such as the Shure MVi.
Connecting to a computer using the Shure MVi audio interface |
|
Mixer |
When connecting to a mixer, use only balanced, microphone-level inputs with phantom power. Most mixers have a switch for phantom power, so make sure phantom power is on for that channel.
|
Phantom Power
All condenser microphones require phantom power to operate. This microphone performs best with a 48 V DC supply (IEC-61938), but it can operate with lower voltages.
Phantom power is provided by the mixer or audio interface that the microphone is connected to, and requires the use of a balanced microphone cable: XLR-to-XLR or XLR-to-TRS. In most cases, there is a switch or button to activate the phantom power. See the user guide for the mixer or interface for additional information.
Operation
Positioning the Microphone
The front of the microphone is marked by the Shure logo. Position this side toward the sound source.
Mounting the Microphone
Use the supplied shockmount to mount the microphone. To secure the microphone, place it in the shockmount and tighten the ring at the bottom.
Proximity Effect
Directional microphones progressively boost bass frequencies as the microphone is placed in closer proximity to the source. This phenomenon, known as proximity effect, can be used to create a warmer, more powerful sound.
Setting Attenuation
The attenuation switch lets you reduce the signal level without altering the frequency response. This can prevent extremely loud sounds from overloading the microphone.
0dB For "quiet" to "normal" sound levels.
-15dB For use with extremely loud sound sources such as drums, horns, or loud guitar cabinets.
Low-Frequency Response Switch
The low-frequency response switch changes the frequency response of the microphone.
|
 |
This setting provides natural sound with no low-frequency reduction. Use the flat setting when recording sources that extend into the low-frequency range (piano, bass, percussion, etc.). |
|
 |
This setting provides a reduction in low frequencies to reduce noise or shape the tone. Use this setting to:
|
Specifications
Type
Electret Condenser
Polar Pattern
Cardioid
Frequency Response
20 to 20,000 Hz
Output Impedance
at 1 kHz, open circuit voltage
115 Ω, actual
Sensitivity
at 1 kHz, open circuit voltage
-35 dBV/Pa [1] (17.8 mV)
Maximum SPL
1 kHz at 1% THD, 1 kΩ load
130 dB SPL Pad Off (145 dB SPL Pad On)
Polarity
Positive pressure on diaphragm produces positive voltage on pin 2 with respect to pin 3
Switch
15 dB Pad, High Pass Filter
Connector
Three-pin professional audio (XLR), male
Weight
453 g (1.0 lbs)
Housing
Cast Zinc
Power Requirements
48 V DC phantom power (3.9 mA)
[1] 1 Pa=94 dB SPL
Typical Frequency Response
Typical Polar Pattern
Optional Accessories and Replacement Parts
|
7.6 m (25 ft.) Cable (XLR-XLR) |
C25J |
|
5/8" to 3/8" Thread Adapter |
31A1856 |
|
Microphone Stand Adapter Microphone Stand Adapter |
95A15045 |
| ShureLock® Rubber Isolated Shock Mount |
A27SM |
| Popper Stopper® Pop Filter with Metal Gooseneck and Microphone Stand Clamp |
PS-6 |
|
Black Foam Windscreen for BETA27, KSM27, KSM32, KSM42, KSM44, KSM44A, PG27, PG42 and SM27Black Foam Windscreen for BETA 27, KSM27, KSM32, KSM42, KSM44, KSM44A, PG27, PG42 and SM27 |
A32WS |
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