General Description
The Shure® KSM44A is a premium, large-diaphragm, side-address condenser microphone with multiple polar pattern options (cardioid, omnidirectional, bidirectional). The refined and sophisticated design of the KSM44A features externally biased, dual 1-inch diaphragms, extensive internal pop filtering and Prethos® advanced preamplifier technology for a ground-breaking threshold minimum of self-noise. The KSM44A is the premier choice for the highest level of professional studio and stage performance.
Applications
The KSM44A provides superior results in any application requiring a high quality microphone. Some typical applications are listed below.
- Vocals (studio or live)
- Acoustic instruments such as piano, guitar, drums, percussion, strings
- Brass and woodwind instruments
- Low-frequency instruments such as double bass, electric bass, kick drum
- Overhead miking for drums or percussion
- Choral or orchestral ensembles
- Room ambience or stereo miking
Acoustic environments and microphone placements strongly affect the sound obtained from miking a source, especially with a high-resolution microphone like the KSM44A. You may need to experiment with placement, room treatments, and polar pattern to achieve the best overall sound for each application.
Suspension Mount
Use the supplied ShureLock® rubber suspension mount to secure the microphone to a floor or boom stand.
Important: Thread the knurled locking ring securely to the base of the microphone. Do not overtighten.
Power Requirements
This microphone requires phantom power and performs best with a 48 V DC 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.
Positioning
Position the front of the microphone, with SHURE®, towards the desired sound source. Position the rear of the microphone, with the vintage circle S logo, towards any unwanted sound sources.
Selecting a Polar Pattern
The three position switch on the front of the microphone sets the polar response pattern. This changes the microphone's sensitivity to sounds coming from different angles.
Cardioid. Picks up sound directly in front of the microphone and is least sensitive to those in back. This is most commonly used in studio recording and live-sound applications.
Omnidirectional. Picks up sounds from all directions. Best for picking up room ambience and for miking several sources simultaneously, such as an ensemble or multiple singers. The omnidirectional polar pattern exhibits no proximity effect.
Bidirectional. Picks up equally from the front and back of the microphone while rejecting sounds from the sides. Often used for stereo recording (such as mid-side and Blumlein techniques).
Note: As with all bidirectional microphones, sounds picked up from the back will be out of polarity with the source. Those from the front are in polarity with the source.
CAUTION: The switch produces mechanical noise which, when amplified, may damage the loudspeakers. Turn down any loudspeakers or mute the microphone at the mixing console before using the switch.
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.
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 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.
Load Impedance
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.
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.
