Shure KSM44A Manuel utilisateur

KSM44A

Multi-Pattern Dual Diaphragm Microphone

The Shure premium large-diaphragm, side-address condenser microphone, KSM44A, user guide.

Version: 2 (2019-D)

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Table of Contents

KSM44AMulti-Pattern Dual Diaphragm Microphone 3

General Description 3

Features 3

Performance Characteristics 4

Applications 4

Operation 4

Suspension Mount 4

Power Requirements 5

Positioning 5

Selecting a Polar Pattern 5

Selecting Low-Frequency Response 6

Setting Attenuation 6

Load Impedance 7

Integral Pop Filter 7

Specifications 7

ACCESSORIES AND PARTS 10

Furnished Accessories 11

Optional Accessories 11

Certifications 11

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KSM44A

Multi-Pattern Dual Diaphragm Microphone

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 per-

formance.

Features

Multiple polar patterns (cardioid, omnidirectional and bidirectional) for maximum flexibility in a wide variety of recording ap-

plications

Dual 1 inch, externally biased, ultra-thin, 2.5 μm, 24 Karat gold-layered, low mass, Mylar diaphragms provide superior

frequency response

Prethos Advanced Preamplifier Technology: Class A, discrete, transformerless preamplifier provides transparency, ex-

tremely fast transient response and no crossover distortion. Minimizes harmonic and intermodulation distortions.

Premium electronic components and gold-plated internal and external connectors

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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

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)

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.

Operation

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.

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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 sensi-

tivity 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.

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Omnidirectional. Picks up sounds from all directions. Best for picking up room ambience and for miking several sources si-

multaneously, 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 re-

duce 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.

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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 vo-

calists.

Specifications

Cartridge Type

Dual-Diaphragm, Externally-Biased Condenser

Polar Pattern

selectable

Cardioid, Omnidirectional, Bidirectional

Frequency Response

20 to 20,000 Hz

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Output Impedance

50 Ω

Sensitivity

open circuit voltage, @ 1 kHz, typical

Cardioid Omnidirectional Bidirectional

–31 dBV/Pa (29.8 mV)–37 dBV/Pa (14.8 mV)–36 dBV/Pa (16.8 mV)

Maximum SPL

1 kHz at 1% THD

Cardioid Omnidirectional Bidirectional

PAD OFF

2500 Ω load 134 dB 140 dB 139 dB

1000 Ω load 131 dB 137 dB 136 dB

PAD ON

2500 Ω load 150 dB 152 dB 151 dB

1000 Ω load 147 dB 149 dB 148 dB

Signal-to-Noise Ratio

Cardioid Omnidirectional Bidirectional

90 dB 88 dB 86.5 dB

Dynamic Range

@ 1 kHz

Cardioid Omnidirectional Bidirectional

2500 Ω load 130 dB 134 dB 131 dB

1000 Ω load 127 dB 131 dB 128 dB

Clipping Level

20Hz to 20kHz, 1% THD

2500 Ω load 9 dBV

1000 Ω load 6 dBV

Self Noise

equivalent SPL, A-weighted, typical

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Cardioid Omnidirectional Bidirectional

4 dB SPL-A 6 dB SPL-A 7.5 dB SPL-A

Common Mode Rejection

10 to 100,000kHz

≥50 dB

Attenuator Switch

-15 dB

Low-Frequency Filter Switch

Flat, –6 dB/octave below 115 Hz, or –18 dB/octave below 80 Hz

Connector

Three-pin professional audio (XLR), male, balanced

Polarity

Positive pressure on diaphragm produces positive voltage on pin 2 with respect to pin 3

Power Requirements

11–52 V DC phantom power (IEC-61938) 5.8 mA, maximum

Net Weight

492 g (17.4 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 slight-

ly decreased headroom and sensitivity.

[4]

[1]

[2]

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