Visit his Website at:www.barryrudolph.com. Both the KSM44 and 32 beat the 27 in dynamic range by only a couple of dB, with all three equal in maximum SPL rating at around 138 dB (153 dB without pad). Before a session, I set up A/B comparisons of the KSM44, KSM32, KSM27 and, for a reference to my ears, a Neumann U87. The KSM44 has a very solid low end with a much “drier and cleaner” sound (its self-noise is only 7 dB) than any of the others. It is a fixed-pattern cardioid model featuring a one-inch diaphragm capsule protected by a three-stage mesh windshield and perched on top of a shorter-than-average body. Self-noise for the KSM27 is a low 14 dB. I miked a bass drum about a foot away out front. I don’t have the acute hearing of someone like Klaus Heyne — who uses this same method for tuning the capsules of his mics — but it is easy for me to hear the differences when comparing mics or different signal processing chains. The 27 has good low frequencies (especially down to the subsonic), a warm, lower midrange and a clear upper midrange. I used the KSM27 in the studio for drums, acoustic and electric guitars, and vocals. I used an AKG outboard phantom power supply and level-matched four inputs of the lovely API console at L.A.FX Studios in North Hollywood. Shure thinks of everything! Priced at $575 MSRP, the KSM27 comes in a protective velveteen pouch and includes a ShureLock rubber-isolated black shock-mount. The Sanken is a warm microphone that, in this case, made me want to reach for the equalizer on my Neve 1084 module. Checking the printed frequency response curves supplied by Shure for the three mics, I confirmed my preference for the 27 over the KSM32. The Shure KSM27 is an overall great sounding condenser microphone. From there, high-frequency response dips very slightly and then continues its rise out to about 15 kHz. The KSM27 comes with a rubber-isolated shock-mount and also has internal shockmounting that reduces stand and handling noise. For this subjective test, I used my own speaking voice and a pair of loud headphones. It has a 1-inch, edge-terminated capsule whose single diaphragm is made of 2.5 micron Mylar. CARDIOID CONDENSER MICROPHONE. One immediately noticeable, unique feature that separates the 27 from the other two mics is its diminutive size, just over six inches tall. There is also a switchable -15dB attenuator pad that was perfect for close-miking drums and guitar cabinets. KSM27 microphone pdf manual download. (Actually, I borrowed the swivel mount from my KSM44, and it worked just fine!) Update your browser to view this website correctly. The 27 matches the 32 with an 81dB signal-to-noise ratio spec, while the KSM44 offers a better 87 dB in cardioid pattern. The Shure KSM27 is a side-address condenser microphone with a fixed cardioid polar pattern. Update my browser now, I can't help but feel the love from a company that broadens its product line by offering a lower-priced model that could directly compete with its existing, By By Barry Rudolph I can’t help but “feel the love” from a company that broadens its product line by offering a lower-priced model that could directly compete with its existing line. Barry Rudolph is an L.A.-based recording engineer. The 27 matches the 32 with an 81dB signal-to-noise ratio spec, while the KSM44 offers a better 87 dB in cardioid pattern. More like the KSM44, I found the 27 to have a sweet and smooth HF lift. The KSM27 has a three-position low-cut filter switch and a selectable 15dB pad. Self-noise for the KSM27 is a low 14 dB. You should use the -15dB pad here, because the 27 puts out a good hot level and your preamp will be at its minimum gain setting. Retailing at $575, the all American-made, cardioid-only KSM27 from Shure is one of the best values around. The KSM32 is a little thinner, but more importantly, doesn’t have the low-frequency warmth of the 44. Finally, electric guitar cabinets sounded great with the KSM27.

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