(Actually, I borrowed the swivel mount from my KSM44, and it worked just fine!) Vocals went well, with the added low-end warmth of the 27 bringing out whatever little bit my singer had. I loved that I could place this mic in just about any tight situation using the optional ShureLock swivel adapter. And like both the 44 and 32, the 27 uses a Class-A discrete and transformerless preamplifier with gold-plated internal and external connectors. Despite the 27’s smaller size and price, Shure didn’t cut the features you’d expect from a good studio condenser, such as a three-position LF roll-off filter with options for flat, -18 dB per octave cut-off at 80 Hz, and -6 dB per octave roll-off at 115Hz settings. More like the KSM44, I found the 27 to have a sweet and smooth HF lift. Shure Inc., 222 Hartrey Ave., Evanston, IL 60202; 847/866-2200; fax 847/866-2279; www.shure.com. It has a 1-inch, edge-terminated capsule whose single diaphragm is made of 2.5 micron Mylar. I've used the KSM27 for a variety of applications, including vocals, acoustic guitar, and a … The Shure KSM27 is a side-address condenser microphone with a fixed cardioid polar pattern. Before a session, I set up A/B comparisons of the KSM44, KSM32, KSM27 and, for a reference to my ears, a Neumann U87. Its small size and versatility — qualities that made the Shure SM57 ubiquitous — belie its big sound. Compared to the others, the KSM32 has more of a somber quality from the midrange through the highs; I could see this mic working well for edgier voices. Priced at $575 MSRP, the KSM27 comes in a protective velveteen pouch and includes a ShureLock rubber-isolated black shock-mount. Shure's new KSM27 fits that profile exactly. Polar pattern: cardioid, externally biased condenser capsuleFrequency response: 20 to 20k HzOutput impedance: 150 ohmsAttenuation switch: -15 dBPhantom power: 48 VDC (5.4 mA)CMRR: greater than 50 dB, 20 to 20k HzDimensions: 2.2 inches diameter, 6.15 inches long, 22.6 ouncesSensitivity: -37 dBV/PASelf-noise: 14 dBMaximum SPL @ less than 1% THD with 2,500-ohm load: 138 dB or 153 dB w/padMaximum SPL @ less than 1% THD with 1,000-ohm load: 133 dB or 148 dB w/padOutput clipping level @ less than 1% THD with 2,500-ohm load: 7 dBvOutput clipping level @ less than 1% THD with 1,000-ohm load: 1 dBvDynamic range w/2,500-ohm load: 124 dBDynamic range w/1,000-ohm load: 119 dBSignal-to-noise ratio: 81 dB. 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. Shure KSM27 Cardioid Condenser Microphone. 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 usually like a U47 FET for this ambient sound and hope that with both the pads switched on the Neumann, it doesn’t overload. One immediately noticeable, unique feature that separates the 27 from the other two mics is its diminutive size, just over six inches tall. Update your browser to view this website correctly. KSM27 microphone pdf manual download. The 27 has a slight bump in the 50 to 70Hz area, and a smooth rise starting at about 3.5 kHz up to about 8 kHz. The 27 matches the 32 with an 81dB signal-to-noise ratio spec, while the KSM44 offers a better 87 dB in cardioid pattern. Whether it’s your first studio mic or something to expand your mic locker, the KSM27 is a wonderful addition to any microphone collection. It's the perfect in between microphone, as it has a pro studio sound without having the large price tag. Self-noise for the KSM27 is a low 14 dB. Barry Rudolph is an L.A.-based recording engineer. Sibilants were clear — and most importantly, clean — for all the mics, with the 87 and 27 a touch crisper. There is also a switchable -15dB attenuator pad that was perfect for close-miking drums and guitar cabinets. The multi-pattern U87 and KSM44 were set to cardioid. CARDIOID CONDENSER MICROPHONE. 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). Next up, I miked acoustic guitars with the 27 and A/B’d the 27 with the producer’s Sanken CU-41. The KSM32 is a little thinner, but more importantly, doesn’t have the low-frequency warmth of the 44. The SM27 is a rugged and versatile large-diaphragm, side-address cardioid condenser microphone. The KSM27 comes with a rubber-isolated shock-mount and also has internal shockmounting that reduces stand and handling noise. Published: 01/01/2002. For this subjective test, I used my own speaking voice and a pair of loud headphones. There is a built-in pop grille with three separate mesh layers to reduce plosives. From there, high-frequency response dips very slightly and then continues its rise out to about 15 kHz. It is one of the most versatile mics I’ve used lately. The Sanken is a warm microphone that, in this case, made me want to reach for the equalizer on my Neve 1084 module. I used the KSM27 in the studio for drums, acoustic and electric guitars, and vocals. Here, I had no overload problems with the 27 — in fact, I didn’t even use the -15dB pad. © 2020 MIX is part of Future plc, an international media group and leading digital publisher. Retailing at $575, the all American-made, cardioid-only KSM27 from Shure is one of the best values around. The KSM27 has a three-position low-cut filter switch and a selectable 15dB pad. Actually, the 27 was chosen to replace the KSM32 used on Jay Leno’s desk on the new set of The Tonight Show With Jay Leno. 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 KSM27 is the third studio condenser microphone in the Shure line, following the KSM44 multi-pattern mic and the cardioid-only KSM32. (Read that as “personality.”) I have to say that this particular stock U87 sounded a little rolled-off in the bottom end compared to the 44 and 27. The Shure KSM27 is an overall great sounding condenser microphone. Shure thinks of everything! 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. It has low self-noise and extended frequency response that picks up vocal and instrument nuances with clarity. Here, the Shure KSM27 was a better choice, as I found little need to equalize unless I needed to “carve” the guitar’s natural sound to fit the track’s hyperbolic production. Visit his Website at:www.barryrudolph.com. Like the KSM44 and KSM32, the KSM27 is a side-address condenser design. Shure KSM27. The 27 has good low frequencies (especially down to the subsonic), a warm, lower midrange and a clear upper midrange. 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. 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. Visit our corporate site. Checking the printed frequency response curves supplied by Shure for the three mics, I confirmed my preference for the 27 over the KSM32. Shure KSM27 Condenser Microphone The Shure KSM27 is a side-address condenser microphone with a cardioid polar pattern. The KSM32’s chart shows a flat, low-frequency response and an irregular contouring of the high frequencies between 2 kHz and 12 kHz. It’s a great new mic that stands out in a plethora of models that have debuted recently. 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.


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