Shure KSM141 Multi-Pattern Condenser Studio Microphone

PA SKU # SHU KSM141SL MFR # KSM141/SL UPC # 042406110143
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  • Product Highlights
  • Switchable Polar Patterns
  • Constant Cardioid
  • True Omnidirectional
  • Switchable Roll-Off Filter
  • Switchable Pad
Quantity Single Stereo Pair

Multi-Pattern Condenser Studio Microphone with Foam Windscreen and Carrying Case

The KSM141 is a dual-pattern end-addressed condenser microphone with a rotating collar, allowing easy switching between a consistent cardioid or true omnidirectional polar pattern for smooth and extremely focused sound reproduction.

Designed for studio use, yet rugged enough for live applications, the KSM141 can withstand extremely high sound pressure levels (SPL). Its low self-noise and extended frequency response make it ideal for recording musical instruments.

Available Options
KSM141/SL: Includes windscreen, carry case, champagne finish
KSM141/SL STEREO: Includes two KSM141, two foam windscreens, A27M Stereo Microphone Adapter, carry case
  • A mechanical polar pattern switch for highly consistent cardioid and true omnidirectional polar patterns. Provides flexibility in a wide variety of recording applications
  • Ultra-thin, 2.5 micron, 24 karat gold-layered, low mass Mylar diaphragm for superior transient response
  • Class A, discrete, transformerless preamplifier for transparency, extremely fast transient response, no crossover distortion, and minimal harmonic and intermodulation distortion
  • Premium electronic components, including gold-plated internal and external connectors
  • Subsonic filter eliminates low frequency rumble (less than 17 Hz) caused by mechanical vibration
  • Three-position switchable pad (0 dB, 15 dB, and 25 dB) for handling extremely high sound pressure levels (SPLs)
  • Three-position switchable low-frequency filter to reduce background noise and counteract proximity effect
  • Performance Characteristics
  • Extended frequency response
  • Low self-noise
  • Exceptional reproduction of low-frequency sounds
  • Can withstand high sound pressure levels (SPL)
  • High output level
  • No crossover distortion
  • Uniform polar response
  • Superior common mode rejection and suppression of radio frequency interference
  • Cartridge Type: Permanently Biased Condenser
  • Frequency Response: 20 to 20,000 Hz
  • Directional Polar Pattern: Cardioid/Omnidirectional
  • Output Impedance: 150 ohms (actual)
  • Attenuation Switch: 0 dB, 15 dB, or 25 dB attenuation
  • Low Frequency Response Switch:
    Flat; -6 db/octave below 115 Hz
    -18 dB/octave below 80 Hz
  • Phantom Power: 48 Vdc +/- 4 Vdc (IEC 268 15/DIN 45 596), positive pins 2 and 3
  • Current Drain: 4.65 mA typical at 48 Vdc
  • Common Mode Rejection: >50 dB, 20 Hz to 20 kHz
  • Polarity: Positive pressure on diaphragm produces positive voltage on output pin 2 relative to pin 3
  • Dimensions and Weight:
    20 mm (0.8 in.) diameter, 146 mm (5.75 in.) long
    156 grams (5.5 oz.)
  • Sensitivity (typical, at 1000 Hz; 1 Pa = 94 dB SPL): -37 dBV/Pa
  • Self noise (typical, equivalent SPL; A-weighted, IEC 651): 14 dB
  • Maximum SPL:
    5000 ohm load (Attenuator on): 145 (160, 170) dB
    2500 ohm load (Attenuator on): 139 (154, 164) dB
    1000 ohm load (Attenuator on): 134 (149, 159) dB
  • Output Clipping Level*:
    5000 ohm load: 15 dBV
    2500 ohm load: 9 dBV
    1000 ohm load: 3 dBV
  • *20 Hz to 20 kHz; THD < 1%. THD of the microphone preamplifier when applied input signal is equivalent to the cartridge output at specified SPL.
  • Dynamic Range:
    5000 ohm load: 131 dB
    2500 ohm load: 125 dB
    1000 ohm load: 120 dB
  • Signal to Noise Ratio**: 80 dB
  • **S/N ratio is difference between 94 dB SPL and equivalent SPL of self-noise A-weighted.
  • Some typical applications for the KSM141 are listed below. Microphone use, however, is a matter of personal taste. The KSM141 may be used for a variety of applications other than those listed.
  • Acoustic instruments - such as piano, guitar, drums, percussion, strings
  • Wind instruments - brass and woodwind
  • Low frequency instruments - such as double bass, electric bass, kick drum
  • Overhead miking - drums or percussion
  • Ensembles - choral or orchestral
  • Room ambiance pick-up - guitar amplifier or drums
  • Both the acoustic environment and microphone placement strongly affect the sound obtained from miking a source. You may need to experiment with microphone placement and room treatments to achieve the best overall sound for each application.
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