Shure KSM137/SL Condenser Microphone

The Shure KSM137/SL Condenser Microphone is an end-address condenser microphone with a cardioid polar pattern. Designed for studio use, yet rugged enough for live applications, the KSM137 can withstand extremely high sound pressure levels.

The Shure KSM137/SL Condenser Microphone is a premium end-address cardioid instrument microphone engineered for highly critical studio recording and live sound productions. Its class A, discrete, transformerless preamplifier provides extremely natural response and transparent sound capture, and a three position switchable pad allows for handling of extremely high sound pressure levels. Versatile, durable, and precise, the Shure KSM137/SL is an outstanding microphone for both live and studio applications. The Shure KSM137/SL is used for close-miking the acoustic and electric instruments, drum overheads, brass/woodwind, ensembles, and even bass instruments such as double bass and kick drum. The Shure KSM137/SL is equally at home in the studio or in live applications. The Shure KSM137/SL Cardioid Instrument Microphone can withstand extremely high sound pressure levels (SPL). It has a high output level, low self noise and reproduces low frequency sounds exceptionally well.

Shure KSM137/SL Condenser Microphone Applications

Brass and woodwind instruments
Orchestras, choirs, and wind ensembles
Overhead miking of drums and percussion instruments
Close-miking of acoustic instruments such as piano, guitar, violins, drums, and percussion
Low-frequency instruments such as double bass and kick drum
Electric guitar and bass amplifiers
Vocals and speech
Room ambience

Shure KSM137/SL Condenser Microphone Features

A highly consistent cardioid polar pattern
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 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 reduces background noise and counteracts proximity effect

Shure KSM137/SL Condenser Microphone Specifications

Cartridge Type: Electret Condenser
Polar Pattern: Cardioid
Frequency Response: 20 to 20,000 Hz
Output Impedance: 150 Ohm
Sensitivity (Open Circuit Voltage, @ 1 kHz, Typical): –37 dBV/Pa (14.1 mV)
Maximum SPL (1 kHz at 1% THD):
- PAD ON:
  - 5000 Ohm Load: 170 dB
  - 2500 Ohm Load: 164 dB
  - 1000 Ohm Load: 159 dB
- PAD OFF:
  - 5000 Ohm Load: 145 dB
  - 2500 Ohm Load: 139 dB
  - 1000 Ohm Load: 134 dB
Signal-to-Noise Ratio: 80 dB
Dynamic Range @ 1 kHz:
- 5000 Ohm Load: 131 dB
- 2500 Ohm Load: 125 dB
- 1000 Ohm Load: 120 dB
Clipping Level (20 Hz to 20 kHz, 1% THD):
- 5000 Ohm Load: 15 dBV
- 2500 Ohm Load: 9 dBV
- 1000 Ohm Load: 3 dBV
Self Noise (Equivalent SPL, A-Weighted, Typical): 14 dB SPL-A
Common Mode Rejection (10 to 100,000 kHz): = 50 dB
Attenuator Switch: 0, -15, -25 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
Finish: Champagne
Power Requirements: 11–52 V DC Phantom Power (IEC-61938) 4.7 mA, Maximum
Net Weight: 100 g (3.5 oz.)

Shure KSM137/SL Condenser Microphone Includes

1 x Shure KSM137/SL Condenser Microphone
1 x Shure A100C Case
1 x Shure A100WS Windscreen
1 x Shure A57F Stand Adapter
2 Year Warranty

Shure KSM137/SL Condenser Microphone Downloads

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5
Shure KSM137/SL

Cam Sinclair

May 3rd 2014

I brought two of these mics from Front End Audio, as always the processing and delivery was prompt and they arrived here to NZ safely packaged. As for the mics, I absolutely love them, I have recorded two classical guitar pieces with them so far to which I used very minor console EQ to subdue the transient detail, straight off the desk was fine and wouldn't have required any such EQ if going in the mix with drums and guitar etc (in that situation I believe the transient detail would have been a total benefit). With these mics on classical guitar there was no requirement for corrective Hi-Q cuts at all - great! I'm yet to use these on drumkit, however I expect the transient detail in that situation to give a brilliant picture of the drums.