The Shure KSM137/SL Condenser Microphone is a premium end-address small-diaphragm instrument mic built for clean, detailed capture in the studio or on stage.
With its fast transient response, low self-noise, and dependable cardioid pickup pattern, the KSM137/SL is ready for acoustic guitar, piano, drums, percussion, strings, brass, woodwinds, room capture, and plenty of other sources that deserve a clear, honest microphone in front of them. The KSM137/SL features an ultra-thin 2.5 micron, 24 karat gold-layered Mylar diaphragm that helps deliver precise detail and natural response. Its Class A, discrete, transformerless preamplifier keeps the signal path transparent, while premium components and gold-plated internal and external connectors support reliable performance in demanding professional environments. Designed to handle real-world recording and sound reinforcement tasks, the KSM137/SL includes a 3-position pad for high-SPL sources and a 3-position low-frequency filter to help reduce rumble, background noise, and proximity effect. Whether you are capturing delicate acoustic instruments or close-miking loud drums and amps, this single KSM137/SL gives you a rugged, accurate Shure condenser microphone that earns its keep quickly.
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
- Premium end-address small-diaphragm condenser microphone for studio and live applications
- Consistent cardioid polar pattern helps isolate the source and reduce unwanted bleed
- Ultra-thin, 24 karat gold-layered Mylar diaphragm provides fast transient response
- Class A, discrete, transformerless preamplifier delivers transparent sound capture
- Subsonic filtering helps reduce low-frequency rumble from mechanical vibration
- 3-position pad provides flexibility when recording high-SPL sound sources
- 3-position low-frequency filter helps manage background noise and proximity effect
- Excellent choice for acoustic instruments, drums, percussion, strings, brass, woodwinds, piano, and room ambiance
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
- PAD ON:
- 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
- Shure KSM137/SL Condenser Microphone
- Case
- Windscreen
- Stand Adapter
- Manufacturer Warranty
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Shure KSM137/SL
May 3rd 2014I 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.
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