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APPLICATIONS
The KSM27 provides superior results in any application requiring a high quality
microphone. Some typical applications are listed below.
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Voice-solo, background, voice-over or broadcasting
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Acoustic instruments such as piano, guitar, drums, percussion, strings
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Electric instruments such as guitar and bass
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Wind instruments – brass and woodwind
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Low-frequency instruments such as double bass, electric bass, kick drum
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Overhead miking for drums or percussion
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Ensembles – choral or orchestral
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Room ambience pick-up – guitar amplifier or drums
Note: Both the acoustic environment and microphone placement strongly affect
the sound obtained from miking a source, especially with a high-resolution
microphone like the KSM27. You may need to experiment with microphone
placement and room treatments to achieve the best overall sound for each
application.
OPERATING THE KSM27
Mounting
Use the shock mount to secure the KSM27 to a floor or boom stand by threading
the shock mount onto the microphone stand and inserting/threading the
microphone into the shock mount.
Power
The KSM27 requires phantom power and performs optimally with a 48 Vdc
supply (IEC-268-15/DIN 45 596). However, it will operate with slightly decreased
headroom and sensitivity with supplies as low as 11 Vdc. Most modern mixers
provide phantom power. Phantom power can only be transmitted to the KSM27
through a cable terminated with XLR connectors at each end.
Positioning the Microphone
The front of the KSM27 is marked by the
this side of the microphone toward the sound source to be recorded. The rear of
the microphone is marked by the
15dB attenuation switch.
Cardioid. Picks up sounds directly in front of the microphone and is least
sensitive to those in back. Cardioid is the most commonly used polar pattern in
studio recording and live-sound applications. See Figure 5.
logo. See Figure 1. Position
logo, the low-frequency filter switch and the
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