Advertisement
Congratulations on the purchase of a new Shure PG Alta series microphone. The PG Alta series delivers professional quality audio at an affordable price, with solutions for capturing nearly any source, including voice, acoustic instruments, drums, and amplified electric instruments. Suitable for live and studio applications, PG Alta microphones are built to last, and meet the same rigorous quality testing standards that make all Shure products trustworthy and reliable.
Use only balanced (three-conductor) cables. Otherwise, the cable will not carry phantom power to the microphone. If using an adapter for 6.5mm (1/4") inputs, it must have tip-ring-sleeve (TRS) contacts.
To deliver audio directly to a computer, use a USB audio interface with an XLR microphone input that provides +48V phantom power, such as the Shure MVi.
Connecting to a computer using the Shure MVi audio interface
When connecting to a mixer, use only balanced, microphone-level inputs with phantom power. Most mixers have a switch for phantom power, so make sure phantom power is on for that channel.
All condenser microphones require phantom power to operate. This microphone performs best with a 48 V DC supply (IEC61938), but it can operate with lower voltages.
Phantom power is provided by the mixer or audio interface that the microphone is connected to, and requires the use of a balanced microphone cable: XLR-to-XLR or XLR-to-TRS. In most cases, there is a switch or button to activate the phantom power. See the user guide for the mixer or interface for additional information.
The front of the microphone is marked by the SHURE logo. Position this side toward the sound source.
Use the supplied shockmount to mount the microphone. To secure the microphone, place it in the shockmount and tighten the ring at the bottom.
Directional microphones progressively boost bass frequencies as the microphone is placed in closer proximity to the source. This phenomenon, known as proximity effect, can be used to create a warmer, more powerful sound.
The attenuation switch lets you reduce the signal level without altering the frequency response. This can prevent extremely loud sounds from overloading the microphone.
0dB For "quiet" to "normal" sound levels.
-15dB For use with extremely loud sound sources such as drums, horns, or loud guitar cabinets.
The low-frequency response switch changes the frequency response of the microphone.
Flat response (bypass)
This setting provides natural sound with no low-frequency reduction. Use the flat setting when recording sources that extend into the low-frequency range (piano, bass, percussion, etc.).
Low frequency cutoff
This setting provides a reduction in low frequencies to reduce noise or shape the tone. Use this setting to:
The following table provides a basic starting point for several instruments. Shure offers additional educational publications on microphone placement and recording techniques. Visit www.shure.com for more information.
Application | Distance from source | Tips |
Voice | 1-3 inches (2-8 cm) | Use a pop filter (Shure PS-6) to prevent plosives. |
Acoustic guitar | 6-12 inches (15-30 cm) | Place near the sound hole for a full sound, or near the 12th fret for a balanced, natural sound. |
Drums | 3-6 feet (1-2 m) | Place in front of the drum kit to capture more of the kick drum, or as an overhead (above the kit, facing down) to capture more cymbals. Consider using additional Shure microphones placed on individual drums for more mixing flexibility and a thicker sound. |
Amplifiers | 1-6 inches (2-15 cm) | Aim towards the center of the speaker for a clear, aggressive sound, or towards the edge of the speaker for a mellow sound. |
Strings or horns | 1-6 feet (30 cm - 2 m) | For a single instrument, place the microphone close to the source. For a horn or string section, arrange players at an equal distance from the microphone. |
Full band | Facing towards the group, centered between instruments | Use the -15 db attenuation switch if the band is very loud to prevent distortion. |
Tip: Close microphone placement results in a full sound due to the proximity effect. Placing the microphone farther from the source results in more room ambience.
7.6 m (25 ft.) Cable (XLR-XLR) | C25J |
5/8" to 3/8" Thread Adapter | 31A1856 |
Microphone Stand Adapter | 95A15045 |
ShureLock® Rubber Isolated Shock Mount | A27SM |
Popper Stopper® Pop Filter with Metal Gooseneck and Microphone Stand Clamp | PS-6 |
Black Foam Windscreen for BETA 27, KSM27, KSM32, KSM42, KSM44, KSM44A, PG27, PG42 and SM27 | A32WS |
Type
Electret Condenser
Polar Pattern
Cardioid
Frequency Response
20 to 20,000 Hz
Output Impedance
at 1 kHz, open circuit voltage 115 Ω, actual
Sensitivity
at 1 kHz, open circuit voltage
-35 dBV/Pa [1] (17.8 mV)
Maximum SPL
1 kHz at 1% THD, 1 kΩ load
130 dB SPL Pad Off (145 dB SPL Pad On)
Typical Frequency Response
Polarity
Positive pressure on the diaphragm produces positive voltage on pin 2 with respect to pin 3
Switch
15 dB Pad, High Pass Filter
Connector
Three-pin professional audio (XLR), male
Weight
453 g (1.0 lbs)
Housing
Cast Zinc
Power Requirements
48 V DC phantom power (3.9 mA)
[1] 1 Pa=94 dB SPL
Typical Polar Pattern
Here you can download full pdf version of manual, it may contain additional safety instructions, warranty information, FCC rules, etc.
Advertisement
Need help?
Do you have a question about the PGA27 and is the answer not in the manual?
Questions and answers