End-address condenser microphone with mechanically switching dual polar patterns.
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.
Features
- 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
Applications
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.
