The "Shure-PG27" side address cardioid condenser microphone comes in two options - XLR and USB type. I went with the XLR option. Weighing only 438 grams, this condenser microphone delivers what it promises. Extremely sensitive highs.
This phantom powered uni-directional microphone delivers up-to 124DB SPL and up-to 144DB SPL (with -20DB attenuator switched on). The maximum output gain this microphone can withstand is -41DBV/Pa at minimum gain. Having a gold sputtered Mylar large diaphragm, the PG27 can be used for a wide variety of amplified and analog sound applications such as for vocals, acoustic/bass guitars, wind instruments, drum overheads and piano, especially for professional studio recording environments (Applications might vary with the person using the microphone).
Though the PG27 mentions a neutral frequency response of 20Hz-20KHz, there is a significant boost from the 4KHz region, especially between 6-8KHz and then the response gradually decreases with another exaggerated boost from the 10KHz region. The polar pattern mentioned along with the manual, is almost similar while recording. More concentrated capturing happens towards the centre. The sides are also well sensitive.
The User guide and the specification sheet is available online via the official Shure website, and the information given is trustworthy and convincing. There are no additional drivers/softwares to be downloaded to start using this microphone. Connect the XLR to your dedicated Sound-card, switch on your phantom power and you are ready to record.
I have mainly used the PG-27 mostly for recording vocals. In this regard, the vocals captured usually would have boosted highs, but this can be controlled depending upon the mic placement and the type of room you are recording in. Don't worry, the PG-27 has a good understanding of the proximity effect and delivers boosted bass around 6 - 10DB's below 100Hz, when you are close enough to the microphone (Close to around 1/4 inch).
1) Coloured and Boosted Highs, Good for high pitched male/female singers especially, and for bright acoustic instruments.
2) Comes with a Padded Zipper Pouch and a Stand Adapter.
3) Very durable and tough. Travel friendly and will fit into any travel/work bag.
4) Less intake of unwanted outside dust by the diaphragm, even though if left uncovered.
5) Handles extreme high - voltage levels.
6) Optional dedicated Shock Mount, Pop - filter and Windscreen available for purchase via the website.
7) -20DB pad switch.
1) Does not deliver neutral frequency response.
2) Not sure how many musicians and engineers would use this in a studio environment due to coloured highs (Unless you know what you are doing and how to deal with it), and at the same time not sure how many musicians and engineers would use this in a live environment due to phantom powered condenser design (You don't want to hold a condenser mic on stage and perform, do you?).
3) XLR cable to be purchased separately.
4) Produces quick pop/click sounds when phantom power is switched on (Only sometimes).
Since its been 6 years using the PG-27, and being my first ever microphone for recording applications, I would say that the quality it delivers and promises are the same. "Crispness and Sharpness" would be the two attributes I give for this microphone. Though I simultaneously use other microphones such as the Rode - NT series, Earthworks, Brauner, Akg and Nuemann etc, I cannot compare the PG-27 with these high ended brand microphones. The PG-27 has its own small space in the recording environment, and I still continue to use it for recording purposes.
With everything that I know now and with a price of $200, the microphone is not over-priced. But I would have gone with a different brand even if it were a few hundred dollars more priced.
On paper it's nickel, but the ear, er .... Careful anyway. Not very top end of the spectrum and the mediums that puke a little.
This is a static condenser Cardio everything from classic.
Heavy duty construction that allows to use also live in llieu and establishment of a dynamic type SM.
on the other hand in the studio, he quickly finds its scope: preferably large acoustic pressures battery type, percussion or other poltergeists. Or subcultures amp; where we put a SM57 by reflex. It's more subtle and better defined anyway, but little else in the end.
Against by the voice, that very lack of finesse in clairemnt register of high mids and treble. AT2020 is a lot better. a female voice is to be avoided I think. I prefer the Audio-Technica without hesitation.
I bought secondhand a year ago and I very happy following. I made good catches on with its winds, however, not easy to capture (Doudouk Peter Gabriel: Levon Minassian) on percussion and difficult as it has been successful. I compared it to an AT2020 (see above) and also to other large pickups (class and price of about x10). You should know of course put in its place ... Do not ask for the impossible price. It has its place in a park that's mic cetrain.
In conclusion: secondhand in good condition and is a good buy, it is discussed in nine. I think right now if you search in the Lambda brand (and other kinds Eagletone T.BONE) equivalent must be found for less. I tested a Eagletone CM60 which seems pretty comparable to the level made for less than half for example.
Large diaphragm capsule for a wide dynamic range, clear highs and powerful bass
Frequency Response neutral natural reproduction
Attnuateur switchable-20dB SPL for high pressure
Supplied with fitting multistep and carrying pouch
I use it on my acoustic or amplified instruments and the voices.
I use it for two months
I also have a nova. This mic is better quality. but I'm a little bit better I was expecting the house Shure. Lack of sharpness in the bass and treble to the voices
Very good for recording guitar and an amp before
For the price quality ratio I would do so this choice