Shure PGA27 User Manual

PG

ALT TMA SERIES

WIRED MICROPHONE

PGA27
USER GUIDE

© 2015 Shure Incorporated
27A27347 (Rev. 3)

PGA27

USB

XLR

PG Alta Microphones

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.

General Rules for Use

• Do not cover any part of the microphone grille with your
hand, as this will adversely affect microphone performance.

• Aim the microphone toward the desired sound source
(such as the talker, singer, or instrument) and away from
unwanted sources.

Connecting to a Mixer or Computer

Cables

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.

• Place the microphone as close as practical to the desired
sound source.

• Work close to the microphone for extra bass response.

• Use only one microphone to pick up a single sound source.

• For better gain before feedback, use fewer microphones.

• Keep the distance between microphones at least three
times the distance from each microphone to its source
(“three to one rule”).

• Place microphones as far as possible from reflective
surfaces.

• Add a windscreen when using the microphone outdoors.

• Avoid excessive handling to minimize pickup of mechanical
noise and vibration.

Computer

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

3

Mixer

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.

Phantom Power

All condenser microphones require phantom power to operate. This microphone performs best with a 48 V DC supply (IEC-

61938), 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.

Operation

Positioning the Microphone

The front of the microphone is marked by the logo.
Position this side toward the sound source.

4

Mounting the Microphone

Use the supplied shockmount to mount the microphone. To
secure the microphone, place it in the shockmount and tighten
the ring at the bottom.

Proximity Effect

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.

Setting Attenuation

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.

Low-Frequency Response Switch

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:

- Reduce floor rumble and low-frequency room noise from heating and air conditioning systems

- Decrease the volume of low frequencies that cause instruments to sound dull or muffled

- Shape the tone on sources which do not produce much bass (violin, acoustic guitar, flute, etc.)

- Reduce plosives (the pop that is heard when a vocalist says a word starting with the letter P). If possible, use a pop filter
alone or in combination with the low-frequency reduction setting.

Applications

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

Drums 3-6 feet (1-2 m) Place in front of the drum kit to capture more of the kick

Amplifiers 1-6 inches (2-15 cm) Aim towards the center of the speaker for a clear,

Strings or horns 1-6 feet (30 cm - 2 m) For a single instrument, place the microphone close to

Full band Facing towards the

group, centered
between instruments

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.

12th fret for a balanced, natural sound.

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.

aggressive sound, or towards the edge of the speaker for
a mellow sound.

the source. For a horn or string section, arrange players
at an equal distance from the microphone.

Use the -15 db attenuation switch if the band is very loud
to prevent distortion.

5

20

15

10

5

0

-30

-25

-20

-15

-10

-5

dB

Hz

20 100 1k 10k 20k

0,61 m (2 ft.) from sound source

1,000 Hz

Optional Accessories and Replacement Parts

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

Black Foam Windscreen for BETA 27, KSM27, KSM32,
KSM42, KSM44, KSM44A, PG27, PG42 and SM27

Specifications

PS-6

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 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

6

Typical Polar Pattern

Certifications

This product meets the Essential Requirements of all relevant European directives and is eligible for CE marking.

The CE Declaration of Conformity can be obtained from: www.shure.com/europe/compliance

Authorized European representative:
Shure Europe GmbH
Headquarters Europe, Middle East & Africa
Department: EMEA Approval
Jakob-Dieffenbacher-Str. 12
75031 Eppingen, Germany
Phone: [phone]
Fax: [phone]
Email: [e-mail]

7

55.9 mm diameter (2.2 in.)

152.8 mm (6.02 in.)

Kompleks Harco Mangga Dua Blok L No. 35 Jakarta Pusat

Europe, Middle East, Africa:

PT. GOSHEN SWARA INDONESIA

I.16.GSI31.00501.0211