Shure KSM 137 Stereoset
Stereo Pair Small Diaphragm Condenser Microphones
- Optimised for acoustic instruments
- Neutral and precise sound for stage and studio applications
- Ideal for overhead, hi-hat, piano, choir and orchestra, and acoustic stringed instruments
- Ultra-thin, 2.5 micron, 24 karat gold-layered, low mass Mylar diaphragm for superior transient response
- Gold-plated internal and external contacts
- Polar pattern: Cardioid
- Frequency response: 20 Hz - 20 kHz
- Sensitivity: -37 dBV / Pa
- Switchable pad: 0 dB, -15 dB, -25 dB
- SPL: 164 dB (with switched -25dB pad)
- Three-stage switchable low cut filter
- Very low self-noise – 14 dB(A) – for a small diaphragm condenser microphone
- Robust housing
- Weight: 100 g
- Includes A137C plastic case, A26M stereo bar, 2x A100WS windshields and 2x A57F microphone Mmunts
- Also available as a single microphone: Art.176015
- Optional accessories:
- A53M shock-absorbing microphone holder Art:138152
- A27M swivel microphone adapter for two microphones Art.210368
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Available since July 2004
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Item number 171884
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Sales Unit 1 piece(s)
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Battery Powered No
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Directional Microphone No
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Stereo Pair Yes
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switchable lowcut Yes
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switchable pad Yes
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characteristic cardoid
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Condenser Microphone Yes
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Incl. Clamp Yes
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Polar Pattern Cardioid
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A stereo pair of versatile condensers
The Shure KSM137 Stereo Set pairs two factory-matched KSM137 cardioid condensers with the A27M stereo bar, providing a complete stereo recording system ready to deploy from a single microphone stand. Each microphone combines a 2.5μm gold-layered Mylar diaphragm with a Class A transformerless preamplifier, delivering 14dB SPL-A self-noise and 20Hz–20kHz frequency response, with both capsules factory-matched. The three-position pad (0/-15/-25dB) and three-position low-cut filter are present on each mic. Two windscreens, two mic clips, and a hard-shell carrying case are included alongside the A27M stereo bar; 48V phantom power is required for each microphone.
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Capsule and control
The Shure KSM137's ultra-thin 2.5μm diaphragm captures fast transients with precision, preserving the attack of a plucked string, a struck drum head, or a brass articulation with the speed that heavier diaphragms lose. Behind it, the Class A transformerless circuitry maintains low distortion alongside a 14dB SPL-A self-noise figure, allowing subtle instrumental detail to be captured without adding coloration. The switchable low-cut filter provides three positions before the signal reaches the preamplifier: flat; a gentle 6dB/octave rolloff at 115Hz for proximity effect compensation; and a steeper 18dB/octave cutoff at 80Hz for room rumble and ventilation noise. A permanent subsonic filter attenuates frequencies below 17Hz, helping eliminate unwanted mechanical noise at the source.
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Making the case for a matched pair
A factory-matched pair guarantees closely matched sensitivity and frequency response between the left and right channels – a meaningful advantage whenever the stereo image depends on both capsules capturing the same source with equal accuracy. The Shure A27M stereo bar mounts both microphones on a single stand with adjustable angle and vertical separation, supporting X-Y coincident and ORTF near-coincident configurations without additional hardware. In X-Y, the capsules are positioned close together at 90–135°, producing tight, phase-coherent stereo imaging with excellent mono compatibility. ORTF (i.e., 110° with 17cm capsule spacing) produces a wider, more natural stereo field that mimics human audition.
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About Shure
The American company Shure began developing microphones during the early 1930s and is one of the pioneers of the audio engineering sector. Models such as the 55 Unidyne – known to many as the "Elvis microphone" – and the SM57 and SM58 which appeared in the mid-1960s are still ubiquitous in live sound production today. They enjoy cult status among musicians and technicians alike. In the 1990s, Shure introduced the first wireless microphones and in-ear monitoring systems and became a market leader in this field. In addition to microphones, Shure offers a wide range of earphones and headphones for studio and live use, as well as various accessories.
Overheads, ensembles, and room recording
The Shure KSM137 Stereo Set suits any application where a single microphone leaves the stereo field underdeveloped. On drum overheads, two KSM137s in X-Y or ORTF capture cymbal detail, stereo width, and the natural decay of the kit with the low self-noise and extended frequency response that condenser overheads demand. On piano, the matched pair captures the instrument's full tonal character and natural stereo image without the phase complications that can arise when close-miking individual sections. For ensemble, orchestral, and choral recording, the set provides a coherent stereo image of the full group from a single stand position. For engineers regularly working in stereo, the matched pair and adjustable A27M stereo bar provide a complete, ready-to-use solution that requires no additional hardware or accessories.
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