PG ALTA TMSERIES

WIRED MICROPHONE

PGA27
USER GUIDE

© 2015 Shure Incorporated

27A27347 (Rev. 3)
PGA27

PG Alta Microphones
Congratulations on the purchase of a new Shure PG Alta • Place the microphone as close as practical to the desired
series microphone. The PG Alta series delivers professional sound source.
quality audio at an affordable price, with solutions for • Work close to the microphone for extra bass response.
capturing nearly any source, including voice, acoustic
instruments, drums, and amplified electric instruments. • Use only one microphone to pick up a single sound source.
Suitable for live and studio applications, PG Alta microphones • For better gain before feedback, use fewer microphones.
are built to last, and meet the same rigorous quality testing
• Keep the distance between microphones at least three
standards that make all Shure products trustworthy and
times the distance from each microphone to its source
reliable.
(“three to one rule”).
• Place microphones as far as possible from reflective
General Rules for Use surfaces.
• Add a windscreen when using the microphone outdoors.
• Do not cover any part of the microphone grille with your • Avoid excessive handling to minimize pickup of mechanical
hand, as this will adversely affect microphone performance. noise and vibration.
• 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 Computer
Use only balanced (three-conductor) cables. Otherwise, To deliver audio directly to a computer, use a USB audio
the cable will not carry phantom power to the microphone. interface with an XLR microphone input that provides
If using an adapter for 6.5mm (1/4") inputs, it must have +48V phantom power, such as the Shure MVi.
tip-ring-sleeve (TRS) contacts.

USB

XLR

Connecting to a computer using the Shure MVi audio interface

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 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 Mounting the Microphone

The front of the microphone is marked by the logo. Use the supplied shockmount to mount the microphone. To
Position this side toward the sound source. 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.

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

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 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
®
PS-6
Microphone Stand Clamp
Black Foam Windscreen for BETA 27, KSM27, KSM32, A32WS
KSM42, KSM44, KSM44A, PG27, PG42 and SM27

Specifications
Type Polarity
Electret Condenser Positive pressure on diaphragm produces positive voltage on pin 2
with respect to pin 3
Polar Pattern
Cardioid Switch
15 dB Pad, High Pass Filter
Frequency Response
20 to 20,000 Hz Connector
Three-pin professional audio (XLR), male
Output Impedance
at 1 kHz, open circuit voltage Weight
453 g (1.0 lbs)
115 Ω, actual
Housing
Sensitivity
at 1 kHz, open circuit voltage Cast Zinc

-35 dBV/Pa [1] (17.8 mV) Power Requirements

48 V DC phantom power (3.9 mA)
Maximum SPL
[1] 1 Pa=94 dB SPL
1 kHz at 1% THD, 1 kΩ load
130 dB SPL Pad Off (145 dB SPL Pad On)

20
15 0,61 m (2 ft.) from sound source
10
5
0
dB

-5
-10
-15
-20
-25
-30
20 100 1k 10k 20k

Hz

Typical Frequency Response

1,000 Hz
Typical Polar Pattern

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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: 49-7262-92 49 0
Fax: 49-7262-92 49 11 4
Email: [email protected]

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55.9 mm diameter (2.2 in.)

152.8 mm (6.02 in.)

Europe, Middle East, Africa:

PT. GOSHEN SWARA INDONESIA

Kompleks Harco Mangga Dua Blok L No. 35 Jakarta Pusat

I.16.GSI31.00501.0211