Detail 01
Switchable cardioid/omnidirectional
Omni removes proximity effect and extends low end. Cardioid isolates. One mic covers two very different jobs.

Independent shopping perspective
A single small-diaphragm condenser with switchable cardioid and omni patterns, for engineers who want to choose rejection or flat, open room capture per session.


Strong match
Consider the trade-offs
What matters in use
Catalog numbers tell only part of the story. These are the details most likely to change how this product feels, sounds, or fits into a setup.

Detail 01
Omni removes proximity effect and extends low end. Cardioid isolates. One mic covers two very different jobs.
Detail 02
25dB gives real headroom on close snare or brass. 15dB is the useful middle setting for loud acoustic sources.
Detail 03
The gentle slope shapes proximity buildup. The steep one kills stage rumble and HVAC without touching instrument body.
Detail 04
Quiet enough for distant room placement and soft sources where you're pushing 50dB or more of preamp gain.
Detail 05
Full-range in omni especially, where the low end stays flat instead of rolling off with distance.
Detail 06
Standard hot condenser output into any modern preamp. Long cable runs are not a problem.
Final check

Product questions
Straight answers to the questions shoppers most often ask about this product.
The KSM141 adds a switchable omnidirectional pattern and a three-position pad. The KSM137 is fixed cardioid. Capsule size, self-noise and frequency response are the same.
For room mics, ensembles, and close acoustic work where you want flat low end without proximity boost. It needs a room worth recording.
Yes, though they are sold individually here. Buying two costs more than the factory-matched KSM137 stereo pair.
Yes. At 25dB attenuation the handling limit is far above anything a drum produces at close range.
Reference
The complete catalog record, organized around the decisions musicians make when comparing gear.