Shure BETA 58A Benutzerhandbuch

MODEL BETA 58A
SUPERCARDIOID DYNAMIC VOCAL MICROPHONE
GENERAL
The Shure BETA 58A is a high-output supercardioid dy-
namic vocal microphone designed for professional sound re-
inforcement and project studio recording. It maintains a true
supercardioid pattern throughout its frequency range. This
insures high gain before feedback, maximum isolation from
other sound sources, and minimum off–axis tone coloration.
The BETA 58A has a shaped frequency response that is
ideal for close–up vocals. The superb performance of this
microphone is not affected by rough handling because of its
rugged construction, proven shock mount system, and hard-
ened steel mesh grille. Typical applications for the BETA 58A
include lead vocals, backup vocals and speech.
FEATURES:
S Frequency response tailored for vocals, with brightened
midrange and bass rolloff to control proximity effect
S Uniform supercardioid pattern for high gain before
feedback and superior rejection of off–axis sound
S Neodymium magnet for high signal–to–noise output
S Hardened steel mesh grille that resists wear and abuse
S Advanced pneumatic shock mount system that minimizes
transmission of mechanical noise and vibration
S Minimally effected by varying load impedance
S Legendary Shure quality and reliability
2002, Shure Incorporated
27B2796 (BF)
R
Model BETA 58A
APPLICATION AND PLACEMENT
The BETA 58A is designed for close-up vocals, and can be
hand held or mounted on a stand. Some of the most common
applications and placement techniques are listed in the fol-
lowing table. Keep in mind that microphone technique is
largely a matter of personal taste—there is no one "correct"
microphone position.
SUGGESTED MICROPHONE
PLACEMENT
Lips less than 15 cm (6 in.) away
or touching the windscreen, on
axis to microphone.
15 to 60 cm (6 in. to 2 ft.) away
from mouth, just above nose
height.
20 to 60 cm (8 in. to 2 ft.) away
from mouth, slightly off to one
side.
90 cm to 1.8 m (3 to 6 ft.) away.
GENERAL RULES FOR MICROPHONE USE
1. Aim the microphone toward the desired sound source and
away from unwanted sources. Since supercardioid micro-
phones such as the BETA 58A have narrow pickup pat-
terns and can pick up sounds from the rear, this may not
be obvious or intuitive.
2. Place the microphone as close as practical to the desired
sound source. Refer to the table above.
3. Work close to the microphone for extra bass response.
4. Use only one microphone to pick up one sound source.
5. Keep the distance between microphones at least three
times the distance from each source to its microphone.
6. Use the fewest number of microphones as is practical.
7. Place microphones as far as possible from reflective sur-
faces.
8. Add a windscreen when using the microphone outdoors.
9. Avoid excessive handling to minimize pickup of mechani-
cal noise and vibration.
10. Do not cover any part of the grille with your hand.
PROXIMITY EFFECT
Unidirectional microphones such as the BETA 58A progres-
sively boost bass frequencies by 6 to 10 dB at 100 Hz when
the microphone is at a distance of about 6 mm (1/4 in.) from
the sound source. This phenomenon, known as proximity ef-
fect, can be used to create a warmer, more powerful sound.
To prevent explosive low frequency sound during close–up
use, the BETA 58A bass response gradually rolls off. This pro-
vides greater control and helps the user take advantage of
proximity effect.
R
User Guide
TONE QUALITY
Robust sound, emphasized
bass, maximum isolation from
other sources.
Natural sound, reduced bass.
Natural sound, reduced bass
and minimal "s" sounds.
Thinner, distant sound; notice-
able levels of ambient noise.
Printed in U.S.A.