Shure BETA 58A - Manuel

Model BETA 58A
®
User Guide
© 2005, Shure Incorporated
27C2796 (Rev. 5)
Printed in U.S.A.
MODEL BETA 58A ® SUPERCARDIOID DYNAMIC
VOCAL MICROPHONE
GENERAL
The Shure BETA 58A is a high-output, supercardioid dynamic vo-
cal microphone for professional sound reinforcement and project
studio recording. It maintains a true supercardioid pattern through-
out its frequency range. This ensures 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 hardened steel mesh grille. Typ-
ical applications for the BETA 58A include lead vocals, backup vo-
cals and speech.
FEATURES:
• Frequency response tailored for vocals, with brightened
midrange and bass rolloff to control proximity effect
• Uniform supercardioid pattern for high gain before
feedback and superior rejection of off-axis sound
• Neodymium magnet for high signal-to-noise output
• Hardened steel mesh grille that resists wear and abuse
• Advanced pneumatic shock mount system that minimizes
transmission of mechanical noise and vibration
• Minimally affected by varying load impedance
• Legendary Shure quality and reliability
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 applica-
tions and placement techniques are listed in the following table.
Keep in mind that microphone technique is largely a matter of per-
sonal taste; there is no one "correct" microphone position.
GENERAL RULES FOR MICROPHONE USE
• Aim the microphone toward the desired sound source and
away from unwanted sources. Since supercardioid
microphones such as the BETA 58A have narrow pickup
patterns and can pick up sounds from the rear, this may
not be obvious or intuitive.
• Place the microphone as close as practical to the desired
sound source. Refer to the table above.
• Work close to the microphone for extra bass response.
• Use only one microphone to pick up one sound source.
• Keep the distance between microphones at least three
times the distance from each source to its microphone.
• Use the fewest number of microphones as is practical.
• 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.
• Do not cover any part of the grille with your hand.
PROXIMITY EFFECT
Unidirectional microphones such as the BETA 58A progressively
boost bass frequencies by 6 to 10 dB at 100 Hz when the micro-
phone is at a distance of about 6 mm (1/4 in.) from the sound
source. This phenomenon, known as proximity effect, can be used
to create a warmer, more powerful sound. To prevent explosive low
frequency sound during close-up use, the BETA 58A bass re-
sponse gradually rolls off. This provides greater control and helps
the user take advantage of proximity effect.
SUGGESTED MICROPHONE
PLACEMENT
TONE QUALITY
Lips less than 15 cm (6 in.) away
or touching the windscreen, on
axis to microphone.
Robust sound, emphasized bass,
maximum isolation from other
sources.
15 to 60 cm (6 in. to 2 ft.) away
from mouth, just above nose
height.
Natural sound, reduced bass.
20 to 60 cm (8 in. to 2 ft.) away
from mouth, slightly off to one side.
Natural sound, reduced bass and
minimal "s" sounds.
90 cm to 1.8 m (3 to 6 ft.) away. Thinner, distant sound; noticeable
levels of ambient noise.