Shure BETA 91A - Manual (Page 3)

General Description
The Shure Beta 91A is designed for use with kick
drums, piano and other traditional low frequency ap-
plications. An updated microphone capsule is tailored
for bass-heavy environments to produce a powerful low
frequency response, and a new design integrates the
preamplifier and XLR connection for easy setup and
minimal stage clutter. The Beta 91A combines superior
attack and punch for studio-quality sound, even at ex-
tremely high sound pressure levels (SPLs).
Features
• Premier live performance microphone with Shure
quality, ruggedness, and reliability
• Uniform half-cardioid polar pattern (in the
hemisphere above mounting surface) for maximum
gain before feedback and rejection of off-axis sound
• Tailored frequency response for kick drums and
bass-heavy instruments
• Wide dynamic range for use in high SPL
environments
• Two-position contour switch enhances attack
and clarity
• Integrated preamp and XLR connector reduce stage
clutter and provide a quick, secure setup
• Low profile design requires no external
mounting hardware
• Steel grille and die-cast metal construction resist
wear and abuse
Performance Characteristics
• Exceptional low-frequency reproduction
• Extremely high SPL handling
• High output level
• No crossover distortion
Applications and Placement
Half-cardioid Polar Pattern
Boundary microphones pick up sound in a cardioid polar pattern in the
hemisphere above the mounting surface. Keep sound sources within the
60 degree range above this surface.
The following table lists the most common applications and placement techniques. Keep in mind that microphone
technique is largely a matter of personal taste; there is no one “correct” microphone position.
Contour Switch
A two-position switch on the bottom of the microphone lets you selectively filter the low-mid frequency response with-
out additional tools. Use this filter to enhance the attack and clarity of bass-heavy instruments.
General Rules for Use
• Aim the microphone toward the desired sound source; angle unwanted sounds toward its null point.
• Use the fewest amount of microphones as practical to increase the Potential Acoustic Gain and prevent feedback.
• Follow the 3 to 1 Rule by spacing each microphone by at least three times the distance to its source to
reduce Phase Cancellation.
• Place microphones as far as possible from reflective surfaces to reduce Comb Filtering.
• When using directional microphones, work closely to the microphone for extra bass response to take advantage
of Proximity Effect.
• Avoid excessive handling to minimize pickup of mechanical noise and vibration.
• Do not cover any part of the microphone grille, as this will adversely affect microphone performance.
60
Flat response: Provides the most natural sound in most applications.
Low-Mid Scoop: This setting tailors the microphone’s frequency
response to provide a strong ‘punch’ in the low frequencies, and
plenty of attack in the higher frequencies.
EQ
EQ
Mounting the Microphone
For long-term installation, mount the Beta 91A to a surface using the mounting holes on the bottom of microphone.
APPLICATION SUGGESTED MICROPHONE PLACEMENT TONE QUALITY
Kick Drum Inside drum, on a pillow or other cushioning surface, 25
to 152 mm (1 to 6 in.) from beater head.
Full, natural sound.
Contour switch activated; 25 to 152 mm (1 to 6 in.) from
beater head.
Sharp attack; maximum bass
“punch.”
Piano Mount microphone on underside of lid over lower treble
strings. Experiment with lid height and placement to ham-
mers for desired sound.
Bright, well-balanced, strong
attack; excellent isolation.
Mount microphone vertically on the inside of the piano
frame, near the apex of the piano’s curved wall.
Full, natural; excellent isola-
tion and minimal hammer and
damper noise.
Note: Location and room acoustics strongly affect the sound quality of microphones. To achieve the best overall
sound for a particular application, it may be necessary to experiment with microphone placement and
room treatments.
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