Shure 56A - Manual

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Page 2 – RECOMMENDED LOUDSPEAKER LOCATIONS; CERTIFICATION
Page 3 – MODÈLE BETA 56
Page 4 – pas; PLACEMENT RECOMMANDÉ POUR LES HAUT–PARLEURS; FIGURE 1; CARACTÉRISTIQUES; COURBE DE RÉPONSE TYPIQUE; FIGURE 2; COURBES DE DIRECTIVITÉ TYPIQUES; FIGURE 3; ADAPTATEUR; ADAPTATEUR DE PIED INTÉGRAL BETA 56A; FIGURE 4; ACCESSOIRES FOURNIS
Page 5 – MODELL BETA 56; MONTAGE DES BETA 56A AUF EINEN MIKROFONST
Page 6 – nicht; EMPFOHLENE LAUTSPRECHERSTELLUNGEN; ABBILDUNG 1; SPEZIFIKATIONEN; TYPISCHES FREQUENZVERHALTEN; ABBILDUNG 2; TYPISCHE POLARCHARAKTERISTIK; ABBILDUNG 3; EINGEBAUTER STATIVADAPTER FÜR BETA 5; ABBILDUNG 4; MITGELIEFERTES ZUBEHÖR
Page 7 – MODELO BETA 56; sistema dinámico de traba
Page 8 – COLOCACION RECOMENDADA DE ALTOPARLANTES; ESPECIFICACIONES; RESPUESTA DE FRECUENCIA TIPICA; CERTIFICACIONES
Page 9 – MODELLO BETA 56
Page 10 – non; COLLOCAZIONE SUGGERITA DEGLI ALTOPARLANTI; FIGURA 1; DATI TECNICI; TIPICA RISPOSTA IN FREQUENZA; FIGURA 2; TIPICI DIAGRAMMI POLARI; FIGURA 3; ADATTATORE INCORPORATO PER SUPPORTO BETA 56A; FIGURA 4; CERTIFICAZIONI

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MODEL BETA 56



COMPACT SUPERCARDIOID
DYNAMIC MICROPHONE

GENERAL

The compact Shure BETA 56



A is a high output supercar-

dioid dynamic microphone designed for professional sound

reinforcement and project studio recording. Its extremely

uniform supercardioid pickup pattern provides high gain

before feedback and excellent rejection of unwanted noise. A

built–in dynamic locking stand adapter with an integral XLR

connector simplifies installation. The stand adapter keeps the

microphone securely in place, even if it is struck by a

drumstick. Typical BETA 56A applications include close

miking of tom–toms and other percussion instruments, as well

as guitar amplifiers, brass instruments, and woodwinds.

FEATURES

•

Tailored frequency response provides drums, amplified

instruments, and horns with studio quality sound

•

Built–in stand adapter with dynamic locking system and

XLR connector simplifies setup and provides greater

flexibility

•

Uniform supercardioid pattern for high gain before feed-

back and superior rejection of off–axis sound

•

Compact design reduces stage clutter

•

Hardened steel mesh grille resists wear and abuse

•

Neodymium magnet for high signal–to–noise ratio output

•

Minimally affected by varying load impedance

•

Advanced pneumatic shock mount system that minimizes

transmission of mechanical noise and vibration

•

Legendary Shure quality and reliability

GENERAL RULES FOR MICROPHONE USE

1. Aim the microphone toward the desired sound source and

away from unwanted sources. This may not be obvious or

intuitive, since supercardioid microphones such as the

BETA 56A have narrow pickup patterns and can pick up

sounds from the rear. Refer to Figure 1 on the following

page.

2. Place the microphone as close as practical to the desired

sound source (refer to the table in the opposite column).

3. Work close to the microphone for extra bass response.

4. Use only one microphone to pick up a single sound source.

5. Use the fewest number of microphones as practical.

6. Keep multiple microphones separated by a distance equal

to at least 3X the distance to the nearest sound source.

7. Place mics as far as possible from reflective surfaces.

8. Use a windscreen when using the microphone outdoors.

BETA 56A APPLICATIONS AND PLACEMENT

The most common BETA 56A applications and placement

techniques are listed in the following table. Keep in mind that

microphone technique is largely a matter of personal taste;

there is no one “correct” microphone position.

APPLICATION

SUGGESTED MICROPHONE

PLACEMENT

TONE

QUALITY

Tom–Toms

One BETA 56A on each tom, or be-

tween each pair of toms, 2.5 to 7.5

cm (1 to 3 in.) above drum heads.

Aim each mic at top drum heads.
On double head toms, you can also

remove bottom head and place a

mic inside pointing up toward top

drum head.

Medium attack;

full, balanced

sound.

Medium attack;

full, balanced

sound.

Snare Drum

2.5 to 7.5 cm (1 to 3 in.) above rim

of top head of drum. Aim mic at

drum head.
If desired, place a second mic just

below rim of bottom head.

Most “snap”

from drumstick.

More “snare”

sound.

Guitar & Bass

Amplifiers

2.5 cm (1 in.) from speaker, on–

axis with center of speaker cone.

2.5 cm (1 in.) from speaker, at edge

of speaker cone.

15 to 30 cm (6 to 12 in.) away from

speaker and on–axis with

speaker

cone.

60 to 90 cm (2 to 3 ft .) back from

speaker, on–axis with speaker

cone.

Sharp attack;

emphasized

bass.
Sharp attack;

higher frequency

sound.
Medium attack;

full, balanced

sound.

Softer attack;

reduced bass.

Brass &

Woodwinds

Brass: 30 to 90 cm (1 to 3 ft.) away,

on–axis with bell of instrument.
Woodwinds: 2.5 to 15 cm (1 to 6 in.)

away, on–axis with bell of instru-

ment.
Bell of instrument 90

off–axis from

front of mic.

Bright, clear

sound.
Bright, clear

sound.

Softer, mellow

sound.

MOUNTING THE BETA 56A ON A MICROPHONE STAND

The built–in stand adapter features a

dynamic locking

system

that permits adjustments to the microphone’s posi-

tion, but resists slipping when struck by drumsticks. To mount

the BETA 56A on a stand and adjust its position, proceed as

follows:
1. Screw the integral stand adapter onto the end of a micro-

phone stand (see Figure 4). Adjust the stand height and

position as necessary. Make sure the adjustment knob on

the adapter is loose.

2. Pivot the BETA 56A until it is in the desired position relative

to the drum head or instrument speaker.

3. Lock the BETA 56A in place by rotating the thumbscrew on

the stand adapter clockwise until it is tight. Do NOT use

tools to overtighten the adjustment knob.

4. If necessary, make minor adjustments to the microphone

position without loosening the adjustment knob.

5. Connect an audio cable to the integral XLR connector.

Model BETA 56



A User Guide

2798 (Rev.

)



200

, Shure Incorporated

Printed in U.S.A.

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Summary

Page 2 - RECOMMENDED LOUDSPEAKER LOCATIONS; CERTIFICATION

2 STAGE MONITOR AND P.A. LOUDSPEAKER PLACEMENT For maximum rejection of unwanted sound, place the stage monitor(s) or P.A. system loudspeakers at a 60 ° angle from the rear of the BETA 56A, not directly behind it (see Figure 1). Always check out the stage setup before a performance to en- sure optim...

Page 3 - MODÈLE BETA 56

3 MODÈLE BETA 56  A MICROPHONE DYNAMIQUE SUPERCARDIOÏDE COMPACTGÉNÉRALITÉS Le Shure BETA 56  A compact est un microphone supercardioïde à haute puissance de sortie conçu pour la sonorisation professionnelle et les enregistrements en studio. Sa configuration supercardioïde extrêmement uniforme assu...

Page 4 - pas; PLACEMENT RECOMMANDÉ POUR LES HAUT–PARLEURS; FIGURE 1; CARACTÉRISTIQUES; COURBE DE RÉPONSE TYPIQUE; FIGURE 2; COURBES DE DIRECTIVITÉ TYPIQUES; FIGURE 3; ADAPTATEUR; ADAPTATEUR DE PIED INTÉGRAL BETA 56A; FIGURE 4; ACCESSOIRES FOURNIS

4 DISPOSITION DES RETOURS DE SCÈNE ET DES HAUTS–PARLEURS DE SONORISATION Pour un réjet maximal des sons indésirables, placer les retours ou les haut–parleurs à 60 _ par rapport au microphone BETA 56A, pas directement derrière (voir la figure 1). Toujours examiner la mise en place de la scène pour s’...