Shure C - Manual

Model Beta 181 Wired Microphones

Specification Sheet

TL1075 (Rev. 1)

.

©2010 Shure Incorporated

BETA 181 Side-Address Condenser Microphone

General Description

The Shure Beta 181 is an ultra-compact, side-

address, condenser microphone, designed for

discreet placement in live and studio environ-

ments. Featuring interchangeable cardioid,

supercardioid, omnidirectional and bidirectional

capsules for superior versatility, the small dia-

phragm of the Beta 181 provides superior audio

with consistent, “textbook” polar responses in

a form factor small enough to get close to the

source in the tightest conditions.

Variations

Beta 181/C

Cardioid Microphone

Beta 181/S

Supercardioid Microphone

Beta 181/O

Omnidirectional Microphone

Beta 181/BI

Bidirectional Microphone

Features

•

Premier live performance microphone with

Shure quality, ruggedness, and reliability

•

Compact preamp attaches to four

interchangeable capsules

•

Wide dynamic range for use in high SPL

environments

•

Side-address form allows for discreet

positioning in tight performance and recording

settings

•

Innnovative locking ring provides a secure

connection between capsule and preamp

•

Hardened steel mesh grille resists denting,

wear, and abuse

•

Compact design, under 12 cm (5 in.), reduces

stage clutter

•

Furnished with stand adapter and carrying

case

Performance Characteristics

•

Exceptional low-frequency reproduction

•

Extremely high SPL handling

•

High output level

•

No crossover distortion

•

Transformer output

Applications and Placement

Positioning the Microphone

The front of the microphone is marked by the Shure logo on the

preamp and the polar pattern icon on the capsule. Position this side

toward the sound source.

BETA 181

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.

•

Add a windscreen when using the microphone outdoors.

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.

Cardioid

Supercardioid

Omnidirectional

Bidirectional*

•

Drum overheads

•

Piano

•

Acoustic instruments

•

Pair with a Beta 181/

BI for M/S stereo

technique

•

Close-miking

in performance

settings

•

Snare drum

•

Acoustic

instruments

•

Room and

ambient pickup

•

Mono drum

overhead

•

String ensembles

•

Use a pair of Beta

181/BI for Blumlein

stereo teqhnique

•

Mono drum overhead

•

Dual sound sources,

such as between

tom-toms or acoustic

instruments

*

Note:

As with all bidirectional microphones, sounds picked up from the back will be out of polarity

with the source. Those from the front are in polarity with the source.

Printed in U.S.A.