Shure Vocal Mic - Manual

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.