The Beta 52®A is a precision-engineered dynamic microphone with a tailored frequency response designed specifically for kick drums and other bass instruments. It provides superb attack and “punch,” and delivers studio quality sound even at extremely high sound pressure levels (SPL). An integrated, locking stand adapter simplifies mounting and adjustments.
Featuring a modified supercardioid pattern, the Beta 52A exhibits remarkable gain before feedback and excellent off-axis rejection. A hardened, steel mesh grille and die-cast metal construction withstands years of abuse, making it ideal for touring sound reinforcement.
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.
| Application | Suggested Microphone Placement | Tone Quality |
|---|---|---|
| Kick Drum | 5 to 7.5 cm (2 to 3 in.) away from beater head, slightly off-center from beater. | Sharp attack; maximum bass sound, highest sound pressure level. |
| 20 to 30 cm (8 to 12 in.) from beater head, on-axis with beater. | Medium attack; balanced sound. | |
| NOTE: To create a tighter sound with more “punch,” place a pillow or blanket on bottom of the drum against the beater head. | ||
| Guitar & Bass Amplifiers | 2.5 cm (1 in.) from speaker, on-axis with center of speaker cone. | Sharp attack; emphasized bass. |
| 2.5 cm (1 in.) from speaker, at edge of speaker cone. | Sharp attack; higher frequency sound. | |
| 60 to 90 cm (2 to 3 ft.) back from speaker, on-axis with speaker cone. | Softer attack; reduced bass. |
A supercardioid microphone has the greatest sound rejection at points 120° toward the rear of the microphone. Place the microphone so that unwanted sound sources, such as monitors and loudspeakers, are at these angles, not directly behind it. To minimize feedback and ensure optimum rejection of unwanted sound, always test microphone placement before a performance.
Recommended Loudspeaker Locations for Supercardioid Microphones
Unidirectional (cardioid) microphones progressively boost bass frequencies by 6 to 10 dB below 100 Hz when the microphone 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 bass response gradually rolls off. This provides greater control and helps the user take advantage of proximity effect.
The integrated stand adapter resists slipping when struck or bumped, yet permits adjustments without loosening the knob.
Dynamic (moving coil)
20 to 10,000 Hz
Supercardioid
EIA rated at150 Ω(45 Ωactual)
at 1kHz,open circuit voltage
-64 dBV/Pa(0.6 mV)[1]
1 kHz at 1% THD, 1 kΩ load
174 dB
Positive pressure on diaphragm produces positive voltage on pin 2 with respect to pin 3
Net
0.605 kg(1.35 lbs)
Three-pin professional audio (XLR), male, balanced
Silver blue enamel-painted die cast metal with hardened, matte-finished steel mesh grille
[1] 1 Pa=94 dB SPL
Typical Frequency Response
Typical Polar Patterns
|
5/8" to 3/8" (Euro) Threaded Adapter |
95A2050 |
|
Storage BagZippered Carrying Bag |
95A2324 |
|
Cartridge for BETA 52 and BETA 52A |
R175 |
|
Grille for BETA 52A |
RK321 |
|
Plug (Connector) Assembly |
90J1984 |
