The Shure BETA 57®A is a precision-engineered, dynamic microphone designed for professional live sound reinforcement and studio recording. A tight, supercardioid pattern delivers high gain before feedback, maximum sound isolation, and minimum off-axis tone coloration.
The tailored frequency response of the versatile Beta 57A accentuates the fine details of amplified and acoustic instruments, especially in high sound pressure level(SPL) environments. A proven shock mount system, hardened steel-mesh grille, and superior build quality withstand the rigors of daily 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 |
|---|---|---|
| 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. | |
| 15 to 30 cm (6 to 12 in.) away from speaker and on-axis with speaker cone. | Medium attack; full, balanced sound. | |
| 60 to 90 cm (2 to 3 ft.) back from speaker, on-axis with speaker cone. | Softer attack; reduced bass. | |
| Snare Drum | 2.5 to 7.5 cm (1 to 3 in.) above rim of top head of drum. Aim mic at drum head. | Most “snap” from drumstick. |
| Tom-Toms | One mic on each tom, or between each pair of toms, 2.5 to 7.5 cm (1 to 3 in.) above drum heads. Aim each microphone 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. |
| Brass & Woodwinds | Brass: 30 to 90 cm (1 to 3 ft.) away, on-axis with bell of instrument. | Bright, clear sound. |
| Woodwinds: 2.5 to 15 cm (1 to 6 in.) away, on-axis with bell of instrument. | Bright, clear sound. | |
| Bell of instrument 90° off-axis from front of mic. | Softer, mellow sound. |
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.
Dynamic (moving coil)
50 to 16,000 Hz
Supercardioid
290 Ω
at 1kHz, open circuit voltage
-51 dBV/Pa (2 .8 mV)[1]
Net
0.275 kg (0.6 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
Overall Dimensions
Typical Frequency Response
Typical Polar Pattern
Wiring Diagram
|
Microphone Clip for SM58, SM57, SM87A, Beta 87A, Beta 87C, PGA57, PGA58, PGA48, PGA81 |
A25D |
|
5/8" to 3/8" (Euro) Threaded Adapter |
95A2050 |
|
Zippered Carrying Bag |
95A2314 |
|
Black Locking Foam Windscreen for BETA 57 and BETA 57A |
A57AWS |
| Shock Stopper® Isolation Mount |
A55HM |
|
25 foot (7.5m) Triple-Flex® Microphone XLR Cable with Switchcraft connectors |
C25E |
|
Cartridge for BETA 56, BETA 56A, and BETA 57A |
R174 |
|
Grille for BETA 56A and BETA 57A |
RK320 |
|
Plug (Connector) Assembly |
90J1984 |
