PRODUCT DETAILS The Shure BETA®52A is a high output 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. The Beta 52A features a modified supercardioid pattern throughout its frequency range to insure high gain-before-feedback and excellent rejection of unwanted sound. A built in dynamic locking stand adapter with an integral XLR connector simplifies installation, particularly if the microphone is to be placed inside a kick drum. The stand adapter keeps the microphone position fixed and resists slipping, even when subjected to sharp blows and strong vibrations. A hardened steel mesh grille protects the Beta 52A from the abuse and wear associated with touring. Frequency response shaped specifically for kick drums and bass instruments Built–in dynamic locking stand adapter with integral XLR connector simplifies setup, especially inside a kick drum Studio quality performance, even at extremely high sound pressure levels Supercardioid pattern for high gain before feedback and superior rejection of unwanted noise Hardened steel mesh grille that resists wear and abuse Advanced pneumatic shock mount system that minimizes transmission of mechanical noise and vibration Neodymium magnet for high signal–to–noise ratio output Low sensitivity to varying load impedance Legendary Shure quality and reliability General Description 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. Features Premier live performance microphone with Shure quality, ruggedness, and reliability Modified supercardioid pick-up pattern for maximum gain before feedback and superior rejection of off-axis sound Tailored frequency response specifically shaped for kick drums and bass instruments Neodymium magnet for greater sensitivity and higher output Advanced pneumatic shock mount system that minimizes transmission of mechanical noise and vibration Dent-resistant, steel mesh grille and enamel coated die-cast metal construction resist wear and abuse Studio quality performance, even at high SPL Built-in stand adapter with dynamic locking system and XLR connector simplifies setup and provides greater flexibility Applications General Rules for Kick Drum Mic Placement Make sure microphone does not touch drum head or damping inside of the drum. Aim the microphone toward the desired sound source and away from unwanted sources. Place closer to beater head for more attack, further away for more resonance. Work close to the microphone for extra bass response. Avoid excessive handling to minimize pickup of mechanical noise and vibration. Applications and Placement 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. Avoiding Pickup of Unwanted Sound Sources 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 Proximity Effect 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. Using the Stand Adapter The integrated stand adapter resists slipping when struck or bumped, yet permits adjustments without loosening the knob. Thread the microphone onto the stand. Before tightening the adjustment knob, adjust the stand height and position as necessary. Tighten the adjustment knob to lock the microphone in place. Do NOT use tools or over tighten. Specifications Type Dynamic (moving coil) Frequency Response 20 to 10,000 Hz Polar Pattern Supercardioid Output Impedance EIA rated at150 Ω(45 Ωactual) Sensitivity at 1kHz,open circuit voltage -64 dBV/Pa(0.6 mV)[1] Maximum SPL 1 kHz at 1% THD, 1 kΩ load 174 dB Polarity Positive pressure on diaphragm produces positive voltage on pin 2 with respect to pin 3 Weight Net 0.605 kg(1.35 lbs) Connector Three-pin professional audio (XLR), male, balanced Housing 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
