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Shure BETA 56 Mode D'emploi
Shure BETA 56 Mode D'emploi

Shure BETA 56 Mode D'emploi

Microphone dynamique supercardioide compact

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MODEL BETA 56
COMPACT SUPERCARDIOID
DYNAMIC MICROPHONE
GENERAL
The compact Shure BETA 56 is a high output supercar-
dioid dynamic microphone designed for professional sound
reinforcement and project studio recording. Its extremely
uniform supercardioid pickup pattern provides high gain
before feedback and excellent rejection of unwanted noise. A
built–in dynamic locking stand adapter with an integral XLR
connector simplifies installation. The stand adapter keeps the
microphone securely in place, even if it is struck by a
drumstick. Typical BETA 56 applications include close miking
of tom–toms and other percussion instruments, as well as
guitar amplifiers, brass instruments, and woodwinds.
FEATURES
Tailored frequency response provides drums, amplified
instruments, and horns with studio quality sound
Built–in stand adapter with dynamic locking system and XLR
connector simplifies setup and provides greater flexibility
Uniform supercardioid pattern for high gain before feed-
back and superior rejection of off–axis sound
Compact design reduces stage clutter
Hardened steel mesh grille resists wear and abuse
Neodymium magnet for high signal–to–noise ratio output
Minimally affected by varying load impedance
Advanced pneumatic shock mount system that minimizes
transmission of mechanical noise and vibration
Legendary Shure quality and reliability
GENERAL RULES FOR MICROPHONE USE
1. Aim the microphone toward the desired sound source and
away from unwanted sources. This may not be obvious or in-
tuitive, since supercardioid microphones such as the BETA
56 have narrow pickup patterns and can pick up sounds from
the rear. Refer to Figure 1 on the following page.
2. Place the microphone as close as practical to the desired
sound source (refer to the table in the opposite column).
3. Work close to the microphone for extra bass response.
4. Use only one microphone to pick up a single sound source.
5. Use the fewest number of microphones as practical.
6. Keep multiple microphones separated by a distance equal
to at least 3X the distance to the nearest sound source.
7. Place mics as far as possible from reflective surfaces.
8. Use a windscreen when using the microphone outdoors.
2000, Shure Incorporated
27A2798 (TB)
Shure Incorporated
222 Hartrey Avenue
Evanston IL 60202-3696 U.S.A.
Model BETA 56 User's Guide
BETA 56 APPLICATIONS AND PLACEMENT
The most common BETA 56 applications and placement
techniques are listed in the following table. Keep in mind that
microphone technique is largely a matter of personal taste;
there is no one "correct" microphone position.
APPLICATION
SUGGESTED MICROPHONE
Tom–Toms
One BETA 56 on each tom, or be-
tween each pair of toms, 2.5 to 7.5
cm (1 to 3 in.) above drum heads.
Aim each mic 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.
Snare Drum
2.5 to 7.5 cm (1 to 3 in.) above rim
of top head of drum. Aim mic at
drum head.
If desired, place a second mic just
below rim of bottom head.
Guitar & Bass
2.5 cm (1 in.) from speaker, on–
Amplifiers
axis with center of speaker cone.
2.5 cm (1 in.) from speaker, at edge
of speaker cone.
15 to 30 cm (6 to 12 in.) away from
speaker and on–axis with speaker
cone.
60 to 90 cm (2 to 3 ft .) back from s-
peaker, on–axis with speaker cone.
Brass &
Brass: 30 to 90 cm (1 to 3 ft.) away,
Woodwinds
on–axis with bell of instrument.
Woodwinds: 2.5 to 15 cm (1 to 6 in.)
away, on–axis with bell of instru-
ment.
Bell of instrument 90 off–axis from
front of mic.
MOUNTING THE BETA 56 ON A MICROPHONE STAND
The built–in stand adapter features a dynamic locking sys-
tem that permits adjustments to the microphone's position, but
resists slipping when struck by drumsticks. To mount the BETA
56 on a stand and adjust its position, proceed as follows:
1. Screw the integral stand adapter onto the end of a micro-
phone stand (see Figure 4). Adjust the stand height and
position as necessary. Make sure the adjustment knob on
the adapter is loose.
2. Pivot the BETA 56 until it is in the desired position relative
to the drum head or instrument speaker.
3. Lock the BETA 56 in place by rotating the thumbscrew on
the stand adapter clockwise until it is tight. Do NOT use
tools to overtighten the adjustment knob.
4. If necessary, make minor adjustments to the microphone
position without loosening the adjustment knob.
5. Connect an audio cable to the integral XLR connector.
TONE
PLACEMENT
QUALITY
Medium attack;
full, balanced
sound.
Medium attack;
full, balanced
sound.
Most "snap"
from drumstick.
More "snare"
sound.
Sharp attack;
emphasized
bass.
Sharp attack;
higher frequency
sound.
Medium attack;
full, balanced
sound.
Softer attack;
reduced bass.
Bright, clear
sound.
Bright, clear
sound.
Softer, mellow
sound.
Printed in U.S.A.

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Sommaire des Matières pour Shure BETA 56

  • Page 1 (refer to the table in the opposite column). 2. Pivot the BETA 56 until it is in the desired position relative 3. Work close to the microphone for extra bass response. to the drum head or instrument speaker.
  • Page 2 (1 Pa = 94 dB SPL) monitor(s) or P.A. system loudspeakers at a 60 angle from the rear of the Beta 56, not directly behind it (see Figure 1). Always Impedance check out the stage setup before a performance to ensure opti-...
  • Page 3 2,5 à 7,5 cm au–dessus de la GÉNÉRALITÉS peau. Diriger chaque micro vers la peau de Le Shure Beta 56 compact est un microphone supercardioïde frappe. à haute puissance de sortie conçu pour la sonorisation Sur les toms à double Attaque moyenne, professionnelle et les enregistrements en studio.
  • Page 4 SPL) Pour un réjet maximal des sons indésirables, placer les retours ou les haut–parleurs à 60 par rapport au microphone Impédance Beta 56, pas directement derrière (voir la figure 1). Toujours L’impédance nominale est de 150 (290 réelle) pour examiner la mise en place de la scène pour s’assurer que la connexion aux entrées de micros basse impédance.
  • Page 5 2. Das Mikrophon so nahe wie möglich an die gewünschte Tonquelle heranbringen. Siehe Tabelle rechts. 2. Drehen Sie das BETA 56 vertikal, bis die gewunschte Stellung im Verhältnis zum Trommelfell bzw. Lautsprecher erreicht ist. 3. Abstand verringern, wenn zusätzliches Baßverhalten ge- 3.
  • Page 6 Bühnenlautsprecher oder die Lautsprecher der Beschallungsanlage in einem Winkel von 60 zur Rückseite Impedanz des Beta 56, nicht direkt dahinter aufstellen (siehe Abbildung Die Nennimpedanz für den Anschluß an niederohmige Mi- 1). Vor einem Auftritt stets die Bühnenausstattung krophoneingänge beträgt 150...
  • Page 7 1. Coloque el micrófono hacia la fuente sonora deseada y lo golpee con los palillos. Para montar el BETA 56 en un soporte y alejado de las fuentes no deseadas. Debido a que los mi- ajustar su posición, efectué...
  • Page 8 ángulo de 60 respecto a la parte trasera Impedancia del micrófono Beta 56; no los coloque directamente detrás de La impedancia nominal es de 150 (real: 290 ) para cone- éste (vea la Figura 1).
  • Page 9 Per montare il BETA 56 su un’asta e 6. Usare il numero minimo di microfoni consentito dall’appli- regolarne la posizione, procedere come segue: cazione.
  • Page 10 EFFETTO DI PROSSIMITÀ Diagramma polare A supercardioide con simmetria rotazionale rispetto all’asse Nei microfoni unidirezionali, come il modello Beta 56, la del microfono, uniforme con la frequenza (vedi Figura 3). risposta alle basse frequenze aumenta progressivamente da 6 a 10 dB a 100 Hz quando il microfono si trova ad una distanza di circa 6 mm dalla sorgente sonora.