MODEL BETA 57A
The Shure BETA 57A is a high output supercardioid dynamic
microphone designed for professional sound reinforcement and
project studio recording. It maintains a true supercardioid pattern
throughout its frequency range. This insures high gain before
feedback, maximum isolation from other sound sources, and
minimum off–axis tone coloration. A completely new grille design
lets you take better advantage of proximity effect. The BETA 57A
is an exceptionally versatile microphone. Typical applications
include drums, guitar amplifiers, brass, woodwinds and vocals.
• Tailored frequency response provides drums, guitars,
vocals, and horns with studio quality sound
• Uniform supercardioid pattern for high gain before feed-
back and superior rejection of off–axis sound
• Hardened steel mesh grille that facilitates use of proximity
effect and 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. Since supercardioid micro-
phones such as the BETA 57A have narrow pickup patterns
and can pick up sounds from the rear, this may not be ob-
vious or intuitive. Refer to Figure 1.
2. Place a microphone as close as practical to the desired
sound source (refer to the table in the facing column).
3. Work close to the microphone for extra bass response.
4. Use only one microphone to pick up one sound source.
5. Keep the distance between microphones at least three
times the distance from a microphone to a sound source.
6. Use the fewest number of microphones as is practical.
7. Place mics as far as possible from reflective surfaces.
8. Add a windscreen when using the microphone outdoors.
9. Avoid excessive handling to minimize pick up of mechanical
APPLICATIONS AND PLACEMENT
The most common applications and placement techniques
for the BETA 57A 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 57A on each tom, or
between each pair of toms, 2.5 to
7.5 cm (1 to 3 in.) above drum
heads. Aim each mic at top drum
On double head toms, you can
also remove bottom head and
place a mic inside, pointing up to-
ward top head.
Snare Drum 2.5 to 7.5 cm (1 to 3 in.) above the
rim of the top drum head. Aim the
mic at the drum head.
If desired, place a second mic
just below rim of bottom head.
Most “snap” from
2.5 cm (1 in.) from speaker, on–
axis with 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-
2 to 3 ft. (60 to 90 cm) back from
speaker, on–axis with speaker
Vocals 2.5 to 15 cm (1 to 6 in.) from the
Brass: 30 to 90 cm (1 to 3 ft.)
away, on–axis with bell of instru-
Woodwinds: 2.5 to 15 cm (1 to 6
in.) away, on–axis with bell of
Bell of the instrument 90° off–axis
from the front of the mic.
Unidirectional microphones such as the BETA 57A pro-
gressively boost bass frequencies by 6 to 10 dB at 100 Hz
when the microphone is at a distance of about 6 mm (1/4 in.)
from the sound source. This phenomenon, known as prox-
imity effect, can be used to create a warmer, more powerful
sound. To prevent explosive low frequency sound during
close–up use, the BETA 57A bass response gradually rolls
off. This provides greater control and helps the user take ad-
vantage of proximity effect.
Model BETA 57A
27C2797 (Rev. 4)
2005, Shure Incorporated
Printed in U.S.A.