Shure PGA81 Bedienungsanleitung

27A24482 (Rev. 2)

PG ALTA SERIES

WIRED MICROPHONE

PGA81

USER GUIDE

Cardioid Condenser Microphone

PG Alta Microphones

Congratulations on the purchase of a new Shure PG Alta series microphone. The PG Alta series delivers professional

quality audio at an affordable price, with solutions for capturing nearly any source, including voice, acoustic instruments,

drums, and amplified electric instruments. Suitable for live and studio applications, PG Alta microphones are built to

last, and meet the same rigorous quality testing standards that make all Shure products trustworthy and reliable.

General Rules for Use

• Do not cover any part of the microphone grille with

your hand, as this will adversely affect microphone

performance.

• Aim the microphone toward the desired sound source

(such as the talker, singer, or instrument) and away

from unwanted sources.

• Place the microphone as close as practical to the

desired sound source.

• Work close to the microphone for extra bass response.

• Use only one microphone to pick up a single sound

source.

• For better gain before feedback, use fewer

microphones.

• Keep the distance between microphones at least three

times the distance from each microphone to its source

(“three to one rule”).

• Place microphones as far as possible from reflective

surfaces.

• Add a windscreen when using the microphone

outdoors.

• Avoid excessive handling to minimize pickup of

mechanical noise and vibration.

PGA81

Phantom Power

All condenser microphones require phantom power to

operate. This microphone performs best with a 48 V

DC supply (IEC-61938), but it can operate with lower

voltages.

Phantom power is provided by the mixer or audio

interface that the microphone is connected to, and

requires the use of a balanced microphone cable: XLR-

to-XLR or XLR-to-TRS. In most cases, there is a switch or

button to activate the phantom power. See the user guide

for the mixer or interface for additional information.

Proximity Effect

Directional microphones progressively boost bass

frequencies as the microphone is placed in closer

proximity to the source. This phenomenon, known as

proximity effect, can be used to create a warmer, more

powerful sound.

Applications

The following table provides a basic starting point for several instruments. Shure offers additional educational

publications on microphone placement and recording techniques. Visit www.shure.com for more information.

Application Distance from source Tips

Acoustic guitar 6-12 inches (15-30 cm) Place near the sound hole for a full sound, or near the 12th fret for

a balanced, natural sound.

Drums 3-6 feet (1-2 m) Place in front of the drum kit to capture more of the kick drum, or as

an overhead (above the kit, facing down) to capture more cymbals.

Consider using additional Shure microphones placed on individual

drums for more mixing flexibility and a thicker sound.

Amplifiers 1-6 inches (2-15 cm) Aim towards the center of the speaker for a clear, aggressive

sound, or towards the edge of the speaker for a mellow sound.

Strings or horns 1-6 feet (30 cm - 2 m) For a single instrument, place the microphone close to the source.

For a horn or string section, arrange players at an equal distance

from the microphone.

Full band 3-10 feet (1-3 m) Face the microphone towards the group, centered between

instruments.

Auxiliary

percussion

(congas,

tambourine, etc.)

6-12 inches (15-30 cm) Aim the microphone away from other instruments on stage for

better isolation.

Tip: Close microphone placement results in a full sound due to the proximity effect. Placing the microphone farther

from the source results in more room ambience.

Avoiding Pickup of Unwanted Sound Sources

Place the microphone so that unwanted sound sources, such as monitors and loudspeakers, are directly behind it.

To minimize feedback and ensure optimum rejection of unwanted sound, always test microphone placement before a

performance.

MONITOR

P.A. LOUDSPEAKER

Recommended Loudspeaker Locations for Cardioid Microphones

Microphone Techniques for

Stereo Recording

Stereo recording using two microphones adds realism

by capturing sound similar to the way that humans hear.

Panning (directing the signals left and right) adds width

and directionality when listening on stereo systems or

headphones.

Tip: Panning the signals farther apart increases stereo

separation and width. Be careful of panning too far, as it

may result in a hollow sound in the middle of the stereo

field.

① X-Y Coincident Pair

The X-Y technique provides excellent phase

coherency because sound arrives simultaneously at

both microphones.

Placement: Set up the microphones with the

capsules close together, but not touching. Experiment

with angles between 90 and 120 degrees to capture

the full width of the source.

90ɴ120ɴ

Optional Accessories and Replacement Parts

Microphone Clip for SM58, SM57, SM87A, Beta 87A, Beta

87C, PGA57, PGA58, PGA48, PGA81 A25D

Black Foam Windscreen for PGA81, SM94 and SM137 A3WS

② ORTF

Developed as a French broadcasting standard, ORTF

technique replicates the spacing and angle of human

ears. It provides a natural, wide sound.

Placement: Angle the microphones at 110°, with the

capsules 17 cm apart.

110ɴ

17 cm

(6.7 in.)

③ A/B Spaced Pair

Spaced pair recording can deliver a dramatic stereo

effect because sound arrives at each microphone at a

slightly different time, providing the listener with timing

cues that localize sounds.

1-3 m

(3-10 ft)

Note:

For drum overheads, the snare drum should be

equidistant from each microphone to achieve a tight,

focused sound. Use a measuring tape or piece of string

to verify this distance.

Specifications

Certifications

This product meets the Essential Requirements of all relevant European directives and is eligible for CE marking.

The CE Declaration of Conformity can be obtained from: www.shure.com/europe/compliance

Authorized European representative:

Shure Europe GmbH

Headquarters Europe, Middle East & Africa

Department: EMEA Approval

Jakob-Dieffenbacher-Str. 12

75031 Eppingen, Germany

Phone: 49-7262-92 49 0

Fax: 49-7262-92 49 11 4

Email: [email protected]

60 cm (2 ft.)

Frequency Response

1000 Hz

Polar Pattern

Type

Electret Condenser

Polar Pattern

Cardioid

Frequency Response

40 to 18,000 Hz

Output Impedance

at 1 kHz, open circuit voltage

600Ω

Sensitivity

at 1 kHz, open circuit voltage

-48.5 dBV/Pa[1] (3.8 mV)

Maximum SPL

1 kHz at 1% THD, 1 kΩ load, typical

129.5 dB SPL

Polarity

Positive pressure on diaphragm produces positive voltage on pin 2 with

respect to pin 3

Connector

Three-pin professional audio (XLR), male

Weight

186 g (0.4 lbs)

Housing

Cast Zinc

Power Requirements

11 to 52 V DC phantom power (2.0 mA)

[1] 1 Pa=94 dB SPL

131.1 mm (5.2 in.)

27.80 mm

(1.09 in.)

24.6 mm

(0.9 in.)

Overall Dimensions

Dimensions hors tout

Gesamtabmessungen

Dimensiones Totales

Dimensioni generali

Dimensões totais

габаритные размеры

Totale Afmetingen

全体寸法

전체 치수

外形尺寸

Keseluruhan Dimensi

PT. GOSHEN SWARA INDONESIA

Kompleks Harco Mangga Dua Blok L No. 35 Jakarta Pusat

I.16.GSI31.00501.0211

Europe, Middle East, Africa:

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