Shure PGA81 Bedienungsanleitung
© 2014 Shure Incorporated
27A24482 (Rev. 2)
TM
PG ALTA SERIES
WIRED MICROPHONE
PGA81
USER GUIDE
3
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.
4
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
5
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.
90ɴ120ɴ
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.
6
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
600Ω
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
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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