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4

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

Setting up Drum Microphones

Before you begin, review these fundamental concepts to get the 

best possible results:

Tuning:

 Before recording a drum kit, make sure the drums are 

tuned. A well-tuned kit significantly improves the sound quality for 

recording and live sound reinforcement. It also makes mixing and 

signal processing easier, faster, and more effective. 

Placement:

 Use the proximity effect to your advantage when 

increased bass is desired. Small changes in microphone 

placement (distance and angle) strongly impact the sound 

characteristics. If time permits, experiment with various 

microphone positions to achieve the preferred sound.

X-Y position

Spaced pair position

① Kick (PGA52)

 - Place the microphone in front of the resonant kick drum 

head. 

 - If there is a hole in the head, place the microphone inside 

for better isolation. Removing the resonant head and 

placing the microphone closer the beater head provides 

increased attack.

 - To reduce the sustain and overtones for a focused attack, 

try using a pillow inside the kick drum. 

② Snare (PGA57)

 - Place the microphone 1-4 inches above the drum, near the 

rim.

 - Point towards the center of the head to capture more stick 

attack, or closer the edge to capture more overtones.

 - Aim the microphone with the rear side pointed towards the 

hi-hat to reduce the amount of cymbal in the snare drum 

signal.

③ Toms (PGA56)

 - Place the microphone 1-4 inches above the drum, near the 

rim.

 - Use the included AP56DM drum mounts to attach the 

PGA56 onto the drum. The microphone can also be 

mounted on a standard 5/8" microphone stand. 

 - Point towards the center of the head for a deeper sound, or 

closer the edge to capture more overtones.

④ Overheads (PGA81)

Overhead microphones capture cymbals and an overall 

stereo image of the drums. Refer to the stereo microphone 

techniques section for details. 

Overhead microphone tips:

 - Pan one microphone to the left and the other to the right on 

a mixer or in recording software to create a stereo image

 - The farther the left and right signals are panned, the wider 

it will sound

 - Overheads can be panned from the audience or drummer's 

perspective, depending on preference. Pan the toms to 

match the overhead panning for an accurate stereo sound.

 - Other stereo drum recording techniques to learn about 

include the Glyn Johns method, Recorderman, and 

Mid-Side.

 - Additional information on recording drums and microphone 

techniques is available at shure.com

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.

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.

NOTE: 

Applies to PGA81 condenser microphones only. 

Supplying phantom power to the other included microphones will 

not cause damage. 

Содержание Drum Bundle PGADRUMKIT4

Страница 1: ...WIRED MICROPHONE PGA DRUM MICROPHONE KIT USER GUIDE 2015 Shure Incorporated 27A24483 Rev 2 Printed in U S A ...

Страница 2: ...y and reliable Drum Kit Bundle Variations 4 Piece Kit PGADRUMKIT4 PGA52 kick drum microphone PGA57 snare drum microphone 2 PGA56 drum microphones 2 AP56DM mount 5 Piece Kit PGADRUMKIT5 PGA52 kick drum microphone PGA57 snare drum microphone 3 PGA56 drum microphones 3 AP56DM mount 6 Piece Kit PGADRUMKIT6 PGA52 kick drum microphone PGA57 snare drum microphone 2 PGA56 drum microphones 2 PGA81 overhead...

Страница 3: ...lace the microphone 1 4 inches above the drum near the rim Use the included AP56DM drum mounts to attach the PGA56 onto the drum The microphone can also be mounted on a standard 5 8 microphone stand Point towards the center of the head for a deeper sound or closer the edge to capture more overtones Overheads PGA81 Overhead microphones capture cymbals and an overall stereo image of the drums Refer ...

Страница 4: ...rrives 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 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 ...

Страница 5: ...pe 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 info shure de Specifications PGA52 Type Dynamic moving coil Frequency Response 50 to 12 000 Hz Polar Pattern Cardioid Output Impedance 150 Ω Sensitivity at 1 kHz open c...

Страница 6: ...idity 0 to 95 1 Pa 94 dB SPL 60 cm 2 ft 10 cm 4 in Typical Frequency Response 1000 Hz Typical Polar Pattern PGA57 Type Dynamic moving coil Frequency Response 50 to 15 000 Hz Polar Pattern Cardioid Output Impedance 150 Ω Sensitivity at 1 kHz open circuit voltage 56 5 dBV Pa 1 5 mV Polarity Positive pressure on diaphragm produces positive voltage on pin 2 with respect to pin 3 Weight 280 g 9 88oz Co...

Страница 7: ...age 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 48 V DC phantom power 2 0 mA 1 1 Pa 94 dB SPL 60 cm 2 ft Frequency Response 1000 Hz Polar Pattern ...

Страница 8: ...108 mm 4 26 in 67 0 mm diameter 2 64 in 93 mm 3 66 in 44 5 mm diameter 1 75 in 164 mm 6 46 in 48 5 mm diameter 1 91 in 131 1 mm 5 2 in 27 80 mm 1 09 in 24 6 mm 0 9 in ...

Страница 9: ......

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