Shure B1, S manual Performance Characteristics, Variations, Features, Applications and Placement

Model Beta 181 Wired Microphones

Specification Sheet

BETA 181 Side-Address Condenser Microphone

Performance Characteristics

General Description

The Shure Beta 181 is an ultra-compact, side- address, condenser microphone, designed for discreet placement in live and studio environ- ments. Featuring interchangeable cardioid, supercardioid, omnidirectional and bidirectional capsules for superior versatility, the small dia- phragm of the Beta 181 provides superior audio with consistent, “textbook” polar responses in a form factor small enough to get close to the source in the tightest conditions.

Variations

Beta 181/C Cardioid Microphone

Beta 181/S Supercardioid Microphone

Beta 181/O Omnidirectional Microphone

Beta 181/BI Bidirectional Microphone

Features

•Premier live performance microphone with Shure quality, ruggedness, and reliability

•Compact preamp attaches to four interchangeable capsules

•Wide dynamic range for use in high SPL environments

•Side-address form allows for discreet positioning in tight performance and recording settings

•Innnovative locking ring provides a secure connection between capsule and preamp

•Hardened steel mesh grille resists denting, wear, and abuse

•Compact design, under 12 cm (5 in.), reduces stage clutter

•Furnished with stand adapter and carrying case

•Exceptional low-frequency reproduction

•Extremely high SPL handling

•High output level

•No crossover distortion

•Transformer output

Applications and Placement

Positioning the Microphone

The front of the microphone is marked by the Shure logo on the
preamp and the polar pattern icon on the capsule. Position this side	BETA 181
toward the sound source.

General Rules for Use

•Aim the microphone toward the desired sound source; angle unwanted sounds toward its null point.

•Use the fewest amount of microphones as practical to increase the Potential Acoustic Gain and prevent feedback.

•Follow the 3 to 1 Rule by spacing each microphone by at least three times the distance to its source to reduce Phase Cancellation.

•Place microphones as far as possible from reflective surfaces to reduce Comb Filtering.

•When using directional microphones, work closely to the microphone for extra bass response to take advantage of Proximity Effect.

•Avoid excessive handling to minimize pickup of mechanical noise and vibration.

•Do not cover any part of the microphone grille, as this will adversely affect microphone performance.

•Add a windscreen when using the microphone outdoors.

The following table lists the most common applications and placement techniques. Keep in mind that microphone technique is largely a matter of personal taste; there is no one “correct” microphone position.

	Cardioid		Supercardioid		Omnidirectional		Bidirectional*
•	Drum overheads	•	Close-miking	•	Room and	• Use a pair of Beta
•	Piano		in performance		ambient pickup		181/BI for Blumlein
•	Acoustic instruments	•	settings	•	Mono drum	•	stereo teqhnique
• Pair with a Beta 181/			Snare drum		overhead		Mono drum overhead
		•	Acoustic	•	String ensembles	•	Dual sound sources,
	BI for M/S stereo
	technique		instruments				such as between
							tom-toms or acoustic
							instruments

*Note: As with all bidirectional microphones, sounds picked up from the back will be out of polarity with the source. Those from the front are in polarity with the source.

TL1075 (Rev. 1)	Printed in U.S.A. .
©2010 Shure Incorporated