Shure Microphone PGA81 User Manual

TM  
PG ALTA SERIES  
WIRED MICROPHONE  
PGA81  
USER GUID
© 2014 Shure Incorporated  
27A24482 (Rev. 2)  
 
PGA81  
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  
Phantom Power  
• Do not cover any part of the microphone grille with  
your hand, as this will adversely affect microphone  
performance.  
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.  
• Aim the microphone toward the desired sound source  
(such as the talker, singer, or instrument) and away  
from unwanted sources.  
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.  
• 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.  
Proximity Effect  
• Keep the distance between microphones at least three  
times the distance from each microphone to its source  
(“three to one rule”).  
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.  
• 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.  
3
 
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  
Applications  
The following table provides a basic starting point for several instruments. Shure offers additional educational  
Application  
Distance from source  
6-12 inches (15-30 cm)  
Tips  
Acoustic guitar  
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)  
1-6 feet (30 cm - 2 m)  
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  
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,  
6-12 inches (15-30 cm)  
Aim the microphone away from other instruments on stage for  
better isolation.  
tambourine, etc.)  
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.  
4
 
② ORTF  
Developed as a French broadcasting standard, ORTF  
Microphone Techniques for  
Stereo Recording  
technique replicates the spacing and angle of human  
ears. It provides a natural, wide sound.  
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.  
Placement: Angle the microphones at 110°, with the  
capsules 17 cm apart.  
110ɴ  
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.  
17 cm  
(6.7 in.)  
① X-Y Coincident Pair  
The X-Y technique provides excellent phase  
coherency because sound arrives simultaneously at  
both microphones.  
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.  
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.  
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.  
90ɴꢀꢁ120ɴ  
Optional Accessories and Replacement Parts  
Microphone Clip for SM58, SM57, SM87A, Beta 87A, Beta  
A25D  
87C, PGA57, PGA58, PGA48, PGA81  
Black Foam Windscreen for PGA81, SM94 and SM137 A3WS  
5
 
Specifications  
Type  
Polarity  
Positive pressure on diaphragm produces positive voltage on pin 2 with  
Electret Condenser  
respect to pin 3  
Polar Pattern  
Connector  
Cardioid  
Three-pin professional audio (XLR), male  
Frequency Response  
Weight  
40 to 18,000 Hz  
186 g (0.4 lbs)  
Output Impedance  
Housing  
at 1 kHz, open circuit voltage  
Cast Zinc  
600 Ω  
Power Requirements  
Sensitivity  
11 to 52 V DC phantom power (2.0 mA)  
[1] 1 Pa=94 dB SPL  
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  
60 cm (2 ft.)  
1000 Hz  
Polar Pattern  
Frequency Response  
Certifications  
This product meets the Essential Requirements of all relevant European directives and is eligible for CE marking.  
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  
6
 
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  
 
Europe, Middle East, Africa:  
PT. GOSHEN SWARA INDONESIA  
Kompleks Harco Mangga Dua Blok L No. 35 Jakarta Pusat  
I.16.GSI31.00501.0211  
 

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