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Dynamic microphone for kick drum - Polar Pattern: Cardioid (unidirectional) - Output Impedance: 250 Ohm - Sensitivity: 1.2 mV/Pa; -58 dB (1V/Pa @ 1 Khz) - Freq. Response: 20 Hz to 10 Khz - Net Weight: 490 g / 17.2 oz - Shock-mounted cartridge in diecast metal case w/ universal 3/8" & 5/8" thread swivel mount and 3-pin XLRM connector - ROHS Compliant - Colour: Black. |
NEW Wider mounting base capable of accommodating a larger range of microphone stands. Even works with the LP Claw.
Specifically engineered for drum and instrument applications, the Beta 56A's compact, pivoting design makes it the ideal choice for these applications.
Its extremely uniform supercardioid pickup pattern provides high gain before feedback and excellent rejection of unwanted noise. A built-in dynamic locking stand adapter with an integral XLR connector simplifies installation. The stand adapter keeps the microphone securely in place, even if it is struck by a drumstick. Typical Beta 56A applications include close miking of tom-toms and other percussion instruments, as well as guitar amplifiers, brass instruments, and woodwinds.
- Built-in stand adapter with dynamic locking system and XLR connector simplifies setup and provides greater flexibility
- Uniform supercardioid pattern for high gain-before-feedback and superior rejection of off-axis sound
- Compact design reduces stage clutters
- Hardened steel mesh grille resists wear and abuse
- Neodymium magnet for high signal-to-noise ratio output
- Advanced pneumatic shock mount system that minimizes transmission of mechanical noise and vibration
- Frequency response: 50 to 16,000 Hz
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The DMK57-52 Drum Mic Kit is a conveniently packaged selection of microphones and mounts, designed to offer a complete core package of microphones for recording and performing drummers at a great price. The Drum Mic Kit includes three SM57 microphones, one Beta 52 microphone, three A56D drum-mounting systems, and a lightweight and durable carrying case.
The industry standard for snare drum, and a reliable and high-performing choice for toms, Shure's cardioid dynamic SM57 microphone features a contoured frequency response that cuts through the mix with exceptional impact, while reproducing sound accurately.
Perfect for the kick drum, the supercardioid Beta 52? derives its low-end punch and sonic presence from a carefully tailored frequency response. Equipped with its own pneumatic shock mount, the Beta 52 is additionally designed with an integral locking stand mount for quick-and-easy set up.
A key element of the kit, Shure's A56D universal drum mounting system can be used to position microphones virtually anywhere -- on drum rims, microphone stands, even cymbal stands. Designed with captive parts to prevent the loss of individual pieces, the A56D is small, secure, and can be used with any standard microphone, making it a great tool for both stage and studio environments. |
The supercardioid e 906 instrument microphone was especially designed for
guitar amplifiers, but it is also an excellent choice for percussion and brass
instruments.
Features
Lively, full sound
Very fast attack
Flat shape of microphone body perfect for guitar amps
Three adjustable sound characteristics (bright, normal, smooth)
Hum compensating coil
Rugged metal body
Delivery Includes
e 906 microphone
MZQ 100 clamp
Pouch
User manual
Technical Data
Pick-up pattern supercardioid
Frequency response 40...18000 Hz
Sensitivity in free field, no load (1kHz) 2,2 mV/Pa
Nominal impedance 350 Ohm
Min. terminating impedance 1000 Ohm
Dimensions 55 x 34 x 134 mm
Weight 140 g
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Audio Frequency Response 20 Hz - 10,000 Hz
Case Material Die cast zinc
Connector Type 3-pin XLR
Element Dynamic
Finish Textured Satin Black
Impedance, Low-Z balanced 150 Ω
Mic Type Instrumental
Open Circuit Voltage 0.63 mV/Pascal
Polar Pattern Supercardioid
Power Requirement Passive
Shipping Weight 23.7 oz (672 g)
Wired/Wireless Wired
Weight Net 12.84 oz (364 g)
| The Shure KSM141 is an end-addressed condenser microphone with mechanically switching dual polar patterns (cardioid and omnidirectional). Designed for studio use, yet rugged enough for live applications, the KSM141 can withstand extremely high sound pressure levels (SPL). Its low self-noise and extended frequency response make it ideal for recording musical instruments.
Features
- A mechanical polar pattern switch for highly consistent cardioid and true omnidirectional polar patterns. Provides flexibility in a wide variety of recording applications
- Ultra-thin, 2.5 micron, 24 karat gold-layered, low mass Mylar? diaphragm for superior transient response
- Class A, discrete, transformerless preamplifier for transparency, extremely fast transient response, no crossover distortion, and minimal harmonic and intermodulation distortion
- Premium electronic components, including gold-plated internal and external connectors
- Subsonic filter eliminates low frequency rumble (less than 17 Hz) caused by mechanical vibration
- Three-position switchable pad (0 dB, 15 dB, and 25 dB) for handling extremely high sound pressure levels (SPLs)
- Three-position switchable pad (0 dB, 15 dB, and 25 dB) for handling extremely high sound pressure levels (SPLs)
- Three-position switchable low-frequency filter to reduce background noise and counteract proximity effect
Performance Characteristics
- Extended frequency response
- Low self noise
- Exceptional reproduction of low-frequency sounds
- Can withstand high sound pressure levels (SPL)
- High output level
- No crossover distortion
- Uniform polar response
- Superior common mode rejection and suppression of radio frequency interference
APPLICATIONS
Some typical applications for the KSM141 are listed below. Microphone use, however, is a matter of personal taste. The KSM141 may be used for a variety of applications other than those listed.
- Acoustic instruments -- such as piano, guitar, drums, percussion, strings
- Wind instruments -- brass and woodwind
- Low frequency instruments -- such as double bass, electric bass, kick drum
- Overhead miking -- drums or percussion
- Ensembles -- choral or orchestral
- Room ambiance pick-up -- guitar amplifier or drums
Both the acoustic environment and microphone placement strongly affect the sound obtained from miking a source. You may need to experiment with microphone placement and room treatments to achieve the best overall sound for each application.
Suggested Applications
Acoustic Guitar
Acoustic Bass
Cymbals
Brass/Woodwinds
Orchestra
Ensemble Vocals
Piano
Strings
Room Ambience
Live Recording |
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