The most common BETA 52A applications and placement tech- niques are listed in the following table. Keep in mind that micro- phone technique is largely a matter. Sounds simple to me too. What made it interesting was that over the same period of time I found that the mic placement made as much of a. The Shure BETA 52®A is a high output dynamic microphone with a tailored frequency response The most common BETA 52A applications and placement tech-. COINBASE ETHEREUM CLASSIC API
Re: Shure Beta 52 vs. Shure Beta 52A Post by twitchmonitor » Fri Oct 03, pm ok, I called Shure and talked to a very helpful guy in the tech department and here's the verdict: the 52 and 52a have the same exact capsule. The changes were made to th swivel mount On the older one, the rubber gromet would fall off so you couldn't tighten the mic onto the stand and it would just flop over and the threaded female hole for the mic stand was RIGHT next to the XLR jack, which means that if your stand has a tightening ring, you CAN'T get the plug in without first removing the ring So they changed the swivel mount and that's it.
That's louder than a stun grenade. Here is the frequency response graph of the Beta 52A: The various lines drawn about the lower end of the frequency spectrum relate to the proximity effect. As we can see, the closer the Beta 52 is to the sound source, the greater the bass frequency response!
The proximity effect is exhibited by all directional microphones. The sound source, in the case of a kick drum, is where the beater hits the beater head. However, it's not that simple since the entire drum resonates with each hit. Placing the microphone closer to the beater head inside the drum may actually reduce the amount of low-end in the signal while increasing the beater attack.
Regardless, placing the Beta 52A near or inside a kick drum will yield excellent low-end! Low-Frequency Response Placing the Shure Beta 52A at the front head or inside a kick drum will yield an excellent low-end frequency response. This give the kick drum audio signal the weight it deserves. However, it's not so much the cut of these low-mid-frequencies we're truly concerned with when choosing a kick drum mic. Rather, it's the low-end boost below these frequencies and the presence boost just above these frequencies that give the kick drum mic its weight and attack, respectively.
Presence Boost The Beta 52A's boost around 4 kHz is perfect for capturing the beater attack of most kick drums. This frequency band is essential for clarity of the kick drum in an audio mix. Otherwise, the kick drum signal would only be low-end and get lost under everything else. High-Frequency Roll-Off Kick drums do not provide a whole lot of sonic information in the brilliance range 6 kHz — 20 kHz so why capture it?
Now, EQing a kick drum audio signal so that it has no information above 6 kHz isn't a great idea. However, we're probably safe to cut around 10 kHz, which is exactly what the Beta 52A does! Much of the brilliance information in a drum kit is produced by the cymbals. The high-frequency roll-off of the Shure Beta 52A allows for the capture of a kick drum's character while effectively rejecting the brilliance of cymbals and snares.
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Tone Quality Kick Drum 5 to 7.
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