Shure Beta 181 Microphone User Manual


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Model Beta 181 Wired Microphones
Specication Sheet
TL1075 (Rev. 1) .
©2010 Shure Incorporated
BETA 181 Side-Address Condenser Microphone
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
Performance Characteristics
• 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
toward the sound source.
BETA 181
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
• Piano
• Acoustic instruments
• Pair with a Beta 181/
BI for M/S stereo
technique
• Close-miking
in performance
settings
• Snare drum
• Acoustic
instruments
• Room and
ambient pickup
• Mono drum
overhead
• String ensembles
• Use a pair of Beta
181/BI for Blumlein
stereo teqhnique
• Mono drum overhead
• Dual sound sources,
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.
Printed in U.S.A.
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