Shure PGA81 User Manual

PG

WIRED MICROPHONE

TM

ALTA SERIES

PGA81
USER GUIDE

© 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

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

• Aim the microphone toward the desired sound source
(such as the talker, singer, or instrument) and away
from unwanted sources.

• 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.

• Keep the distance between microphones at least three
times the distance from each microphone to its source
(“three to one rule”).

• 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.

Phantom Power

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.

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: XLR­to-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.

Proximity Effect

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.

3

Avoiding Pickup of Unwanted Sound Sources

MONITOR

P.A. LOUDSPEAKER

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.

Recommended Loudspeaker Locations for Cardioid Microphones

Applications

The following table provides a basic starting point for several instruments. Shure offers additional educational
publications on microphone placement and recording techniques. Visit www.shure.com for more information.

Application Distance from source Tips

Acoustic guitar 6-12 inches (15-30 cm) Place near the sound hole for a full sound, or near the 12th fret for

Drums 3-6 feet (1-2 m) Place in front of the drum kit to capture more of the kick drum, or as

Amplifiers 1-6 inches (2-15 cm) Aim towards the center of the speaker for a clear, aggressive

Strings or horns 1-6 feet (30 cm - 2 m) For a single instrument, place the microphone close to the source.

Full band 3-10 feet (1-3 m) Face the microphone towards the group, centered between

Auxiliary
percussion
(congas,
tambourine, etc.)

6-12 inches (15-30 cm) Aim the microphone away from other instruments on stage for

a balanced, natural sound.

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.

sound, or towards the edge of the speaker for a mellow sound.

For a horn or string section, arrange players at an equal distance
from the microphone.

instruments.

better isolation.

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

Microphone Techniques for

90ɴ120ɴ

110ɴ

17 cm

(6.7 in.)

1-3 m

(3-10 ft)

Stereo Recording

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.

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.

① X-Y Coincident Pair

The X-Y technique provides excellent phase
coherency because sound arrives simultaneously at
both microphones.

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.

② ORTF

Developed as a French broadcasting standard, ORTF
technique replicates the spacing and angle of human
ears. It provides a natural, wide sound.

Placement: Angle the microphones at 110°, with the
capsules 17 cm apart.

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.

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.

Optional Accessories and Replacement Parts

Microphone Clip for SM58, SM57, SM87A, Beta 87A, Beta

Black Foam Windscreen for PGA81, SM94 and SM137 A3WS

87C, PGA57, PGA58, PGA48, PGA81

A25D

5

Specifications

60 cm (2 ft.)

1000 Hz

Type

Electret Condenser

Polar Pattern

Cardioid

Frequency Response

40 to 18,000 Hz

Output Impedance

at 1 kHz, open circuit voltage

600Ω

Sensitivity

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

Polarity

Positive pressure on diaphragm produces positive voltage on pin 2 with
respect to pin 3

Connector

Three-pin professional audio (XLR), male

Weight

186 g (0.4 lbs)

Housing

Cast Zinc

Power Requirements

11 to 52 V DC phantom power (2.0 mA)

[1] 1 Pa=94 dB SPL

Frequency Response

Polar Pattern

Certifications

This product meets the Essential Requirements of all relevant European directives and is eligible for CE marking.

The CE Declaration of Conformity can be obtained from: www.shure.com/europe/compliance

Authorized European representative:
Shure Europe GmbH
Headquarters Europe, Middle East & Africa
Department: EMEA Approval
Jakob-Dieffenbacher-Str. 12
75031 Eppingen, Germany
Phone: [phone]
Fax: [phone]
Email: [e-mail]

6

131.1 mm (5.2 in.)

27.80 mm
(1.09 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

24.6 mm
(0.9 in.)

Kompleks Harco Mangga Dua Blok L No. 35 Jakarta Pusat

Europe, Middle East, Africa:

PT. GOSHEN SWARA INDONESIA

I.16.GSI31.00501.0211