Shure PGADRUMKIT4, PGADRUMKIT5, PGADRUMKIT6, PGADRUMKIT7 USER GUIDE
PG Alta Microphones
CongratulationsonthepurchaseofanewShurePGAltaseriesmicrophone.
ThePGAltaseriesdeliversprofessionalqualityaudioatanaffordableprice, with solutions for capturing nearly any source, including voice, acoustic instruments, drums, and amplified electric instruments. Suitable for live and studioapplications,PGAltamicrophonesarebuilttolast,andmeetthesame rigorous quality testing standards that make all Shure products trustworthy and reliable.
Drum Kit Bundle Variations
4-Piece Kit
(PGADRUMKIT4)
•PGA52 kick drum microphone
•PGA57 snare drum microphone
•(2) PGA56 drum microphones
•A50D mount
5-Piece Kit
(PGADRUMKIT5)
•PGA52 kick drum microphone
•PGA57 snare drum microphone
•(3) PGA56 drum microphones
•A50D mount
Setting up Drum Microphones
Beforeyoubegin,reviewthesefundamentalconceptstogetthebestpossible
results:
Tuning: Beforerecordingadrumkit,makesurethedrumsaretuned. Awelltunedkitsignificantlyimprovesthesoundqualityforrecordingandlivesound reinforcement.Italsomakesmixingandsignalprocessingeasier,faster,and more effective.
Placement: Usetheproximityeffecttoyouradvantagewhenincreasedbass is desired. Small changes in microphone placement (distance and angle) strongly impact the sound characteristics. If time permits, experiment with various microphone positions to achieve the preferred sound.
PGA Drum Bundle
PG Alta Drum Microphone Kit
6-Piece Kit
(PGADRUMKIT6)
•PGA52 kick drum microphone
•PGA57 snare drum microphone
•(2) PGA56 drum microphones
•(2) PGA81 overhead condenser microphones
•A50D mount
7-Piece Kit
(PGADRUMKIT7)
•PGA52 kick drum microphone
•PGA57 snare drum microphone
•(3) PGA56 drum microphones
•(2) PGA81 overhead condenser microphones
•A50D mount
Note: Availability of specific bundles varies by region. Contact your local Shure distributor for details.
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PGA Drum Bundle PG Alta™ Drum Microphone Kit
Spaced pair position
X-Y position
Kick (PGA52)
•Place the microphone in front of the resonant kick drum head.
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•If there is a hole in the head, place the microphone inside for better isolation. Removing the resonant head and placing the microphone closer the beater head provides increased attack.
•To reduce the sustain and overtones for a focused attack, try using a pillow inside the kick drum.
Snare (PGA57)
•Place the microphone 1-4 inches above the drum, near the rim.
•Point towards the center of the head to capture more stick attack, or closer the edge to capture more overtones.
•Aim the microphone with the rear side pointed towards the hi-hat to reduce the amount of cymbal in the snare drum signal.
Toms (PGA56)
•Place the microphone 1-4 inches above the drum, near the rim.
•Use the included AP56DM drum mounts to attach the PGA56 onto the drum. The microphone can also be mounted on a standard 5/8" microphone stand.
•Point towards the center of the head for a deeper sound, or closer the edge to capture more overtones.
Overheads (PGA81)
Overhead microphones capture cymbals and an overall stereo image of the drums. Refer to the stereo microphone techniques section for details.
Overhead microphone tips:
•Pan one microphone to the left and the other to the right on a mixer or in recording software to create a stereo image
•The farther the left and right signals are panned, the wider it will sound
•Overheadscanbepannedfromtheaudienceordrummer'sperspective, depending on preference. Pan the toms to match the overhead panning for an accurate stereo sound.
•Other stereo drum recording techniques to learn about include the Glyn Johns method, Recorderman, and Mid-Side.
•Additional information on recording drums and microphone techniques is available at shure.com
Proximity Effect
Directionalmicrophonesprogressivelyboostbassfrequenciesasthemicrophone is placed in closer proximity to the source. This phenomenon, known as proximity effect, can be used to create a warmer, more powerful sound.
Microphone Techniques for Stereo Recording
Stereorecordingusingtwomicrophonesaddsrealismbycapturingsoundsimilartothewaythathumanshear. Panning(directingthesignalsleftandright)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.
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.
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90ɴ120ɴ
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.
110ɴ
17 cm 
(6.7 in.) 
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.
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.
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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.
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MONITOR
P.A. LOUDSPEAKER
Recommended Loudspeaker Locations for Cardioid Microphones
Using the Quick-Release Lever
PGA56andPGA52microphonesfeatureaquick-releaselevertoeasilyadjust position.
1.Pull the lever open
2.Move the microphone into the desired position
3.Press the lever back towards the microphone to tighten
Pictured is the PGA56.
3
Note: To adjust the tension on the lever, pull it open and use a flat head screwdriver to tighten or loosen the bolt on the opposite side.
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