Shure PGA STUDIO MICROPHONE KIT, PG Alta, PGA181 User Manual

© 2014 Shure Incorporated
27A24480 (Rev. 1)

WIRED MICROPHONE

PGA STUDIO MICROPHONE KIT
USER GUIDE

Le Guide de l’Utilisateur

Guia del Usuario

Guida dell’Utente

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Printed in U.S.A.

3

PG Alta™ Studio Starter Kit

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.

Studio Microphone Kit

The microphones included in this kit provide solutions for
recording almost any source.

Included Components

• PGA52 Dynamic Microphone

• PGA57 Dynamic Microphone

• (2) PGA181 Condenser Microphones

Applications

• Drums

• Vocals

• Acoustic Guitar

• Full Bands

• Guitar/Bass Amplifiers

• Strings

• Brass and Woodwinds

• Piano

Microphone Techniques for 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.

90ɴ120ɴ

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.

110ɴ

17 cm

(6.7 in.)

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.

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.

4

Applications

The following table provides basic recording techniques for several sources. Experiment with various configurations and microphone
placement to achieve the preferred sound.

Source Suggested Microphones Tips

Drums PGA181: Stereo overheads

PGA52: Kick drum
PGA57: Snare Drum

• See stereo microphone techniques for overhead placement options

• If the kick drum resonant head has a hole in it, place the microphone inside
for improved isolation from other instruments

• Aim the PGA57 towards the center of the snare drum head to capture more
stick attack, or closer the edge to capture more overtones.

Vocals PGA181 • Place the microphone 1-6 inches (2-15 cm) from the source

• Use a pop filter (Shure PS-6) to prevent plosives

Acoustic Guitar PGA181 • Use two PGA181 microphones to record in stereo using one of the stereo

recording methods, or a single PGA181 for a mono signal

• Place microphone(s) 6-12 inches (15-30 cm) from the guitar

• Place near the 12th fret for a balanced sound, or closer to the sound hole
for more bass

Full Band PGA181: Stereo pair, aimed

at entire group
PGA52: Kick drum or bass
amplifier
PGA57: Vocals or guitar
amplifier

• Use close-placement microphones on sources that are most likely to need
extra volume in the mix, such as vocals or acoustic instruments.

• If more close-placement microphones are necessary, use one PGA181 to
capture the entire group, and use the second PGA181 on an instrument.

Guitar/Bass
Amplifiers

PGA52: Bass amplifier
PGA57: Guitar amplifier
PGA181: Guitar or bass
amplifiers

• Aim the microphone at the center of the speaker cone for a bright, punchy
sound, or towards the edge of the speaker for a mellow sound.

• The PGA181 delivers a clear, detailed sound

• The PGA57 and PGA52 deliver a warmer sound that helps to smooth out
harsh sounding amplifiers

Advanced tip: For a more spacious sound, use a PGA57 or PGA52 close to
the amp, with a PGA181 placed 10-20 feet away. Pan them slightly in opposite
channels to create a full, roomy sound.

Strings PGA181: Stereo pair

(ensemble), any individual
instrument

• To record a string ensemble, use one of the stereo microphone techniques
to capture the width of the source

• For an individual instrument, try using one PGA181 approximately 1 foot
from the source, with the other PGA181 in the room (6-12 feet from the
source) to capture ambience.

Brass and
Woodwinds

PGA181: Stereo pair
(ensemble), any individual
instrument
PGA52: Tuba
PGA57: Saxophone, trumpet,
trombone

• To capture brass and woodwind ensembles, use one of the stereo
microphone techniques to capture the width of the source

• For an individual instrument, such as a saxophone, aim the PGA57 toward
the bell of the instrument and use a PGA181 in the room (6-12 feet from
the source) to capture ambience

• For a simplified approach, simply use one PGA181 placed 1-2 feet from the
instrument

Piano PGA181 (Stereo pair) • Use a stereo recording technique, with the microphones placed inside the

piano lid

• For upright pianos, keep the top open and/or remove the front panel when
possible