Shure SM57 Manual de Usario

Shure micrófono SM57

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Wired Microphones

SM57

27A12820 (Rev. 2)

SM57

UNIDIRECTIONAL DYNAMIC MICROPHONE

指向性动圈话筒

The Shure SM57 unidirectional dynamic microphone is

exceptional for musical instrument pickup or for vocals.

With its bright, clean sound and carefully contoured

presence rise, the SM57 is ideal for live sound

reinforcement and recording. It has an extremely

effective cardioid pickup pattern which isolates the

main sound source while minimizing background

noise. In the studio, it is excellent for recording drums,

guitar, and woodwinds. For musical instruments or

vocals, the SM57 is a consistent choice of professional

performers.

SM57

FEATURES

Performance tested, industry standard•

Uniform cardioid pick-up pattern for maximum gain before feedback and excellent rejection of off axis sound•

Tailored frequency response specifically shaped for guitars, drums and vocals•

Advanced pneumatic shock mount system that minimizes transmission of mechanical noise and vibration•

Enamel coated metal construction, polycarbonate grille with stainless steel screen resist wear and abuse•

Furnished with zippered storage bag and break resistant stand adapter•

Extremely durable under the heaviest use•

Shure quality, ruggedness and reliability•

APPLICATIONS AND PLACEMENT

General Rules for Use

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. •

Use the fewest number of microphones as practical. •

Keep the distance between microphones at least three times the distance from •

each microphone to its source.

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. •

Do not cover any part of the microphone grille with your hand, as this will •

adversely affect microphone performance.

APPLICATION SUGGESTED MICROPHONE PLACEMENT TONE QUALITY

Tom-Toms One mic on each tom, or between each pair of toms, 2.5 to 7.5 cm (1 to 3 in.) above drum

heads. Aim each microphone at top drum heads. On double head toms, you can also

remove bottom head and place a mic inside pointing up toward top drum head.

Medium attack; full, balanced sound.

Snare Drum 2.5 to 7.5 cm (1 to 3 in.) above rim of top head of drum. Aim mic at drum head. If desired,

place a second mic just below rim of bottom head.

Most “snap” from drumstick. More “snare”

sound

Guitar & Bass

Amplifiers

2.5 cm (1 in.) from speaker, on-axis with center of speaker cone. Sharp attack; emphasized bass.

2.5 cm (1 in.) from speaker, at edge of speaker cone. Sharp attack; higher frequency sound.

15 to 30 cm (6 to 12 in.) away from speaker and on-axis with speaker cone. Medium attack; full, balanced sound.

60 to 90 cm (2 to 3 ft.) back from speaker, on-axis with speaker cone. Softer attack; reduced bass.

Vocals Lips less than 15 cm (6 in.) away or touching the windscreen, on axis to microphone. Robust sound, emphasized bass,

maximum isolation from other sources.

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.

MONITOR

P.A. LOUDSPEAKER

Proximity Effect

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.

RECOMMENDED LOUDSPEAKER LOCATIONS FOR

CARDIOID MICROPHONES

Unidirectional microphones such as the SM57 progressively boost bass frequencies by 6 to 10 dB below 100 Hz when the microphone is at a distance of about 6 mm (1/4 in.)

from the sound source. This phenomenon, known as proximity effect, can be used to create a warmer, more powerful sound. To prevent explosive low frequency sound during