General Description

The Beta 98H/C miniature cardioid condenser microphone clamps onto the bell of wind instruments or onto the rim of percussion instruments. The integrated gooseneck and ratcheting swivel joint allows the mic to be easily positioned and secured, and an isolation shock-mount reduces the transmission of instrument vibrations. A gooseneck angle brace is included to provide better retention of the desired microphone placement.

Featuring a highly consistent cardioid polar pattern, the Beta 98H/C provides high gain before feedback and smooth off-axis rejection. It's ability to handle extremely high sound pressure levels (SPL) makes it ideal for live sound reinforcement on a variety of instruments.

Features

  • Premier live performance microphone with Shure quality, ruggedness, and reliability
  • Uniform cardioid pick-up pattern for maximum gain before feedback and excellent rejection of off-axis sound
  • Tailored frequency response specifically shaped for open, natural sound reproduction
  • Wide dynamic range for use in high sound pressure level SPL environments
  • Adjustable gooseneck, angle brace and ratcheting swivel joint allow for optimal microphone positioning
  • Compact, lightweight construction provide a low degree of visibility
  • Interchangeable microphone cartridges with different polar patterns are available
  • Snap-fit foam windscreens stay in place, minimizing wind noise

Applications

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.

Applications And Placement

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.

Application Suggested Microphone Placement Tone Quality
Reed Instruments Place microphone a few inches from and aiming into bell. Bright, minimizes feedback and leakage.
Brass & Woodwinds Brass: 30 to 90 cm (1 to 3 ft.) away, on-axis with bell of instrument. Bright, clear sound.
Woodwinds: 2.5 to 15 cm (1 to 6 in.) away, on-axis with bell of instrument. Bright, clear sound.
Bell of instrument 90° off-axis from front of mic. Softer, mellow sound.

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.

Recommended Loudspeaker Locations for Cardioid Microphones

Proximity Effect

Unidirectional (cardioid) microphones 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 close-up use, the bass response gradually rolls off. This provides greater control and helps the user take advantage of proximity effect.

Power Requirements

This microphone requires phantom power and performs best with a 48 Vdc supply (IEC-61938). However, it will operate with slightly decreased headroom and sensitivity with supplies as low as 11 Vdc.

Most modern mixers provide phantom power. You must use a balanced microphone cable: XLR-to-XLR or XLR-to-TRS.

Specifications

Type

Electret Condenser

Frequency Response

20 to 20,000 Hz

Polar Pattern

Cardioid

Output Impedance

150 Ω

Sensitivity

at 1 kHz, open circuit voltage

-56  dBV/Pa (1.6  mV) [1]

Maximum SPL

(1 kHz at 1% THD)

1000 Ω load

155 dB SPL typical

Equivalent Output Noise

A-weighted

31 dB SPL (typical)

Signal-To-Noise Ratio

(Ref. 94 dB SPL at 1 kHz)

63 dB[2]

Dynamic Range

(at 1 kHz, 1000 Ω load)

124 dB, 132  dB

Clipping Level

at 1% THD

3 dBV (1.4  V)

Polarity

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

Power Requirements

11 to 52  V DCphantom power

[1] 1 Pa=94 dB SPL

[2] S/N ratio is difference between 94 dB SPL and equivalent SPL of self noise, A-weighted

Typical Frequency Response

Typical Polar Patterns

Wiring Diagram

Accessories

Furnished Accessories

Zippered Carrying Bag

95A2398

In-Line Microphone Preamplifier for WBH53 (Beta 53), WBH54 (Beta 54), Beta 91, WB98H/C (Beta 98), MC50B, MC51B and SM35-XLR

RPM626

Optional Accessories

Supercardioid Cartridge

RPM110

Black Locking Metal Windscreen forMicroflex® Gooseneck Microphones

A412MWS

Replacement Parts

Black Snap-Fit Foam Windscreens (4) for Beta 98, Beta 98A, Beta 98/S, Beta 98D/S, Beta 98H/C, MX183, MX184, MX185, MX202, WH30, WL183, WL184 and WL185

RK183WS

Cardioid Cartridge

RPM108

Clamp Assembly (A98D)

RPM618

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: 49-7262-92 49 0

Fax: 49-7262-92 49 11 4

Email: info@shure.de