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.
(PGADRUMKIT4)
(PGADRUMKIT5)
(PGADRUMKIT6)
(PGADRUMKIT7)
Note: Availability of specific bundles varies by region. Contact your local Shure distributor for details.
Before you begin, review these fundamental concepts to get the best possible results:
Tuning: Before recording a drum kit, make sure the drums are tuned. A well-tuned kit significantly improves the sound quality for recording and live sound reinforcement. It also makes mixing and signal processing easier, faster, and more effective.
Placement: Use the proximity effect to your advantage when increased bass 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.
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① Kick (PGA52) |
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② Snare (PGA57) |
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③ Toms (PGA56) |
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④ 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:
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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.
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.
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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.
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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.
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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. |
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
PGA56 and PGA52 microphones feature a quick-release lever to easily adjust position.
Pictured is the PGA56.
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.
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: XLR-to-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.
NOTE: Applies to PGA81 condenser microphones only. Supplying phantom power to the other included microphones will not cause damage.
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Microphone Clip for SM58, SM57, SM87A, Beta 87A, Beta 87C, PGA57, PGA58, PGA48, PGA81 |
A25D |
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Black Foam Windscreen for PGA81, SM94 and SM137 |
A3WS |
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7.6 m (25 ft.) Cable (XLR-XLR) |
C25J |
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5/8" to 3/8" Thread Adapter |
31A1856 |
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Vinyl zippered storage bag |
95B2324 |
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Drum Microphone Mount |
AP56DM |
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PGA52 Replacement Grille |
RPMP52G |
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PGA57 Replacement Grille |
RPMP57G |
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PGA56 Replacement Grille |
RPMP56G |
Dynamic (moving coil)
50 to 12, 000 Hz
Cardioid
150 Ω
at 1 kHz, open circuit voltage
-55 dBV/Pa¹ (1.75 mV)
Positive pressure on diaphragm produces positive voltage on pin 2 with respect to pin 3
454 g (16.01oz.)
Three-pin professional audio (XLR), male
| Operating Temperature | -20° to 165°F (-29° to 74°C) |
| Relative Humidity | 0 to 95% |
1 Pa=94 dB SPL
Typical Frequency Response
Typical Polar Pattern
Dynamic (moving coil)
50 to 15, 000 Hz
Cardioid
200 Ω
at 1 kHz, open circuit voltage
-57 dBV/Pa¹ (1.45 mV)
Positive pressure on diaphragm produces positive voltage on pin 2 with respect to pin 3
287 g (10.12oz.)
Three-pin professional audio (XLR), male
| Operating Temperature | -20° to 165°F (-29° to 74°C) |
| Relative Humidity | 0 to 95% |
1 Pa=94 dB SPL
Typical Frequency Response
Typical Polar Pattern
Dynamic (moving coil)
50 to 15, 000 Hz
Cardioid
150 Ω
at 1 kHz, open circuit voltage
-56.5 dBV/Pa¹ (1.5 mV)
Positive pressure on diaphragm produces positive voltage on pin 2 with respect to pin 3
280 g (9.88oz.)
Three-pin professional audio (XLR), male
| Operating Temperature | -20° to 165°F (-29° to 74°C) |
| Relative Humidity | 0 to 95% |
1 Pa=94 dB SPL
Typical Frequency Response
Typical Polar Pattern
Electret Condenser
Cardioid
40 to 18,000 Hz
at 1 kHz, open circuit voltage
600 Ω
at 1 kHz, open circuit voltage
-48.5 dBV/Pa[1] (3.8 mV)
1 kHz at 1% THD, 1 kΩ load, typical
129.5 dB SPL
Positive pressure on diaphragm produces positive voltage on pin 2 with respect to pin 3
Three-pin professional audio (XLR), male
186 g (0.4 lbs)
Cast Zinc
48 V DC phantom power (2.0 mA)
[1] 1 Pa=94 dB SPL
Frequency Response
Polar Pattern
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
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