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Shure mikrofon PGA Drum Bundle

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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 in-

struments, 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.

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

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.

Setting up Drum Microphones

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.

PGA Drum Bundle

PG Alta Drum Microphone Kit

①

②

④

③

X-Y position

Spaced pair position

① Kick (PGA52)

• Place the microphone in front of the resonant kick drum head.

• If there is a hole in the head, place the microphone inside for better iso-

lation. 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.

② 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 re-

duce the amount of cymbal in the snare drum signal.

③ 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" micro-

phone stand.

• Point towards the center of the head for a deeper sound, or closer the

edge to capture more overtones.

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:

• 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

• Overheads can be panned from the audience or drummer's perspective,

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

Directional microphones progressively boost bass frequencies as the micro-

phone 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

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.

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90 120ɴ ɴ

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.

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