Shure Beta 87A Vocal Dynamic Microphone

Vocal Microphone

The Shure Beta 87A vocal microphone is precision-engineered to deliver an exceptionally smooth frequency response in a supercardiod condenser design. Built to withstand extreme sound pressure levels (SPL), the Beta 87A is ideal for professional sound reinforcement and studio recording applications.

The tailored frequency response, combined with a controlled low-frequency roll-off, makes this microphone ideal for close-up lead and background vocals—especially in high SPL environments. An advanced cartridge shock mount system, hardened steel-mesh grille, and superior build quality withstand the rigors of daily touring and sound reinforcement.

Order Now from Bovic and have it delivered straight to your doorstep.

1-3 working days outside Nairobi and same-day delivery within Nairobi.

We have the best price in Kenya for this product

Features

• Premier live performance microphone with Shure quality, ruggedness, and reliability
• Uniform supercardioid pick-up pattern for maximum gain before feedback and superior rejection of off-axis sound
• Smooth, wide frequency response with gradual presence rise and controlled proximity effect tailored for vocals
• Advanced cartridge shock mount system absorbs mechanical shock and minimizes handling noise
• Dent-resistant steel mesh grille and enamel coated metal alloy construction resist wear and abuse
• Effective built-in pop filter reduces undesirable wind and breath noise
• Very low susceptibility to RF and electromagnetic hum

HOW IT WORKS

One of the world’s best-selling, single-element, condenser mic, the BETA 87A puts singers on a pedestal. Tailored frequency response concentrates on the upper midrange to raise vocal presence in the mix. So voices cut through clearly and resonate deeply with your audience.

WHY IT’S BETTER

Set your singing apart

Never overpowered

Resists rattle

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.

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.

Avoiding Pickup of Unwanted Sound Sources

A supercardioid microphone has the greatest sound rejection at points 120° toward the rear of the microphone. Place the microphone so that unwanted sound sources, such as monitors and loudspeakers, are at these angles, not directly behind it. To minimize feedback and ensure optimum rejection of unwanted sound, always test microphone placement before a performance.

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

50 to 20,000 Hz

Polar Pattern

Supercardioid

Output Impedance

EIA rated at150 Ω(100 Ωactual)

Sensitivity

at 1kHz,open circuit voltage: -52.5 dBV/Pa(2  mV)[1]

Maximum SPL

1 kHz at 1% THD,1 kΩ load: 140.5 dB

Signal-to-Noise Ratio

Ref. 94 dB SPL at 1 kHz: 70.5 dB[2]

Dynamic Range

at 1kHz,1 kΩ load: 117 dB

Clipping Level

1 kHz at 0.25% THD,1 kΩ load: -6  dBV (0.5 V)

Self Noise

typical,equivalent SPL, A-weighted: 23.5 dB

Polarity

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

Weight

Net: 0.207 kg(0.475 lbs)

Connector

Three-pin professional audio (XLR), male, balanced

Housing

Aluminum construction with painted blue metallic finish, and hardened steel grille with nickel satin chrome plating

Power Requirements

11 to 52  V DCphantom power (1.2 mA)

[1] 1 Pa=94 dB SPL

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

Accessories

Furnished Accessories

Optional Accessories

Replacement Parts