Feature
●Constant half-cardioid pattern dampens ambient noise for optimized sound quality and high feedback resistance
●Flat design with integrated preamp and XLR connection for easy, visually inconspicuous positioning on stage
●Optimised frequency response and high dynamic range for bass drum and low-frequency sound sources with high sound pressure levels
●Contour switch with two settings to adapt to different sound sources: linear frequency response for natural sound or frequency response with muted centers for maximum pressure in the lows and strong attack at the highs
●The microphone can be easily placed on the floor or other surface. No accessories or tripod required
Description
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From the manufacturer
Very popular with sound engineers is the use of the Beta 91A in combination with the Beta 52A. The Beta 91A is placed inside (for maximum attack), the Beta 52A outside the bass drum (for maximum punch).
- Even semi-cardioid pattern provides high feedback safety.
- Transmits very high volume without distortion.
- Space-saving: no need to use microphone stands
The Shure 91A
Bass drum boundary microphone
The Beta 91A boundary surface combines the sound properties of the original microphone SM91 - which was mainly used in the removal of wings and piano - with the rich punch of the Beta 91 - popular in the bass drum, cajon and other low-frequency instruments. Thanks to this successful combination, the Beta 91A results in a half-cardioid microphone with low floor noise, which can handle extremely high sound pressure without any problems.
- Top-class boundary condenser microphone
- Especially suitable for bass drum, wings and piano.
- Excellent response with solid, controlled deep bass and present attack
- Pre-amplifier integrated in the housing, makes setup easier
- Switch to adjust the frequency response
- Hardened steel basket and extremely robust metal construction protect against damage
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Polar pattern (example 1) |
Polar pattern (example 2) |
Frequency response. |
From the brand
