Shure Beta 91A

423

Condenser boundary microphone

Combination of Beta 91 and SM 91
Switchable frequency range for bass drums or piano/ voice applications
Polar pattern: half cardioid
Frequency range: 20 - 20,000 Hz
Impedance: 146 Ω
11-52 V Phantom power
SPL: 155 dB SPL max (@ 2500 Ohm)
Sensitivity: -48.5 dBV/Pa
Output: XLR-male
Weight: 470 g

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Available since November 2010

Item number 256092

Sales Unit 1 piece(s)

Condenser Microphone Yes

Polar Pattern Half Cardioid

£238

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in Microphones for Bass Drum

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The low-end pro of the Beta series

The Shure Beta 91A is a condenser boundary microphone with a half-cardioid polar pattern optimised for recording low-frequency instruments and delivering a punchy sound with a good amount of attack in the process. The solid workmanship of the Beta 91A, with its robust housing and wire mesh, effectively safeguards the capsule as well as the internal electronics from potential damage. Shure declares the microphone as having a frequency range of 20Hz to 20kHz, with a sensitivity of 3.8mV/Pa, and a maximum sound pressure level of 155db at a load of 2,500 ohms. The microphone is operated with phantom power, the minimum and maximum permissible levels for which are 11V and 52V, respectively.

Solid sound and plenty of attack

A glance at the Shure Beta 91A's frequency range in the spec sheet reveals a particularly well-emphasised attack sound and bass foundation. When the microphone is placed inside a bass drum, the proximity effect is especially responsible for a punchy sound, which remains precisely defined and does not become "boomy". At the same time, a pronounced range of 4kHz to about 9kHz ensures a distinct attack sound. A two-step contour switch with a centre frequency of 400Hz also allows unwanted frequencies to be reduced while recording without the need for additional equalisers.

Shure Beta 91A, condenser boundary microphone

For technicians and stick slingers

The Beta 91A boundary microphone is designed primarily for professional use and features punchy bass and pronounced treble reproduction, ideal for recording percussion instruments. At the same time, its design and contour switch ensure quick and effective sonic results, simplifying the work of sound technicians, and pleasing the ears of the stick-slinging department with its full bass drum sound that cuts through any mix – all at a spot-on price-performance ratio.

About Shure

The American company Shure began developing microphones during the early 1930s and is one of the pioneers of the audio engineering sector. Models such as the 55 Unidyne - known to many as the "Elvis microphone" - and the SM57 and SM58 which appeared in the mid-1960s are still ubiquitous in live sound production today. They enjoy cult status among musicians and technicians alike. In the 1990s, Shure introduced the first wireless microphones and in-ear monitoring systems and became a market leader in this field. In addition to microphones, Shure offers a wide range of earphones and headphones for studio and live use, as well as various accessories.

When lying around gets it done

The special design of the Beta 91A condenser boundary microphone enables users to position it easily and discreetly without taking up too much room, eliminating the need for a space-consuming tripod. Its robust construction ensures a high level of durability against mechanical damage, making this boundary microphone perfect for use not only in a studio environment, but also on stage – no worries! In addition to recording percussion instruments like bass drums or cajóns, it can also be used for miking upright pianos or concert grands, in which case the holding eyelets underneath the sticker on the back come in handy: It simply needs to be placed on the bottom side of the piano lid – and it's good to go.

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423 Customer ratings

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4.9 / 5

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204 Reviews

Delightful, Versatile Microphone

D Rea 05.08.2020

Absolutely wonderful microphone. I don't go anywhere for work without this (live & studio). Predominantly, I use this mic for kicks and pianos, but also found uses for certain theatre/stage applications. The tight Half Cardioid design makes it ideal for these scenarios.

The cut around 400Hz has come in quite handy on a few occasions with problematic kicks or stage where conditions are not ideal. Pairing this mic in particular with the Beta52 means achieving a particularly accurate picture of a kick. Even without the 52, you'll still achieve a super clean, punchy tone. Predominantly I'll use it internally for Kicks and Grands and have to do very little to achieve top quality results.

There is a very good reason why touring engineers request this mic so often when sending on tech riders to venues.

Very sturdily made but of course with any mic, treat it like it was one of your own children and take care of it.

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GREAT for recording, OK for live use…

David S// 23.01.2023

Mostly easy to use and place inside the bass drum. It works great for recording or to use on the bigger live stages, where you may have in ear monitoring and the output speakers are at least 26 feet away.

However, on the smaller live stages where booth monitors and speakers are close to the drums, it is VERY HARD to use it without getting a feedback problem. This have happened so many times live that I’ve completely swished to Shure Beta 52 for live use.

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Worth every penny!

willdefear 15.02.2022

My most used live mic. Great both on it's own, or when paired with a beta52 or similar kick out mic, and less harsh and more natural sounding than an e901, in my opinion. I use it nearly every show where I provide mics, is definitely one of my better investments, and if I could only take one of my live mics out on a gig with me, it would be this!

The new 91A variant improves on an old design by having a full sized xlr connector and no longer requires an external preamp module like its predecessors. A massive win as it's now absolutely bomb proof and you're not scared to take it out your mic box in case the cable breaks again!!

Also the frequency curve switch kind of lets you choose between a beta91 sound and a flatter sm91 sound, kind of... It is similar, but not quite the same the same as the classic sm91!

If you're looking at this mic then you probably know what it's all about. So just buy one and thank me later! :)

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Shure Beta 91A

Robert814 14.02.2016

I've been looking at the Shure Beta 91A and the low-mid cut switch at around 400Hz seems like a very useful and appropriate feature. The main doubt was the size and shape of this mic. Fortunately for me it turns out to be only about a quarter of the size I'd expected. (I didn't bother to ask). There is a rather good elastic suspension mounting kit available (not made by Shure though) which enables it to remain mounted inside the bass drum. The Thomann sound samples when compared with other bass drum mics appear to show this as a very clean and clear sounding mic. I usually find these samples very useful and if downloaded and listened to about 20 times in comparison to other mics, you get about an 80% idea of how the mic will actually sound. The technical spec pdf describes this mic as "Half cardioid" and shows a 60° angle above floor/stage pickup area, which is most appropriate and also explains why another reviewer discovered that placing this mic on the floor in front of the bass drum, but moving it back a bit further than normal picked up the whole kit, but with the bass drum strongest - great for in ear monitoring for the drummer (who didn't want too much of the other band members). I am most impressed with the sound when placed on the floor/stage in front of the bass drum at more conventional distances. That gives me the best bass drum sound I've ever achieved to date. Crisp, clean, with a well defined thump and still able to reject unwanted spill over in a live situation.

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Shure Beta 91A

Condenser boundary microphone