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Thank´s for your help, I already recived these manual from you
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Thank you for your manual It has the basic things to and i use the Oszi for Longer Time.
THX
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Actually, I was looking for this information for 3 years!...now thanks to you, the manual is on my hands and of great help, cause I understand now where I was doing wrong connections and wires...excellent, I'll be back to you if in need, thank you.
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This manual covers the main equipment features only. While it also includes the procedure for saving and loading from the now long obsolete memory cards it does not mention the how to operate with the optional floppy drive interface so I am still at a loss about how to use this! Note that there is a separate manual covering the MIDI interface and programming via the keyboard, not included in this download. You will also need to get hold of this if you want to use the MIDI interface properly. Basically there is little difference between this manual and the free to download manual for the similar PR60 model.
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Good list of manuals. I found a very rare one and easily get. Should be promptly to download, as we must to wait hours even after confirmed payment.
Model BETA 56A
User Guide
BETA 56A APPLICATIONS AND PLACEMENT The most common BETA 56A applications and placement techniques are listed in the following table. Keep in mind that microphone technique is largely a matter of personal taste; there is no one �correct� microphone position.
APPLICATION SUGGESTED MICROPHONE PLACEMENT One BETA 56A on each tom, or between each pair of toms, 2.5 to 7.5 cm (1 to 3 in.) above drum heads. Aim each mic at top drum heads. On double head toms, you can also remove bottom head and place a mic inside pointing up toward top drum head. Snare Drum 2.5 to 7.5 cm (1 to 3 in.) above rim of top head of drum. Aim mic at drum head. If desired, place a second mic just below rim of bottom head. Most �snap� from drumstick. More �snare� sound. Sharp attack; emphasized bass. Sharp attack; higher frequency sound. Medium attack; full, balanced sound. Softer attack; reduced bass. Bright, clear sound. Bright, clear sound. Softer, mellow sound. TONE QUALITY Medium attack; full, balanced sound. Medium attack; full, balanced sound.
MODEL BETA 56A
COMPACT SUPERCARDIOID DYNAMIC MICROPHONE
GENERAL The compact Shure BETA 56A is a high output supercardioid dynamic microphone designed for professional sound reinforcement and project studio recording. Its extremely uniform supercardioid pickup pattern provides high gain before feedback and excellent rejection of unwanted noise. A built�in dynamic locking stand adapter with an integral XLR connector simplifies installation. The stand adapter keeps the microphone securely in place, even if it is struck by a drumstick. Typical BETA 56A applications include close miking of tom�toms and other percussion instruments, as well as guitar amplifiers, brass instruments, and woodwinds. FEATURES � Tailored frequency response provides drums, amplified instruments, and horns with studio quality sound � Built�in stand adapter with dynamic locking system and XLR connector simplifies setup and provides greater flexibility � Uniform supercardioid pattern for high gain before feedback and superior rejection of off�axis sound � Compact design reduces stage clutter � � � � Hardened steel mesh grille resists wear and abuse Neodymium magnet for high signal�to�noise ratio output Minimally affected by varying load impedance Advanced pneumatic shock mount system that minimizes transmission of mechanical noise and vibration � Legendary Shure quality and reliability GENERAL RULES FOR MICROPHONE USE 1. Aim the microphone toward the desired sound source and away from unwanted sources. This may not be obvious or intuitive, since supercardioid microphones such as the BETA 56A have narrow pickup patterns and can pick up sounds from the rear. Refer to Figure 1 on the following page. 2. Place the microphone as close as practical to the desired sound source (refer to the table in the opposite column). 3. Work close to the microphone for extra bass response. 4. Use only one microphone to pick up a single sound source. 5. Use the fewest number of microphones as practical. 6. Keep multiple microphones separated by a distance equal to at least 3X the distance to the nearest sound source. 7. Place mics as far as possible from reflective surfaces. 8. Use a windscreen when using the microphone outdoors.
Brass & Woodwinds Tom�Toms
Guitar & Bass 2.5 cm (1 in.) from speaker, on� Amplifiers axis with center of speaker cone. 2.5 cm (1 in.) from speaker, at edge of speaker cone. 15 to 30 cm (6 to 12 in.) away from speaker and on�axis with speaker cone. 60 to 90 cm (2 to 3 ft .) back from speaker, on�axis with speaker cone. Brass: 30 to 90 cm (1 to 3 ft.) away, on�axis with bell of instrument. Woodwinds: 2.5 to 15 cm (1 to 6 in.) away, on�axis with bell of instrument. Bell of instrument 90° off�axis from front of mic.
MOUNTING THE BETA 56A ON A MICROPHONE STAND The built�in stand adapter features a dynamic locking system that permits adjustments to the microphone�s position, but resists slipping when struck by drumsticks. To mount the BETA 56A on a stand and adjust its position, proceed as follows: 1. Screw the integral stand adapter onto the end of a microphone stand (see Figure 4). Adjust the stand height and position as necessary. Make sure the adjustment knob on the adapter is loose.
2. Pivot the BETA 56A until it is in the desired position relative to the drum head or instrument speaker. 3. Lock the BETA 56A in place by rotating the thumbscrew on the stand adapter clockwise until it is tight. Do NOT use tools to overtighten the adjustment knob. 4. If necessary, make minor adjustments to the microphone position without loosening the adjustment knob. 5. Connect an audio cable to the integral XLR connector.
2005, Shure Incorporated 27D2798 (Rev. 5)
Printed in U.S.A.
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