Shure C User Manual

Model Beta 181 Wired Microphones

Specification Sheet

TL1075 (Rev. 1)

.

©2010 Shure Incorporated

The Shure Beta 181 is an ultra-compact, side-

address, condenser microphone, designed for 

discreet placement in live and studio environ-

ments.  Featuring interchangeable cardioid, 

supercardioid, omnidirectional and bidirectional 

capsules for superior versatility, the small dia-

phragm of the Beta 181 provides superior audio 

with consistent, “textbook” polar responses in 

a form factor small enough to get close to the 

source in the tightest conditions.

Beta 181/C Cardioid Microphone
Beta 181/S Supercardioid Microphone

Beta 181/O Omnidirectional Microphone
Beta 181/BI Bidirectional Microphone

•  Premier live performance microphone with 

Shure quality, ruggedness, and reliability

•  Compact preamp attaches to four 

interchangeable capsules

•  Wide dynamic range for use in high SPL 

environments

•  Side-address form allows for discreet 

positioning in tight performance and recording 

settings

•  Innnovative locking ring provides a secure 

connection between capsule and preamp

•  Hardened steel mesh grille resists denting, 

wear, and abuse

•  Compact design, under 12 cm (5 in.), reduces 

stage clutter

•  Furnished with stand adapter and carrying 

case

•  Exceptional low-frequency reproduction
•  Extremely high SPL handling
•  High output level
•  No crossover distortion
•  Transformer output

The front of the microphone is marked by the Shure logo on the 

preamp and the polar pattern icon on the capsule. Position this side 

toward the sound source.

•  Aim the microphone toward the desired sound source; angle unwanted sounds toward its null 

point.

•  Use the fewest amount of microphones as practical to increase the Potential Acoustic Gain and 

prevent feedback.

•  Follow the 3 to 1 Rule by spacing each microphone by at least three times the distance to its 

source to reduce Phase Cancellation.

•  Place microphones as far as possible from reflective surfaces to reduce Comb Filtering.
•  When using directional microphones, work closely to the microphone for extra bass response to 

take advantage of Proximity Effect.

•  Avoid excessive handling to minimize pickup of mechanical noise and vibration.
•  Do not cover any part of the microphone grille, as this will adversely affect microphone 

performance.

•  Add a windscreen when using the microphone outdoors.

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. 

•  Drum overheads
•  Piano
•  Acoustic instruments
•  Pair with a Beta 181/

BI for M/S stereo 

technique

•  Close-miking 

in performance 

settings

•  Snare drum
•  Acoustic 

instruments

•  Room and 

ambient pickup

•  Mono drum 

overhead

•  String ensembles

•  Use a pair of Beta 

181/BI for Blumlein 

stereo teqhnique

•  Mono drum overhead
•  Dual sound sources, 

such as between 

tom-toms or acoustic 

instruments

*Note: As with all bidirectional microphones, sounds picked up from the back will be out of polarity 

with the source. Those from the front are in polarity with the source.

Printed in U.S.A.