Shure Beta 98AMP
A 130-gram condenser that clamps onto a tom and refuses to flinch at a drumstick.
Overview
The Beta 98AMP solves a plain problem: getting a condenser microphone onto a drum without a stand, without a rat's nest of clamps, and without the capsule giving up when a heavy hitter leans into a floor tom. Shure's own documentation describes it as a compact, high-output electret condenser built for professional sound reinforcement and studio work. It has an integrated preamplifier terminating in an XLR connector, a flexible gooseneck, and a furnished A75M Universal Microphone Mount for precision placement and minimal stage clutter.
The polar pattern is cardioid. Shure says the extremely uniform cardioid response delivers gain-before-feedback and off-axis rejection of unwanted noise, which counts when the microphone sits two inches from a snare in a wedge-heavy monitor environment. The frequency response spans 20 to 20,000 Hz, and it is tailored - Shure's word - for drums and percussion rather than left flat and neutral. Sensitivity is specified at -50.5 dBV/Pa (2.5 mV) open-circuit at 1 kHz, typical. That is a healthy output for a condenser, and part of why the mic pairs cleanly with the preamps found in live consoles.
Headroom is what separates the 98AMP from the broader family of clip-on instrument condensers. Maximum SPL is rated at 157.5 dB SPL with a 2500 Ω load and 153.0 dB SPL into 1000 Ω, both measured at 1 kHz at 1% THD. Those numbers are the reason the microphone can sit inside a kick drum or under a snare without a pad. Shure recommends a minimum input load impedance of 1000 Ω and notes that higher impedance yields better performance across maximum SPL, clipping level, and dynamic range. Into a typical modern preamp, the dynamic range works out to 126.5 dB at 2500 Ω or 122.0 dB at 1000 Ω. Clipping level lands at 12.5 dBV and 7.5 dBV respectively. Self-noise is 31.0 dB SPL-A, and signal-to-noise ratio comes in at 63 dB. That is respectable for a live-focused condenser, though nobody buys this microphone for that spec.
Power comes from 11-52 V DC phantom power per IEC-61938, drawing 5.5 mA. Shure notes that the microphone performs best on a 48 V supply but will operate at lower voltages with slightly decreased headroom and sensitivity. The manual also specifies a balanced XLR-to-XLR or XLR-to-TRS cable, with no unbalanced shortcuts. Common mode rejection is ≥60 dB across 10 to 100,000 kHz. Polarity is standard: positive pressure on the diaphragm produces positive voltage on pin 2 relative to pin 3.
The microphone weighs 130 g (4.6 oz.) and is built from enamel-coated metal with a stainless steel inner grille, which Shure describes as resisting wear and abuse. The cartridge is replaceable, and the RPM98A/C cardioid cartridge is the listed replacement part. The manual carries an explicit warning that the cartridge must be checked for tightness before every use, since vibration and accidental drumstick hits can loosen it and cause signal loss.
Placement guidance in the documentation is unusually concrete. For toms, Shure suggests one microphone per tom or between a pair of toms, 2.5 to 7.5 cm (1 to 3 in.) above the drum heads for a medium attack and full, balanced sound. Alternatively, remove the bottom head and place the mic inside pointing up at the top head for maximum isolation. For snare, 2.5 to 7.5 cm above the rim of the top head, aimed at the head, captures the most snap from the stick. For cymbals, close-miking with the A75M mount while staying clear of the cymbal's range of movement gives maximum isolation with a bright, attack-heavy character. The manual also warns that excessive twisting or forcing the gooseneck into extreme positions can permanently damage the microphone.
The microphone ships as the Beta 98AMP/C (mic plus A75M mount) or as the 98AMP/C-3PK three-pack with three microphones and three mounts. Furnished accessories include the A75M mount, an A75-57F small mic clip, a zippered carrying bag (95A2314), and a snap-fit windscreen (95A2064). Optional parts include the RK183WS four-pack of snap-fit windscreens, the A412MWS metal locking windscreen, the A57F mic clip, a 7.6 m (25 ft.) C25E cable, an A75-25D large mic clip, the A75-UMA universal adapter, and the A53M Shock Stopper isolation mount.
Mix (March 2014, p.27) documented drummer Francois Comtois' kit running a Shure Beta 91A and Beta 52 on kick, Beta 57 and SM57 on snare, a KSM 137 on hi-hat, and the Beta 98AMP on toms. Mix (April 2013, p.7) listed the Beta 98AMP/C among the microphones covered by a Shure rebate promotion, alongside the Beta 57A, Beta 27, Beta 52A, Beta 56A, Beta 91A, Beta 98A/C, Beta 98AD/C, Beta 98H/C, and the Beta 181 variants. The rebate paperwork places the model in active retail distribution by early 2013, which helps when dating a used example. Later tour-equipment listings in Pro Sound (November 2018, p.44; October 2019, p.44) show Shure Beta-series hardware in the microphone inventories of large-scale touring acts.
One caveat for buyers: the 98AMP is a phantom-powered condenser, not a dynamic, and it will not work plugged into an input that lacks phantom power. It is also a specialized tool. The cardioid pattern, the tailored response, and the gooseneck mount all point at drums and percussion, and Shure lists the intended applications as drums, percussion, and other fixed-placement uses. Anyone hoping for a general-purpose instrument mic should look elsewhere in the catalog.
Similar items on eBay
No exact Shure Beta 98AMP listings are live right now — these searches show current Shure and similar vintage audio gear on eBay:
As an eBay Partner, we earn from qualifying purchases. This helps support our independent vintage technology research.