Shure PESOSP Bedienungsanleitung

MODEL

PESOSP

Slips out of swivel stand

adapter easily and quickly

for hand-held use

Your selection of a Shure SUPER-PROCardioid Microphone

will contribute significantly to the professional quality of

your performance. This ball-type microphone has a super

rugged steel mesh screen with a special filter which pro-

vides protection from wind, blast and "pop" (explosive

breath sounds). This feature allows you to work as close

to the microphone as you wish, to reduce the pickup of

unwanted sounds either indoors or out-of-doors.

Your microphone helps control feedback because it is uni-

directional. Since

picks up sound only from the front of

the microphone, audience noise and other unwanted sounds

occurring at the rear or sides of the microphone are sup-

pressed. This permits

greater working distance from the

microphone with minimal background sound pickup. The

PESOSP

also features instant usage with low- or high-

impedance microphone inputs using the line matching

transformer supplied.

(See inside for information on how to use your

Shure Microphone more effectively.)

HOW TO CONTROL FEEDBACK

performer's number one enemy in using a microphone is

"feedback." This is a harsh hum, howl or squeal which oc-

curs when the microphone picks up sound from the

loudspeakers, re-amplifies and rebroadcasts it over and

over again.

The key factor in the prevention of feedback is the posi-

tion of the loudspeakers in relation to the microphone.

Feedback occurs if the microphone picks up sound coming

from the loudspeakers. Keep the loudspeakers as far to the

sides as possible-so they do not point toward the micro-

phone. Always keep the microphone pointed toward the

performer and away from the loudspeakers. When stage

monitor loudspeakers are used, make sure they are posi-

tioned in front of the performers and face the rear of the

microphone.

If you are in a room with hard walls, floor, and ceiling,

the sopnd from the loudspeakers may bounce back into the

microphone and create feedback. Solve this problem by

turning down the amplifier volume control and working

closer to the microphone.

(Important Note: If you cannot solve the feedback prob-

lem with your SUPER-PROTMmicrophone, a Shure Feed-

back Controller is suggested.)

BASIC POINTS FOR PROFESSIONAL

MICROPHONE TECHNIQUE

Proper microphone technique will add to the overall ef-

fectiveness with which you project yourself to your

audience. Keep the following points in mind when using

the microphone:

Maintain the proper distance from the microphone.

When you wish to achieve an intimate tonal quality,

get closer to the microphone and lower your voice. For

wide-open "driving" effects, raise your voice and back

away from the microphone so that you do not over-

drive your amplifier to distortion.

Don't change your distance from the microphone

needlessly, as this will affect the level of sound coming

from the loudspeakers.

Consider the microphone

an instrument and prac-

tice your technique to enhance your performance.

YOUR SHURE MICROPHONE IS BUILT TO LAST!

Your Shure Microphone is ruggedly built and should give

you years of uninterrupted service; however, remember

that it is a sensitive instrument. Avoid dropping the micro-

phone, or subjecting it to unnecessarily rough treatment.

Normal usage, of course, will not impair performance of

the unit. Use the protective carrying case to prevent dam-

age not only when traveling, but also when storing the

microphone.

MICROPHONE CHECK-LIST

Check microphone impedance-is it correct for the

amplifier input being used?

Check microphone cable connectors to microphone,

mixer and amplifier-are they tightly plugged in?

Check microphone, amplifier and/or mixer.

a. Are they turned on?

b. Are volume controls turned up?

IF THE MICROPHONE DOES NOT WORK

Check the above list.

the microphone still does not

appear to be operating, check it on a spare cable. If the

microphone still does not appear to be operating, have the

microphone and cable checked by your Shure Professional

Entertainer Products Dealer, or write Service Department,

Shure Brothers, Inc.

PHASING

To test two microphones and/or their cables for proper

phasing, connect them to an amplifier and talk or sing into

them while holding them three or four inches apart. The

sound from the speakers should be the same when talking

into either microphone or directly between them if they

are in phase with each other. If the sound drops drastically,

or if a dead spot is found when talking between the two

microphones, one of them or its cable (low impedance

only) is out of phase. All cables and microphones should

be tested in this manner to insure that they are in phase

with each other.

To change the phase of a low-impedance microphone

cable, either use a Shure AlSPR Phase Reverser or inter-

change the wires connected to pins

and

of the connec-

tor. To change the phase of

microphone, the microphone

cartridge leads must be interchanged (see Figure

2).

This

should be performed by your dealer, the Shure Factory

Service Department, or other qualified service personnel.

IMPEDANCE

Your microphone is supplied wired for low impedance for

connection to low-impedance microphone inputs (rated at

19 to

300

ohms). For instant change for connection to

high-impedance

(?4

in. phone jack) microphone inputs,

connect the supplied cable (or any number of additional

CNs) to the low-impedance side of the furnished

A95FP Line Matching Transformer and plug the high-

impedance side

in. phone plug) into the input.

For internal impedance change, remove male plug insert

by turning slotted setscrew inward (counterclockwise).

Disconnect two-terminal impedance selection socket from

rear of male insert, and reconnect socket in reverse posi-

tion so that pin

of male insert is inserted in socket

terminal

"H".

NOTE:

After following the above direc-

tions, the PESOSP with the supplied two-conductor CSlCN

cable will be suitable for connection to high-impedance

inputs using three-pin professional audio connectors. For

direct connection to

1/4

in. phone jack inputs, replace the

CSICN cable with the CS-X: 6.lm

(20

ft) single-con-

ductor shielded with three-pin professional audio connector

(female) on microphone end and

'/4

in. phone plug on

equipment end.

USING MORE THAN ONE MICROPHONE

It is often desirable for a group to use a separate micro-

phone for each individual performer. In this case, the

following points should be remembered:

It is best if the microphones are individually controlled

for volume through a separate Shure microphone

mixer.

this is not possible, it is desirable that each

performer use the same type and model of microphone

so that the group

a whole will be "balanced."

Check the placement of the microphones with relation

to loudspeakers (as previously mentioned) so that

feedback is minimized.

As additional microphones are added the possibility of

feedback increases. Turn off, or down, unused micro-

phones to help solve this problem.

SHURE FEEDBACK CONTROLLER

Lets you "tune" your sound system to the acoustics of the

room. The result is more overall sound power

without

feedback. Eight linear-motion filter controls are infinitely

variable from

dB cut. Below

and Above

kHz roll-off switches attenuate low and high frequencies.

Can be installed between mixer or console and amplifier

for total system control, or following each microphone as

a single-channel preamplifier with feedback control.

.,.

11,1,1

(.'II"IX,f

XI,

THE VITAL LINK

BETWEEN

YOU

AND

THE AUDIENCE

SHURE PROFESSIONAL ENTERTAINER

MICROPHONES

MODEL PESOSP SPECIFICATIONS

Type: Dynamic, Cardioid (Unidirectional)

Frequency

Response:

15,000

Hz (see Figure

Impedance:

Output

Level

(at

1,000

Hz):

Phasing:

Switch:

i i I llllllil l llllllll ll

--.

FIGURE

Dual. Low: Microphone rating impedance is

150

ohms

(285

ohms actual) for connection to microphone inputs rated at

300

ohms.

High: Microphone impedance is "High" for mnnection to

high-impedance microphone inputs.

Wired for low impedance

supplied. Instant conversion to

high impedance with furnished Line Matching Transformer

(Internal impedance change instructions on Page 4.)

IMPEDANCE

Low High

Open Circuit Voltage*

...........

-77.0

-54.5

(.141

mV)

(1.89

mV)

..................

Power Level"

-57.5

volt per microbar

'*O

milliwatt per

microbars

Low Impedance: Positive pressure on diaphragm produces

positive voltage on Pin

(See Figure

and Page

4.)

High Impedance: Positive pressure on diaphragm produces

positive voltage on Pin

(See Figure

and Page 4.)

FIGURE

Built-in magnetic reed On-Off switch with lockplate installed

in unlocked position. To lock switch in On position, move

to On posi:ion, loosen screw on lockplate, and turn lock-

plate

180".

Retighten screw.

GUARANTEE

This Shure product is guaranteed in normal use to be free from electrical and

mechanical defects for a period of one year from date of purchase. Please re-

raln proof of purchase date. This guarantee ~ncludesall parts and labor. This

guarantee is in lieu of any and all other guarantees or warranties, express

implied, and there shall be no recovery for any consequential or Incidental

damages.

SHIPPiNG INSTRUCTIONS

Carefully repack the unit and return it prepaid to:

Shure Brothers Incorporated

Attention: Service Department

1501 West Shure Drive

Arlington He~ghts,Illinois 60004

If outside the Un~tedStates, return the unlt to your dealer or Authorized Shure

Service Center for repair. The unit will be returned to you prepaid

MODEL PESOSP SPECIFICATIONS (Continued)

Connector: Equipped with professional three-pin audio connector (maiel

designed tc mate with furnished cable or Cannon XL series.

Switchcraft A3

(Q.G.)

series, or equivalent connector.

Shock Mount: Internal rubber vibration-isolator

Swivel Adapter: Adjustable through 90" from vertlcal to

horizontal,

to fit

546"-27 stand thread

Line Matching

Transformer:

Cable:

Net Weight:

Packaged Weight:

Provldes instant conversion of 19 to 300 ohm microphone

line to high-impedance. Equipped with profsssional three-pin

audio connector (female) on low-impedance end and

'/a

in.

phone plug on high-impedance end.

7.6m (25 ft) two-conductor shielded, TRIPLE-FLEX@, detach-

able, with profess~onal three-pin audio connectors (male

and female)

298 grams (10'/z oz) less cable

1.8

(4 Ib)

FURNISHED ACCESSORIES

Swivel Adapter: A256

Line Matching

Transformer: A95FP

Carrying Case: 90M1404

OPTIONAL ACCESSORIES

Desk Stand:

Disconnect

Adapter:

Windscreen:

REPLACEMENT PARTS

Cartridge: R65

Cable: C51CN

Switch: RK106S

Grille Assembly: RK143G

Plug Element: RK40P

Case Assembly: RK168C

AREA

CODE

312/866-2200 CA

SOUND OF

THE

PROFESSIONALS@

SHURE BROTHERS

INC.

222

HARTREY AVENUE

EVANSTON, ILLINOIS

60204

U.S.A.

Shure Brothers Inc. U.S. Patents 3,132,713

27AI296 (SJ) and 3,240,883

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