Shure PG48 Bedienungsanleitung

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!!!performance

gear™

microphone

guide

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plug in.

play

out.

Welcome to the club

Your new PG microphone is part of a complete vocal, instrument and drum

microphonefamily.It’srealgearforseriousplay.Soyoucanamplifyyourmessage.

Capturetheimaginationofyouraudience.Andmakeaconnectionwithyoursound.

Just as artists, visionaries and social leaders across generations and around the

world have done with Shure products for more than 75 years.

Up and running fast

PGmicrophonesareengineeredtobeeasytooperate.ThePowerUpguideonthe

insidepackagecoverwillhaveyoureadytogoinnotime.Formoredetailedsetup

and usage suggestions, please see page 4 of this guide.

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A great microphone for spoken

word applications.

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Lead Vocals

Back up Vocals

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A rugged microphone tuned to

accentuate the clarity of lead and

back up vocals.

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Guitar Ampliﬁer

Brass and Saxophone

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Aversatilemicrophoneforusewith

ampliﬁed or acoustic instruments.

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Acoustic Guitar

Cymbals

Piano

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Strings

Woodwinds

Ensembles

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A sensitive, ﬂat response microphone ideal

for use with acoustic instruments.

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Speech

Karaoke

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Kick Drum

Bass Ampliﬁer

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A high-performance microphone

speciﬁcally tuned to capture low-

end punch.

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Snare Drum

Rack/Floor Toms

Percussion

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A compact drum microphone for

closemiking.Drummountincluded.

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The following suggestions will help you get the best sounding results

from your PG microphones:

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use one microphone per sound source.

7RDYRLGIHHGEDFNDQGXQZDQWHGURRPQRLVH aim the micro-

phone directly toward the sound source and away from reﬂective

sources and loudspeakers. IRUGHWDLOVVHHSDJH

)RUH[WUDEDVVUHVSRQVHDQGOHVVURRPQRLVH work close to the

microphone.

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avoid excessive handling with vocal microphones.

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keep the microphone switch in the “OFF” position.

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and avoid covering the grille with your hand.

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Usage

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Desired Response

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Minimal “p” popping

and “s” sounds.

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Maximum isolation

from other sources.

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Emphasized bass,

maximum isolation

from other sources.

Setup

cm _ in

away from the mouth, slightly

oﬀ to one side.

cm _in

away from the mouth,

directly in front of microphone.

cm _in

away from the mouth,

directly in front of microphone.

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Usage

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Desired Response

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Emphasized bass.

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Higher frequency

sound.

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Balanced sound.

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Clear sound.

Setup

cm_in

away from speaker, centered directly in front of

speaker cone.

cm_in

away from speaker, at the edge of speaker cone.

cm_in

awayfromspeaker,directlyinfrontofspeakercone.

cm_in

away from the instrument and directly in

front of the bell.

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Usage

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Desired Response

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Goodplacementwhen

leakage or feedback

is a problem.

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Full sound.

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Less detail.

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Wellbalanced,slightly

bright.

1DWXUDO

(hi-hat)

1DWXUDO

(overhead)

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Setup

cm_in

from the sound hole.

cm_in

from the sound hole.

cm_in

from the bridge.

cm_in

above the side, over the bridge.

cm_in

aim microphone down toward cymbal, a few

inches over edge.

cm_in

above drummer’s head.

cm_in

just over open top, above treble strings. Good

placement when only one microphone

is used.

cm_in

just over open top, one microphone above

bassstrings,onemicrophoneabovetreblestrings

for stereo.

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Usage

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Desired Response

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Maximum bass

sound,highestsound

pressure level.

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Balanced sound.

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Balanced, resonant

sound.

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Emphasized bass.

6KDUSDWWDFN

Higher frequency

sound.

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Full, balanced sound.

Setup

cm_in

away from beater head (inside drum), slightly

oﬀ–center from beater.

cm _in

away from beater head (inside drum), directly in

front of beater.

cm_in

awayfromoutsidehead,directlyinfrontofbeater

(double head kick drum only).

cm_in

from speaker, directly in front of the center of

speaker cone.

cm_in

from speaker, at edge of speaker cone.

cm_in

from speaker, directly in front of the center of

speaker cone.

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Usage

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Desired Response

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Crisp “snap.”

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Full, balanced sound.

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Natural sound.

Insertthethreaded

end of the drum

mount knob into

the PG56.

Rotatetheknobon

the drum mount

clockwise until it

is tight. Do not

overtighten with

tools.

Clampthebottomof

thedrummountover

the outside edge of

the drum rim.

Pull up to lock into

desired postion.

Insert the XLR

connectorintothe

end of the PG56.

Setup

WRcm_WRin

above rim of top drum head. Aim mic at drum

head.

WRcm_WRin

one PG56 on each tom, or between each pair of

toms, above drum heads. Aim each mic at top

drum heads.

WRcm_WRin

above rim of top head of drum. Aim mic at drum

head.

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*What is feedback?

During the normal operation of any sound system, sound produced by the loudspeakers can be

pickedupbythemicrophones,re-enterthesystemandbecomeampliﬁed.Atcertainpointsthiscan

cause the system to create a noisy, sustained “howl” known as feedback.

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1. Position the front of the

microphone as close as

possible to the sound

sourceyou’retryingtomic.

2. Keep the microphone as

far away as possible from

loudspeakers.



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