Shure Unisphere B PE588B-CN Bedienungsanleitung

MODEL PE588B-CN

UNISPHEREO B

Slips out of swivel stand

adapter, easily and quickly,

for hand-held use

Your selection of a Shure

UNISPHERE

Cardioid Micro-

phone will contribute significantly to the professional

quality of your performance. This ball-type microphone

has a wire-mesh screen with a special filter which provides

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

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

microphone

you wish, either indoors or out-of-doors.

Another feature of your unidirectional microphone is

that it effectively controls feedback (that very annoying

loudspeaker "squeal") because it picks up sound only from

the front of the microphone. Unwanted audience noise or

other noises occurring at the rear of the microphone are

eliminated or suppressed. This allows you to work at sig-

nificantly greater distances from your microphone than

with non-directional (omnidirectional) microphones, with-

out picking up objectionable background sound or feedback.

(See inside for infornzation 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 sound 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

UNISPHEREB

microphone, a Shure

Feedback 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 nlicrophone

needlessly, as this will affect the level of sound coming

from the loudspeakers.

Consider the microphone as 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. If the microphone then 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 andlor 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

AISPR

Phase Reverser or inter-

change the wires connected to pins 2 and 3 of the connec-

tor. To change the phase of a 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 wired for low impedance for connec-

tion to low-impedance microphone inputs (rated at

300 ohms). Low impedance is recommended where long

cable lengths are required or under conditions of severe

hum disturbance. The permissible cable length is practical-

ly unlimited since neither response nor level is appreciably

affected by long cables. Shure Model

A95

Series Line

Matching Transformers are available for use in those cases

where a low-impedance microphone line is desirable but

the associated amplifier or mixer has a high-impedance

input. These transformers provide a proper impedance

match between a

to 300 ohm microphone line and a

high-impedance input, and are available with various in-

put and output connectors.

USING MORE THAN ONE MICROPHONE

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 sarne type and rnodel

microphone

so that the group as a whole wjil1

"halanced."

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.

THE VITAL LINK

BETWEEN

YOU

AND

THE AUDIENCE

SHURE PROFESSIONAL ENTERTAINER

MICROPHONES

MODEL PE588B-CN SPECIFICATIONS

Type: Dynamlc, Cardloid (Unldirect~onal)

Frequency

Response. 80 to 13.000

(see F~gure

-20

!il""'l

S.EOU*l

*In

,om.,

FIGURE

Impedance:

Microphone

ratlng Impedance

150 ohms (170 ohms actual)

fcr

connection

microphone

Inputs rated at 19 to 300 ohms

Output Level

(at 1,000

Hz).

Open Clrcutt Voltage* -82 0 dB

(078

rnV)

Power Level" -60

'0 dB

1volt per mlcrobar

"0 dB

1 mllllwatt per 10 mlcrobars

Phasing: Posit~ve pressure on dtaphragm produces poslt~vevoltage

on Pin

(See Flgure

and Page

SWTtlf

lOTF-PO51TID11

ChRTRIOGL

CONNECTOR

WSLE

AND

RUG

ASSEMSLY

Swilch:

'/CODED

TERMINAL

FIGURE

Built-in On-Off switch with lockplate installed in unlocked

position To lock swltch in On position, move to On position.

loosen screw on lockplate, and turn lockplate 180'. Re-

t~ghtenscrew

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-

rain proof of purchase date. This guarantee includes all parts and labor. Thls

guarantee is in lleu of any and all other guarantees or warrant~es,express or

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 Heights, Illinois 60004

outside

the Unlted States, return the unit to your dealer or Authorized Shure

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

MODEL PE588B-CN SPECIFICATIONS (Continued)

Connector: Equipped wlth professional three-pin audio connector de-

s~gnedto mate with

furnished

cable or Cannon

series.

Sw~tchcraftA3 (Q.G.) serles or equ~valentconnector

Shock Mount: Internal rubber vibrat~on-isolator

Case: S~lver-f~n~shdie castlng with steel mesh

grille

Swivel Adapter: Adjustable through 90' from

vertical

to horizontal, to f~t

5/B1'-27 stand thread

Cable: 7.61n (25 ft) two-conductor shielded, Trlple-Flex@, detach-

able, wlth professional three-p~n and three-socket audio

connectors

Net Weight: 340 grams (12 oz) less cable

Packaged Weight: 1.68 kilograms (3 Ib,

11%

oz)

FURNISHED ACCESSORIES

Swivel Adapter: A25B

Carrying Case: 90M1404

OPTIONAL ACCESSORIES

Desk Stand: S33B, S37A, 5388, S39A, S40A

Disconnect

Adapter: A45

Line Matching

Transformer: A95 Series

Windscreen: A61

REPLACEMENT PARTS

Cartridge: R8

Cable:

C5l

Switch: RK81S

Grille Assembly: RK82G

Plug Element: RK40P

AREA CODE 312,466-2200 CABLE SHUREMICRO

SOUND OF

THE

PROFESSIONALS@

-44

SHURE BROTHERS

INC.

222 HARTREY AVENUE

EVANSTON, ILLINOIS 60204

U.S.A.

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

27A1665 (UC) and 3,240,883

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