Shure 700 Pro Master Owners manual
Model
Power Console
Instruction
700
The Features.. .
you find most useful.. .stereo.. pre-fader monitor.. .two
.
power amps..
exclusive FEEDBACK FINDER'" and
.
PATCH BLOCK'"
The Reliability..
.
you need for demanding, continuous operation
The Quality..
.
you've come to expect from Shure
CONTENTS
Introduction
Controls Connectors Indicators
Input Channels
Aux Inputs
Status Indicators.
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..
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Headphones
DB Peak Indicators. 6
FEEDBACK FINDER'" 6
Graphic Equalizers
Master Controls
Speaker and Power Panel 8
PATCH BLOCKTM Rear Panel
Setups
Operation
Maintenance
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Troubleshooting
Specifications
Speaker Systems
Accessories
Guarantee
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Shipping Instructions
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9
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WARNING
To prevent a source
of
fire
or electric shock, do not
expose this appliance to rain or extreme moisture.
hboducing the Shure
PRO
.
mixer-amplifier with the flexibility and dependability
demanded by professional entertainers and sound
system operators. The result of years of design
concept study and evaluation, the PRO MASTER
handles any sound job well-even those grueling
tours where daily setups and "knockdowns" punish
equipment severely.
The PRO MASTER is an all solid-state unit,
employing the latest developments in highly reliable
integrated circuit, discrete component, and printed
wiring technology. It's easy to set up and
no separate power amps, equalizers or reverb are
required. And connecting accessory equipment is
fast and convenient.
The PRO MASTER is full of features for super
performance and super convenience-the unique
FEEDBACK FINDER'" helps maximize gain before
feedback, makes feedback location and
suppression fast and easy.
BLOCK'" rear panel shows you where you're
patching, helps you construct complex circuits
using simple patch cords.
power amp design has temperature warning and
shutdown LED indicators.
Its versatile control panel is human-engineered for
ease of operation in daylight or the darkest,
smoke-filled clubs. And it's packaged in a
handsome, rugged, lightweight, molded
ARMO-DUR'" case complete with carrying handle
and line cord storage.
The PRO MASTER offers you the best of all
quality sound for small, intimate clubs, churches and
schools, or large auditoriums. In combination with
Shure's PRO MASTER Speaker Systems, you've got
a sound reinforcement system that's ideal for every
application. Need more capability? The PRO
MASTER is super-expandable-use accessory
mixers or power amps, stage monitor speakers,
effects devices, whatever you need can easily be
added. And it's all backed by Shure's traditional
quality and reliability. It's the sound you need
when you need it.. . and where you need it.
Just look at these features-
*
MfiST€RTM Power Console Mod4
.
.a portable, high-power, stereo, 8-input
operate-
. .
exclusive PATCH
.
.
efficient "wind tunnel"
Completely stereo
Twin full 200-watt power amplifiers
Six high-impedance and six balanced
low-impedance mic inputs
plus
A/B EQ and PA (power amp) inputs
plus
two aux inputs
worlds-
.
. .
700
Six input channels for microphones and aux level
sources with full controls: volume, attenuation,
pan, frequency equalization, effectsireverb, and
monitor
High- and low-impedance inputs may be used
simultaneously
Two additional aux channels with volume and AIB
pan controls
Full master controls: monitor, A volume, B volume,
effects send, reverb return, and reverb high- and
low-frequency equalization
Outputs for all needs: monitor, effects, stereo
headphones,
speakers (2 each)
Four common mix buses: A and B mix output, and
A and B equalizer output
Balanced mono (A+B sum) mic output for "house"
systems
Record in stereo with mono performance and
separate mono stage monitor
Unique FEEDBACK FINDER with LED readout
instantly identifies feedback frequency bands
Twin 10-band graphic equalizers with minimum
phase, combining-type filters. Lowest filter is
-12
dB1octave cut-only switch; others are
2
13 dB adjustable
Exclusive PATCH BLOCK rear panel shows you
where to patch-jacks are located right in the
block diagram
Built-in reverb unit with provisions for external
onloff switching and external effects devices
Regulated 24 Vdc simplex supply for powering
condenser microphones
Bright red LED indicators show input clipping,
power amp peak output level, power amp
overload, power-on, temperature warning, and
shutdown
Protected against damage from open- or
short-circuits on inputs or outputs
Protected against heat damage by ultra-reliable
cooling fan and automatic thermal shutdown
circuit
Protected against radio frequency interference
and line noise
Operates on as low as 100 Vac (at reduced output)
Rugged molded ARMO-DUR case with carrying
handle and line cord storage
Listed by Underwriters' Laboratories, Inc.; listed
by Canadian Standards Association as certified
A+B aux, A+B mic, and A and B
A/B
Controls Connectors Indicators
Input
Channels
(Orange marks on controls ind~c
:ate basic or lnit~al settings)
Basically
MONITOR
Independently controls channel monitor level
to monitor output. Adjust for desired monitor
mix when using a monitor system.
EFFECTSIREVERB
Controls amount of reverberation and/or
external effects on channel. Adjust for desired
amount (use low settings for vocals, higher
settings for instruments).
HI FREQ EQ
Sets channel treble boost or cut for desired
tone shaping.
LO FREQ EQ
Sets channel bass boost or cut for desired
tone shaping.
AIB PAN
Used for stereo (left-right) positioning in stereo
sound reinforcement or recording. Position
straight up for center (monophonic) sound
reinforcement use.
INPUT CLlP
Indicates when input signal is too high. Adjust
INPUT
noted.
INPUT ATTEN
Adjusts input attenuation for channel.
Suggested initial settings: condenser
microphones or amplified instruments -12 to
-
30; normal vocals
-12 to -24; distant
VOLUME
Allows individual setting of channel input for
desired signal mix.
low (1 or 2), or high (8 to
ATTEN.
Both inputs may be used at the same time with
similar microphones (one high and one low
impedance), allowing up to 12 microphones
simultaneously.
HI IMP
Provides for connection of high-impedance
microphones, direct instrument pickups,
keyboards, amplified instruments, tape
recorders or other high-level sources to
channel input.
BAL LO IMP
Provides for connection of low-impedance
dynamic, ribbon or condenser microphones
and other low-level inputs to channel input.
(Don't use when high-level source is used on
HI IMP input.)
. . .
ATTEN until only occasional flashes are
-
6
to - 12; loud vocals
miking 0.
If
setting is consistently
lo), adjust INPUT
In addition..
MONITOR
Control precedes VOLUME ("pre-fader
other channel controls; not affected by
VOLUME,
NB PAN. Only affected by INPUT ATTEN,
allowing totally independent monitor mix.
EFFECTSIREVERB
This channel send control follows the INPUT
ATTEN, VOLUME and EQ controls. Can be
used simultaneously with reverb and external
effects devices, or as a second monitor
("post-fader") to the EFFECTS OUTPUT jack.
HI FREQ EQ
Adjusts channel r 13 dB at 10 kHz on A and B
outputs and effects output; does not affect
monitor output.
LO FREQ EQ
Adjusts channel r 13 dB at 100 Hz on A and B
outputs and effects output; does not affect
monitor output.
AIB PAN
Used for stereo positioning; allows
assignment of channel signal to both A and B
(straight up) or only A or B output channel (full
counterclockwise or clockwise), or any
position between.
INPUT CLlP
Lights approximately 3 dB prior to clipping of
preamp or input channel equalizer. For
optimum signal-to-noise ratio, adjust INPUT
ATTEN for occasional flashes (no light may
mean noisy operation; constant light means
distortion).
INPUT ATTEN
Adjusts gain of preamplifier to permit channel
to accept microphone level signals, direct
instrument pickups, or high level aux signals
from amplified instruments or tape recorders;
almost any input device can be
accommodated.
VOLUME
Affects all A and B outputs plus A+B outputs
effectslreverb level; does not affect
and
monitor mix.
HI
IMP
Can be used with line matching transformer
A95FP) to allow two low-impedance
(Shure
microphones on channel (not recommended
for two condenser microphones).
BAL LO IMP
Also may be used to power most condenser
microphones such as the Shure
+24
Vdc simplex power supply voltage
activated by rear-panel switch.
.
")
and
EQualizers, EFFECTSIREVERB, or
SM81; built-in
Pux
Inputs
Channels 7 and 8 are aux level inputs, providing additional input
capabilities for tape recorders, synthesizers, amplified instruments,
background music sources, preamplified phonographs, or other mixers.
These channels have
controls for setting the channel input mix level, and AUX INPUT phone
jacks. To play a stereo tape, connect the left tape channel to AUX INPUT
and set the channel 7 PAN control to A (full counterclockwise). Connect
the right tape channel to AUX INPUT
B
(full clockwise).
to
desired, use two of the first six input channels with proper input
attenuation.
These inputs can also be used for the return signal from an external effects
device (delay, echo, etc.) driven by the EFFECTS OUTPUT.
When an additional mixer (such as the Shure M68, M67 or
connected to channel 7 or
submaster control.
The orange control marks indicate basic or initial settings.
LCD
Status lndicotors
AiB
PAN controls for stereo positioning, VOLUME
8
and set the channel 8 PAN control
If
equalization, reverbleffects and monitor are
8,
the aux channel volume control becomes a
SR101) is
7
AUX
INPUT
IT
7
8
POWER-Indicates application of ac voltage to power supply when
rear-panel
TEMP WARNING-Lights when unusually high temperature of 70°C
(158°F) is reached on the output transistors. Indication may be due to
blockage of air louvers, dirty air filter, or operating the console at a high
output level with a low load impedance (too many speakers or a
short-circuited output). Indicator will turn off when transistor case
temperature drops below 70°C.
the cause and make corrections to avoid shutdown.
SHUTDOWN-When indicator is on, both power amplifiers are turned off
(all other circuits remain on). The console may shut down for one of the
following reasons:
(see TEMP WARNING),
transistor failure (check for this condition by turning the console off,
waiting several minutes, and turning it back on), or
due to fan failure or air passage obstruction.
ON-OFF
(1)
switch is turned on.
If
indicator lights, it is advisable to identify
excessive temperature due to inadequate cooling
(2)
dc voltage on speaker lines due to power
(3)
airflow blockage
Stereo Headphones
A %-inch phone jack is available for connection to a pair of stereo
headphones. The jack is wired to the A and
level to the headphonesfollows the A and
headphones allow the console to be used as a stereo mixer for tape
recording. The speakers can be disconnected to avoid feedback.
B
power amplifiers. The signal
B
MASTER volume controls. The
-
POWER
I
SHUTDOWN
SG
STEREO HEADPHONES
I
Controls Connectors lndicators
Peak lndicators Equalizers
I
Dl3
PCAH lndicators
Are connected to power amplifier outputs and
indicate peak output level.
approximately 25 watts to a 4-ohm load. A 6 dB
change is a 4-times power change; therefore,
-36 dB represents a 6
lOOW output. These indicators are also used to
provide an instantaneous readout of feedback
frequency (see FEEDBACK FINDER). (Note that
when the FEEDBACK FINDER isactivated, the
DB PEAK indicators for that channel are
converted to frequency band indicators and do
not indicate the signal level.)
I
PA (Power Amplifier)
0 DB PEAK equals
mW output and +6 dB a
FEEDBACK FINDER'"
Overload Indicators
Light when the power
level (caused by clipping, overload, or any condition resulting in
imperfect signal amplification). The indicator is sensitive to line
voltage and speaker load conditions. The overload condition can
generally be corrected by turning down the MASTER volume control.
If the indicator remains on, the speaker load may be improper or a
speaker cable may be shorted. It may remain on during SHUTDOWN
activation. Under normal conditions, this Indicator corresponds to a
level of
+9
dB on the DB PEAK indicator or 200watts to a4-ohm load.
I
Graphic Equdizers
Are two 10-band, fully combining, minimum-phase, octave type,
normally connected to the power amplifier inputs. They provide13 dB
boost or cut at 63,125,250,500 Hz,
BELOW 63 Hz 12
adjustment of the sound system frequency response for a tonal
balance appropriate to the performance and a reduction in the
tendency toward feedback. They can also be used to adjust an audio
playback system frequency response to compensate for variations in
electrical and
the recorded material.
amplifiers
dB/octave cutoff filters. The graphic equalizers pern
acoust~cal response that can alter the natural sound of
exceed approximately 1% d~stortion
1,2,4,8, and 16 kHz, plus
The graphic equalizers can also be used to produce
sound by moderate amounts of low- and high-frequency boost.
Note that equalization by ear for proper sound quality requires a
certain amount of
available equalization analysis system such as the Shure
Equalization Analyzer System, followed by feedback tuning using the
built-in FEEDBACK FINDER and indicators (see next section).
IMPORTANT: Don't overequalize! Too much
unnatural and quite unpleasing sound.
No indicator is provided for either the 63 Hzfilter control or BELOW 63
Hz filter switch; any low-frequency problems likely to be encountered
can
beeasily removed by adjustment and listening tests. Reduce the
63 Hz equalizer or move the switch to BELOW 63
boomy" or if extremely low-frequency noises such as "pop" or wind
noise are causing power amplifier overload.
Since the graphic equalizer controls may overemphasize or remove
desirable program
(including feedback) by careful microphone and speaker placement
before equalizing.
skill and time. It is preferable to use a commercially
equal~zatlon can result In
material,
you should minimize acoust~c problems
dlsco-type
(T)
if the sound is
M615AS
The FEEDBACK FINDER uses the LED indicators to provide a quick and easy means of determining the
frequency (octave band location) of the most prominent feedback tones. The graphic equalizers can
then be used to reduce the system response at these frequencies to sup ress feedback. Connect all
speakers and microphones and place them in their proper positions for
controls and individual input channel MONITOR,
individual input channel controls to the initial
switch to the desired output channel (A or B). The
connected for the feedback indicator function. Adjust the MASTER volume for that channel to just below
feedback. If necessary, turn down the FEEDBACK FINDER THRESHOLD control from the 10 position to
the point where room background noise does not light any DB PEAK
volume until feedback just occurs and note the highest frequency band with a lit LED. Reduce the
equalizer setting in this band until feedback stops. Repeat the last two steps until the feedback sound
becomes a combination of a number of tones, or until one equalizer control has been set to -10.
IMPORTANT Don't overadjust the equalizer! Too much equalization can result in unnatural sound. With
practice, the FEEDBACK FINDER can be used toequalize for feedback without subjecting the audience
to ear-splitting feedback levels.
If operation is in the stereo mode, repeat the above procedure for the second channel, with the first
channel turned off. When completed, perform a listening test using program material similar to the
planned performance and, if necessary, make slight adjustments to the equalizers to provide the most
pleasing sound.
When using one of the graphic equalizers for stage monitor speakers, feedback suppression of the
monitor system is performed after the house system
speakers must be in their final operating positions relative to the microphones used. Use the same
procedure as for the house system except use the individual MONITOR level and MONITOR MASTER
controls for level adjustments. If more than one performer's microphone is involved, select the lead
performer or center stage microphone for operation in the feedback suppression procedure. NOTE:
During this procedure a person must stand in front of or hold (simulating a performer) the microphone
being equalized. Since excessive low-frequency signals are not usually desirable for stage monitors, it
may be advisable to set the equalizer
63 Hz control to -10, and the 125 Hz control to -5. Adjust the FEEDBACK FINDER THRESHOLD,
MONITOR MASTER and
test and check for adequate level and intelligibility. Make a similar check of all other microphones being
fed to the monitor system. Intelligibility may be improved if desired by a slight increase of equalizer
controls in the 1 kHz to
feedback or ringing is encountered at any microphone location, try adjusting the position of
distance to the nearest speaker.
EQualizer controls using the procedure
4
kHz range, providing the desired level can be
FLATIBELOW 63 switch of the monitor channel to BELOW 63, the
EFFECTSIREVERB and EQ controls to 0. Set all other
(oran e mark) positions. Set the FEEDBACK FINDER
83
PEAK indicators for the channel selected are now
and
with the main speakers off. The monitor
tEe performance. Set master
indicators.
previously
maintained
Increase the MASTER
described.
without feedback. If
Conduct avoice
and/or the
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