Shure PE2 User Manual
MODEL PE2 LOW-IMPEDANCE
TONE-SHAPING MICROPHONES
BROWN SUEDECOATTM
Three configurations to suit every
performer's needs:
PEP-supplied less cable
PEP-CN-supplied with low-impedance cable
PEP-SP-supplied with cable-transformer
for high-impedance inputs
FINISH
For acoustic versatility, professional sound, thoughtful
design, and handsome appearance, the PE2 Series
Tone-
Shaping Microphones have all the needed features.
-Frequency response
from 50 to 15,000
Hz,
splendid
for voice or instrument pickup
-Unidirectional polar pattern
-Individually tailored response provided by tone-shaping
switches: BASS
NormalICut & TREBLE FlatIBoost
-On-Off switch
-All switches recessed to prevent unintended response
changes or accidental switchoff
-
-Pop-filter grille minimizes wind and breath noise
-Attractive,
durable SUEDECOATTM finish, comfort-
able to hold, easy to clean
-Extremely rugged, all-metal case and grille, withstands
a 6-foot drop to a hardwood floor and continues to
perform to specifications
HOW TO CONTROL FEEDBACK
A
performer's number one enemy in using a microphone is
"feedback." This is a harsh hum, howl or squeal which occurs 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 microphone. Always keep the microphone pointed toward the
performer and away from the loudspeakers. When stage
monitor loudspeakers are used, make sure they are positioned 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 microphone, a Shure Feedback Controller
is suggested.)
MICROPHONE CHECK-LIST
1.
Check microphone impedance-is it correct for the
amplifier input being used?
2.
Check microphone cable connectors to microphone,
mixer, and amplifier-are they tightly plugged in?
3.
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 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.
USING THE TONE-SHAPING SWITCHES
The BASS Cut switch compensates for the increased lowfrequency output (proximity effect) that occurs when the
microphone is used close to the mouth. The graph below
50
mm
(2
shows the output when the microphone is
in.)
from the mouth with the BASS switch in Normal and Cut
positions.
6
*I0
2
0
0
20
50
IW
FIIEOUEffiI
IN
HERTZ
IN0
Sometimes the bass rise due to proximity is desirable,
and then the switch should be in the Normal position.
For less bassy sound, move the switch to Cut.
It is usually preferable that instruments sound as natural
as possible. For instrument pickup, therefore, the TREBLE
switch is moved to Flat. For
maximum intelligibility of
vocals, however, a rise at mid to high frequencies is
desirable. Therefore, for voice pickup, use the TREBLE
switch in the Boost position.
These are all only suggestions. For best results, always
experiment and listen. Then you will be sure to get the
effects you want.
CLEANING
The SUEDECOATTM case can be cleaned easily with
clean, lintless cloth
dattzpened
with alcohol or a mild soap
solution.
a
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