Shure PE25L User Guide

PROFESSIONAL

ENTERTAINER

MODEL PE25L OMNIDIRECTIONAL

DYNAMIC MICROPHONES

Output Level

Open Circuit Voltage*.

(at 1,000 Hz)

........

-78.0 dB (0.13 mV)

*O dB = 1Vlpbar

Power Level**. -57.0 dB

**0 dB

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

1 mWI10 pbar

Phasing

Positive pressure on diaphragm produces positive

voltage on pin 2 of connectors

PE25L-LC: Supplied without cable

PE25L-CN: Supplied with C25B Cable

The PE25 Series is designed with a wide flat response particularly good for musical instruments. This microphone is excellent for

closeup sound reinforce-

ment (PA) applications as well as for recording.

Omnidirectional pickup pattern eliminates proximity effect, permits close

miking without bass emphasis Smooth, natural sounding, wide range responseexcellent for musical instruments

Low impedance allows virtually unlimited cable lengths Lockable On-Off switch Nonreflective dark gray finish for professional

appearance

onstage

Rugged, reliable, and backed by the Shure guarantee

SPECIFICATIONS

Type

Dynamic

Frequency Response

50 to 14,000 Hz (see Figure 1)

CARTRIDGE SWITCH 3-PIN PROFESSIONAL AUDIO CONNECTORS

(OFF POSITION)

BLUE BLUE

CABLE

(-CN ONLY)

FIGURE 2

Switch

Built-in On-Off switch with lockplate. To lock switch

On, remove screw and turn lockplate

180°. Reassem-

ble and tighten screw.

Cable

PE25L-LC: supplied without cable PE25L-CN: 7.6m (25 ft) 2-conductor shielded with

3-socket and 3-pin professional audio connectors

Case

Dark gray with dark gray screen

Net Weight

(less cable)

156 grams (5% oz)

Swivel Adapter

Positive action, adjustable from vertical to horizontal, for mounting on

5/8"-27 thread

+I0

-10

20 50 I00 1.000 10.000 20,000

FREWENCY IN HERTZ

FURNISHED ACCESSORIES

Swivel Adapter A57E

PaddedGigBag 26A07

OPTIONAL ACCESSORIES

Windscreen A58WS Series

Floor Stand (Weighted base) MS-1OC Floor Stand (Tripod base) BabyBoom BB-44

TYPICAL FREQUENCY RESPONSE

FIGURE

Polar Pattern

Omnidirectional

Impedance

Low (150 ohms rating)

222 HARTREY AVENUE, EVANSTON, ILLINOIS 60204 U.S.A. TELEPHONE:

27A2111 (EA)

1985,

Shure

Brothers Inc.

REPLACEMENT PARTS

Cartridge R50 Screen and Grille RK221G Switch

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

Cable(PE25L-CN) C25B

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

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

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

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

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

S15

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

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

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

RK89S

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

(312) 866-2200

CABLE:

SHUREMICRO

Printed

U.S.A.

SHURE-QUALITY IS OUR FIRST CONSIDERATION

Congratulations on the purchase of your new Shure microphone. it

will serve you faithfully even in the most difficult circumstances.

Because more than 50 years of experience with microphones has taught

us one thing: they are not always used under ideal conditions. Far from it! So Shure develops, designs, builds, and tests them for the worst conditions we can imagine.

We know they'll be flung into equipment boxes after performances. We know they'll be called upon to function at humidity levels near 100%. We know they'll be left in the direct rays of the midday sun for hours, waiting for outdoor concerts to begin. Professional vocalists depend

upon their microphones much as musicians depend upon their instruments, but many don't hesitate to throw their Shure microphones across the stage and down on the floor-violently -as part of their performance. They never give it a second thought. They know that Shure

microphones shrug off abuse that would make others fail.

Shure reliability begins during the design stage. Shure has a staff of specialists whose sole function is to uncover any weaknesses before Shure microphones are put into quantity production. During the testing

process, microphones are:

Heated at temperatures up to 85OC (185OF) often for entire days Frozen down to

test Shaken from side to side, back and forth, and up and down,

simultaneously and violently Subjected to steamy humidities-up to 100% at room temperature

and 93% at Subjected to ultraviolet rays, salt sprays, alcohol, sand, and water And for good measure, dropped repeatedly 2 meters (6 ft) onto hard-

wood floors.

That is our

at random are put through these same tests. Failure of any one microphone brings production to a halt until the original design requirements are again met.

That's why at Shure we say, quality is our first consideration. The pur-

chasers of the millions of microphones bearing the name Shure during past years, and those now buying on us to continue to follow the philosophy and policies that keep Shure microphones working dependably -year after year after year.

Quality is our first consideration!

-46OC (-50°F) for half-hour periods

38OC (lOO°F)

standard

test procedure. All during production, units chosen

their.first Shure microphone can rely

during

the heat

BASIC MICROPHONE TECHNIQUE

Good microphone technique will add to your effectiveness as a performer. Keep the following points in mind when using your Shure Professional Entertainer Microphone.

1. Maintain the proper distance from the microphone. When you want a warm, full sound, get close to the microphone and lower your voice. For a wide open, driving sound, raise your voice and back away from the microphone to avoid overdriving the amplifier into distortion.

2. Don't change your distance from the microphone needlessly as this will affect the level of sound coming from the loudspeakers.

3. Your Shure PE Microphone is your link to the audience. Consider the microphone an instrument and develop your technique through practice.

FEEDBACK AND UNIDIRECTIONAL MICROPHONES

A performer's worst enemy in using a microphone is "feedback". This

is a harsh hum, howl, or up sound from the loudspeakers, reamplifies and rebroadcasts and over again. This vicious circle results in feedback.

A unidirectional microphone aids in preventing feedback because it

rejects sound that originates from the sides and rear. Sound pickup from the sides is reduced by about one half, and pickup from the rear is reduced by about nine tenths. You can demonstrate this reduction in pickup by repeating "Test one, two" or some other convenient phrase as you rotate the microphone from front to back.

Using unidirectional microphones close to the performer or instrument ensures that the direct sound will be much louder than the feedback-producing amplified sound. Because the amplifier gain can be turned up less to achieve the desired overall loudness, the amplified sound will likely remain below the volume that triggers feedback.

Other helps in preventing feedback are: keep the loudspeaker as far to the sides as possible; be sure that the microphones point toward the performers and away from the loudspeakers; and make certain that any stage monitor speakers are positioned in front of the performers and face the insensitve rear of the microphone.

squeal that occurs when the microphone picks

over

UNIDIRECTIONAL MICROPHONES, OMNIDIRECTIONAL MICROPHONES, AND PROXIMITY EFFECT

Because of their usefulness in reducing the likelihood of feedback, unidirectional microphones are best in sound reinforcement and public address; while omnidirectional microphones are best in recording where feedback problems do not arise, or for close-miking instruments and amplifiers.

When unidirectional microphones are used close to a vocalist or musical instrument, there is an increase in bass (low-frequency) output called proximity effect. At a distance of about 6mm crease is shown on the curve below.

Proximity effect can be used to improve your sound.

1. With vocalists, it increases warmth, giving a fuller quality to the

voice.

2. With instruments, it provides a flat or boosted bass output without

tone controls, microphone; and close ing bass pickup of other instruments.

Most Shure unidirectional microphones are designed with a bass response that provides control at low frequencies yet still allows proximity effect to be used advantageously when desired. To employ proximity effect, you need to hear the amplified result. Just as you practice your instrument, you will want to practice your microphone technique to get the precise sound you want. (A good way to hear the actual result of proximity effect is to 'use monitor speakers or headphones if they are available.)

omnidirectional microphones do not exhibit proximity effect when

closeup. Because the response does not change with angle or

used distance from the performer, an omnidirectional microphone is valuable when the sound must stay the same for several performers positioned around the microphone, or for a performer who moves from place to place during a play or interview. But be aware of feedback problems that may occur if omnidirectional microphones are used when sound amplification is present.

simply by changing the distance between source and

miking provides natural isolation by minimiz-

(lh

in.) a typical in-

CHOOSING A MICROPHONE EXTENSION CABLE

Low-impedance microphones can be used with practically unlimited lengths of cable with no added noise or high-frequency loss. Any Shure 2-conductor balanced cables C20H) can be used as extension cables for Shure low-impedance microphones. These cables can also be used in any required lengths or combinations between a low-impedance microphone and the to-High-Impedance Cable-Transformer or between the microphone and an

A95UF Matching Transformer.

High-impedance microphone cables are usually limited to to avoid high-frequency loss or possible noise pickup. If longer cables are needed with high-impedance microphones, use such Shure cables as the

C25B, C25E, C25F or C20H to reach the required distance. Then add the the equipment to compensate for the high-frequency the extra length of cable.

C20A to plug into the equipment. Adjust the treble control on

Look for the Shure

Audio Connection"

(e.g., C25B, C25E, C25F, C50F, ClOOF, or

C25G Low-

6.lm (20 ft)

rolloff caused by

for quality microphone cables.

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 retain proof of purchase date. This guarantee includes all parts and labor. This guarantee is in lieu of any and all other guarantees or warranties, express or implied, and there shall be no recovery for any consequential or incidental damages.

SHIPPING INSTRUCTIONS

Carefully repack the unit, have it insured, and return it prepaid to:

If outside the United States, return the unit to your dealer or Authorized Shure Service Center for repair. The unit will be returned to you prepaid.

Shure Brothers Incorporated Attention: Service Department 222 Hartrey Avenue Evanston, Illinois 60204