Shure PE35 User Guide

PROFESSIONAL ENTERTAINER

MODEL

PE35H-LC: High impedance PE35L-LC: Low impedance

PE35H-C: High impedance PE35L-CN: Low impedance

Designed with the performer in mind, the PE35 Series has the features to meet the demands of the professional entertainer.

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SPECIFICATIONS

Type Frequency Response

Polar

PE35

UNIDIRECTIONAL

Supplied without cable

Supplied with C20A Cable

Supplied with C25B Cable

Unidirectional (cardioid) pickup pattern minimizes feedback in live performance

Wide, tailored frequency response provides clean, natural

reproduction of voice and instruments Ball-type grille reduces "p-popping" and excessive breath

noise when used Midrange presence peak adds "punch" to vocals

Controlled proximity effect (increase in bass output when

microphone is used New internal shock mount virtually eliminates handling noise

Quiet, lockable On-Off switch

Dynamic 50 to 13,000 Hz (see Figure 1)

Pattern

,dioid (unidirectional) See Figure 2

Gal

closeup

closeup) for a full, warm sound

FllrXT*CI

*t(l.n

TYPICAL FREQUENCY RESPONSE

....

150

---

100

-1000

TYPICAL POLAR PATTERNS

FIGURE

....

2000

---

4000

8000

Impedance

PE35H-LC, PE35H-C: High (greater than 30 kilohms) PE35L-LC, PE35L-CN: Low (150 ohms rating)

Output Level (at 1,000 Hz)

Open Circuit Voltage* -56.0 dB -79.5 dB

*O dB = 1Vlpbar (1.6 mV) (0.1 1 mV)

Power Level*

**0 dB

Phasing

PE35H-LC, PE35H-C: Positive pressure on diaphragm produces positive voltage on pin 1 of connectors and on sleeve of phone plug

PE35L-LC, PE35L-CN: Positive pressure on diaphragm produces positive voltage on pin 2 of connectors

Switch

Built-in On-Off switch with lockplate. To lock switch On, remove screw and turn lockplate tighten screw

Cable

PE35H-LC, PE35L-LC: supplied without cable PE35H-C: professional audio connector and PE35L-CN: and 3-pin professional audio connectors

Case

Dark gray with dark gray screen and grille

Cartridge Shock Mount

Internal rubber vibration isolator

Net Weight (less cable)

354 grams (12% oz)

Swivel Adapter

Positive action, adjustable from vertical to horizontal, for mounting on %"-27 thread

FURNISHED ACCESSORIES

Swivel Adapter Padded Gig Bag

OPTIONAL ACCESSORIES

Windscreen Floor Stand (Weighted base) Floor Stand (Tripod base) Baby Boom BB-44

REPLACEMENT PARTS

Cartridge R115 Screen and Grille RK222G Switch 55C148 Cable (PE35H-C) Cable (PE35L-cN)

1 mWI10 pbar

CIRTRDOE

ClRTRIOGE

6.lm (20 ft) 1-conductor shielded with 3-socket

7.6m (25 ft) 2-conductor shielded with 3-socket

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SWITCH

POBlTONI

POSITION1

3~PlN PROIESSlOWL

AUDIO

PE35H

)-PIN PROFLSSONlL

PE35L

FIGURE

(OFF

BWiiCH

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IMPEDANCE

High Low

-59.5 dB

CIBLE

I-C

ONLY)

CONNECTORS

CNLI1

PHONE

PLUG

A58WS Series

CONNECTORE

AUDIO

CABLE

I-CN

180°. Reassemble and

%-inch phone plug

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

A25B

26A07

MS-IOC

C20A C25B

S15

I-

-I

rmQ

222

HARTREY AVENUE. EVANSTON, ILLINOIS 60202-3696 U.S.A.

27A2129

1985,

(EL)

Shure Brothers

Inc.

TELEPHONE: [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 -46OC (-50°F) for half-hour periods during the heat

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

3B°C (lOO°F) 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 standard test procedure. All during production, units chosen 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 purchasers of the millions of microphones bearing the name Shure during past years, and those now buying their first Shure microphone can rely on us to continue to follow the philosophy and policies that keep Shure

microphones working dependably

year after year after year.

Qual~ty is our first cons~deration!

BASIC MICROPHONE TECHNIQUE

Good microphone technique will add to your effectiveness as a per-

former. 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

squeal that occurs when the microphone picks up sound from the loudspeakers, reamplifies and rebroadcasts it over 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 insensitive rear of the microphone.

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

6mm

(*/a

called proximity effect. At a distance of about

in.) a typical in-

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, simply by changing the distance between source and microphone; and close

miking provides natural isolation by minimiz-

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.

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

(e.g., C25E or C25F TRIPLE-FLEXm, or C25J, C50J, or ClOOJ HI-FLEX) 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 or between the microphone and an

High-impedance microphone cables are usually limited to

C25G Low-to-High-Impedance Cable-Transformer

A95UF Matching Transformer.

6.lm (20 ft) to avoid high-frequency loss or possible noise pickup. If longer cables are needed with high-impedance microphones, use such Shure

impedance

quired distance. Then add the

cables as the C25B, C25E, C25F or C20H to reach the re-

C20A or C15A high-impedance cable to

low-

plug into the equipment. Adjust the treble control on the equipment to compensate for the high-frequency

rolloff caused by the extra length of

cable.

Look for the Shure Audio Connectionw 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:

Shure Brothers Incorporated

Attention: Service Department 222 Hartrey Avenue Evanston,

l llinois 60202-3696

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.