Shure PE47 User Guide

PROFESSIONAL ENTERTAINER

MODEL PE47 TONE-SHAPING

UNIDIRECTIONAL DYNAMIC MICROPHONES

Output Level

Open Circuit Voltage

Power Level"

(at 1,000

'0 dB = 1Vlhbar

"0 dB = 1 mWllO hbar

Hz)

.....

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

-57.5dB

Phasing

Positive pressure on diaphragm produces positive voltage on pin 2 of connectors

CARTRIDGE ON-OFF 3-PIN PROFESSIONAL AUDIO CONNECTORS

CABLE

I-

CN ONLY)

PE47L-LC: Supplied without cable PE47L-CN: Supplied with C25B Cable

The PE47 Series adapts to the changing requirements of the profes-

sional entertainer. Tone-shaping switches produce four different frequency response selections. You get four microphones in one! This selectable response can emphasize the best characteristics of any voice or instrument. High output provides excellent gain before feedback. These top-quality mance features.

Unidirectional (cardioid) polar pattern minimizes feedback in live performance Tone-shaping switches for individually selectable response

Vocals: BASS Normal

Instruments: BASS Cut All switches recessed to prevent accidental changes Quiet, reliable, miniature On-Off switch Unique popfilter grille reduces "ppopping" and breath noise Effective internal shock mount for low handling noise Transformerless, high-output, low-impedance cartridge minimizes magnetic hum pickup Nonreflective dark gray finish for professional appearance onstage Extremely rugged and reliable Backed by the Shure guarantee

m~crophones supply the most demanded perfor-

(-);

TREBLE Boost (A

(

r);

TREBLE Flat

)

(-)

SPECIFICATIONS

TY pe

Dynamic

Frequency Response

50 to 15,000 Figure 1)

Polar Pattern

Cardioid (unidirectional) See Figure 2

with selectable Bass and Treble Tone Shaping (see

TYPICAL FREQUENCY RESPONSE

FIGURE

Switch

FIGURE

Built-in recessed On-Off switch, and recessed Tone-Shaping switches: BASS-Normallcut (see Figures 1 and 4)

Cable

PE47L-LC: supplied without cable. PE47L-CN: 7.6m (25 ft) 2-conductor shielded with 3-socket and 3-pin professional audio connectors

Case

Dark gray with dark gray grille and black screen

Cartridge Shock Mount

Internal rubber vibration isolator

Net Weight

297 grams

Swivel Adapter

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

FURNISHED ACCESSORIES

Swivel Adapter PaddedGigBag

OPTIONAL ACCESSORIES

Windscreen Floor Stand (Weighted base) FloorStand(Tripodbase) BabyBoom 86-44

REPLACEMENT PARTS

Cartridge Screen and Grille RK223G Cable (PE47L-CN) C25B

USING THE TONE-SHAPING SWITCHES

The BASS Cut switch compensates for the incre-rsed low-frequency output (proximity effect) that occurs when the microphone is used close to the mouth. The graph below shows the output when the microphone is 50 mm Cut

(less cable)

(10'/2 oz)

5/s"-27 thread

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

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

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

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

in.) from the mouth with the BASS switch in Normal

(r)

positions.

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

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

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

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

I I I lllllllll

,r)

and TREBLE-BoostlFlat

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

AlWSSeries

(

.A250 26A07

MS-1OC

R118

)and

S15

)

Sometimes the bass boost due to proximity is desirable, and then the switch should be in Normal

TYPICA~POLAR

Impedance

Low (150 ohms rating)

.....

,Z,HZ

,OO"Z

FIGURE

200s

--.wo

.....

.OOQ

PATTERNS

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

( - ).

high frequencies is desirable. Therefore, for voice pickup, use the TREBLE switch in Boost

These are all only suggestions. For best results, always experiment and listen. Then you will be sure to get exactly the sound you want.

For maximum intelligibility of vocals, however, a rise at mid to

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

1985,

Shure Brothers Inc.

(EE)

FIGURE

(312)

( - ).

(

866-2200 CABLE:

For a less bassy sound, move the

SHUREMICRO

Printed in

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 Frozen down to

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

85OC (185OF) often for entire days

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 3E°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 past years, and those now buying

miliions of microphones bearing the name Shure during

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.

Quality is our first consideration!

BASIC MICROPHONE TECHNIQUE

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

former. Keep the following points in mind when using

yourshure Profes-

sional 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.

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 insensitve 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 called proximity effect. At a distance of about

6mm

in.) a typical in-

crease is shown on the curve below.

Proximity effect can be used to improve your sound.

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 proximitv effect to be used advantaaeouslv when desired. To employ proximity effect, you need to hear the ampiified result. Just as you practice

your instrument. you will want to practice your microphone technique to $et the precise sound you want. proximity effect is

touse monitor speakers or headphones if they are

good way to hearthe actual result of

available.)

Omnidirectional microphones do not exhibit proximity effect when used

closeup. Because the response does not change with angle or 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., C25B, C25E, C25F, C50F, ClOOF, or C20HI 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

C25G Lowto-High-Impedance cable-~ransformer or between the microphone and an

A95UF Matching Transformer.

High-impedance microphone cables are usually limited to

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 cables as the

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

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

rolloff caused by

the extra length of cable.

Look for the Shure Audio ConnectionN 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, Illinois 60204 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 PE47 User Guide

Specifications and Main Features

Frequently Asked Questions

User Manual