Shure PE545 User Guide
d
*’
/AREA CODE
312/328-9000
Copyriqht
Shure Rrothers,
27A355
1969
(9-69)
Inc.
SHURE
EVANSTON,
BROTHERS,
222
HARTREY AVENUE
ILLINOIS
U.S.A.
CABLE SHUREMICRO
INC.
60204
Printed in
US.
Patents
and
U.S.A.
3,132,713
3,240,883
I
MODEL PE545
UNIDYNE
111
Your selection of a Shure Unidyne Microphone will contribute significantly to the professional quality of your
performance. Shure Unidyne Microphones are unidirectional. This means that they pick up sound only from the
front of the microphone. They suppress unwanted audience noise or other noises occurring at the rear of the
microphone. You can work at significantly greater dis-
75%
tances (up to
more) from the microphone than with
non-directional microphones, without picking up objectionable background sound or the very annoying loudspeaker “squeal” (feedback).
You
don’t have to lean
over your instrument and get close to the microphone in
order to be heard.
(See
inside for information on
how
to use your
Shure Microphone most effectively.)
HOW TO CONTROL FEEDBACK
A performer’s number one enemy in using a microphone
is
“feedback.” This is a harsh, shrill squeal which occurs
when the microphone picks up sound from the loudspeakers, re-amplifies and rebroadcasts it over and over again.
Rut take heart, you have already taken the best possible
step to defeat feedback by selecting a Shure Cardioid
Microphone. The unidirectional (frontal pickup) characteristics of the microphone are valuable in rejecting the
sound from the loudspeakers
occur.
Another factor to remember in the prevention of feedback
is
the position of the loudspeakers in relation to the microphone. Even with a Cardioid Microphone, feedback can
occur if the front (live) end
sufficient sound coming from loudspeakers. Keep the
loudspeakers as far to the sides as possible-so they
do not point toward the front of the microphone. When-
ever possible, it is good practice to keep the microphone
between the performer and the loudspeakers.
If you are in a room with hard walls,
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.
BASIC POINTS FOR PROFESSIONAL
MICROPHONE TECHNIQUE
As
with any instrument used in your performance, proper
microphone technique will add to the over-all effectiveness
with which you project yourself to your audience. Keep
the following points in mind when using the microphone:
1.
Maintain the proper distance from the microphone.
When you wish
get closer
For
wide-open “driving” effects, raise your voice and
back away from the microphone
overdrive your amplifier to distortion.
2.
Don’t needlessly change your distance from the microphone, as this will affect the level
from loudspeakers.
3.
Consider the microphone as an instrument and prac-
tice your technique to enhance your performance.
to
to
the microphone and
so
that feedback does not
of
the microphone picks up
floor,
and ceiling,
achieve an intimate tonal quality,
lower
your voice.
so
that
you
do
not
of
sound corning
SHURE PROFESSIONAL ENTERTAINER
MICROPHONES
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