Shure PE56D-CN User Guide

MODEL PE56D-CN
UNISPHEREB

I

Your selection of a Shure

Slips out
adapter, easily and quickly.

for hand-held use.

UNISPHERE~

of

swivel stand

Cardioid Micro­phone will contribute significantly to the professional
quality of your performance. This ball-type microphone
has a wire-mesh screen with a special filter which provides
protection from wind, blast and "pop" (explosive breath
sounds). This feature allows you to work as close to the
microphone as

you wish, either indoors or out-of-doors.

Another feature of your unidirectional microphone is
that it effectively controls feedback (that very annoying

loudspeaker "squeal") because it picks up sound only from
the front of the microphone. Unwanted audience noise or
other noises occurring at the rear of the microphone are
eliminated or suppressed. This allows you to work at sig-

nificantly greater distances from your microphone than
with non-directional (omnidirectional) microphones, with­out picking up objectionable background sound or feedback.

(See inside for information on how to use your

Shcire Microphone more effectively

.)

I

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 posi­tion 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 amplitier volume control and working
closer to the microphone.

(Important Note: If you cannot solve the feedback prob-

lem with your

UNISPHERE@

B

microphone, a Shure

Feedback Controller is suggested.)

BASIC POINTS FOR PROFESSIONAL
MICROPHONE TECHNIQUE

Proper microphone technique will add to the overall 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 to achieve an

intimate tonal quality,
get closer to the microphone and lower your voice. For
wide-open "driving" effects, raise your voice and back
away from the microphone so that you do not over­drive your amplifier to distortion.

2.

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

3.

Consider the microphone as an instrument and prac­tice your technique to enhance your performance.

YOUR SHURE MICROPHONE IS BUILT TO LAST!

Your Shure Microphone is ruggedly built and should give
you years of uninterrupted service; however, remember
that it is a sensitive instrument. Avoid dropping the micro­phone, or subjecting it to unnecessarily rough treatment.
Normal usage, of course, will not impair performance of

the unit. Use the protective carrying case to prevent dam-

age not only when traveling, but also when storing the

microphone.

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, check it on a spare cable. 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.

PHASING

To test two microphones and/or their.cables for proper
phasing, connect them to an amplifier and talk or sing into
them while holding them three or four inches apart. The
sound from the speakers should be the same when talking
into either microphone or directly between them if they
are in phase with each other. If the sound drops drastically,
or if a dead spot is found when talking between the two
microphones, one of them or its cable (low impedance
only) is out of phase. All cables and microphones should
be tested in this manner to insure that they are in phase
with each other.

To change the phase of a low-impedance microphone
cable, either use a Shure

change the wires connected to pins

AlSPR Phase Reverser or inter-

2

and 3 of the connec­tor. To change the phase of a microphone, the microphone
cartridge leads must be interchanged (see Figure 2). This
should be performed by your dealer, the Shure Factory
Service Department, or other qualified service personnel.

IMPEDANCE

Your microphone as supplied is wired for low impedance
for connection to low-impedance microphone inputs (rated

19

to 300 ohms). To change microphone wiring for

at
connection to high-impedance microphone inputs, remove
male plug insert by turning slotted setscrew inward (coun­terclockwise). Disconnect the two-terminal impedance
selection socket from the rear of the male insert, and

3

reconnect the socket in reverse position so that pin
the male insert is inserted in socket terminal

"H".

of

NOTE: After following the above directions, the PE56D­CN with the supplied two-conductor CSICN cable will
be suitable for connection directly to high-impedance
inputs using three-pin professional audio connectors. For

14

direct connection to

in. phone jack inputs, replace the

CSlCN cable with the C5-X: 6.lm (20 ft) single-con-

ductor shielded with three-pin professional audio connector

(female) on microphone

end and

?h

in. phone plug on

equipment end.

USING MORE THAN ONE MICROPHONE

It is often desirable for a group to use a separate micro-

phone for each individual performer. In this case, the

following points should be remembered:

1.

It is best if the microphones are individually controlled
for volume through a separate Shure microphone
mixer.

If this is not possible, it is desirable that each

performer use the same type and model of tnicrophone

as

so that the group

2.

Check the placement of the microphones with relation

a whole will be "balanced."

to loudspeakers (as previously mentioned) so that
feedback is minimized.

3.

As additional microphones are added the possibility of
feedback increases. Turn off, or down, unused micro­phones to help solve this problem.

SHURE FEEDBACK CONTROLLER

Lets you "tune" your sound system to the acoustics of the
room. The result is more overall sound power

without

feedback. Eight linear-motion filter controls are infinitely
variable from

8

kHz roll-off switches attenuate low and high frequencies.

0

to

12

dB cut. Below

63

Hz

and Above

Can be installed between mixer or console and amplifier

for total system control, or following each microphone as

a single-channel preamplifier with feedback control.

THE

VlCTAL

LINK

BEmm

m

SHURE PROFESSIONAL ENTERTAINER

hAICRnPHONFS

YOU

AND

AITDLENCE

ODEL

YP~:

Frequency
Response:

F

Impedance:

PE56D-CN SPECIFICATIONS

Dynamic, Cardioid (Unidirectional)

50

to :5,000 Hz (see Figure

lr

Dual Low Mtcrophore ratlng impedance is 150 ohms

1)

--

,*EM*.

FIGURE

.

"SRT2

1

(28

Output Level
(at

1,000

Hz):

Phasing:

Switch:

Hlgh Microphone impedance is
hlgh-impedance microphone Inputs

Wlred for low impedance as supplled (see Page

Open Circuit Voltage*

..

Power Level*

'0

dB

**O

Low Impedance: Positive pressure on diaphragm produce
positive voltage on Pin

High Impedance: Positive pressure on diaphragm produce
positive voltage on

Built-in magnetic reed On-Off switch with lockplate installed
in unlocked position. To lock switch in On position, move

plate

dB

^IPTRIDBE

180".

Retighten screw.

. . . . . . . . . .

-=

1

volt per microbar

=

1

milliwatt with

2.

Pin

1.

TQANSIDRMER

"High

for connectlon t

i

MPEDANCE

.

.

. . . .

(See Figure 2 and Page

(See Figure 2 and Page

RlrlSSKINAL

Low High

.

. . .

.-77.0

(.I41

. .

.

.

.

.-57.5

10

microbar;

IIREI-PIX

dB

mV)

d~

CABLE

bmlC

CONNECiOm

IIIPEWL SELLC~V~N

sacnir

iinoww

eSNCE

00911Vi

,N

4)

-54.5
(1.89

4.)

4.)

:3*

dB

mV)

GUARANTEE

This Shure product is guaranteed In normal use to be free from electrical and

mechanical defects for a
tain 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
damages.

Carefully repack the unit and return it prepaid to:

If outs~de the United States, return the unit to your dealer or Authorized Shure

Service Center for repair. The unit will be returned to you

perlod of one year from date of purchase. Please re-

consequentlal or ~ncldental

SHlPPiNG

Shure Brothers Incorporated
Attention: Service Department

1501

Prllngton Heights, Illinois

INSTRUCTIONS

West Shure Drive

60004

prepald.

I

-

IMODEL PES€iD.CN SPECIF1CATIONS (Continued)

Connector: Equlpped with professional three-p~n audio connector (male)

Shock Mount: Internal rubber
Swivel Adapter: Adjustable through 90' from ver!ical to horizontal, to

Cable: 7.6m (25 ft) two-conductor shielded, TRIPLE-FLEX@, detach-

Net Weight: 298 grams
Packaged Weight: 1.72 kilograms (3

designed to mate
Switchcraft A3

5/8"-27 stand thread

able, with professional three-pin audio connectors (male
and female)

wlth furnished cable or Cannon

(Q.G.)

series or equivalent connectors

vibrat~on-isolator

(10% oz) less cable

Ib 12% oz)

FURNISHED ACCESSORIES

Swivel Adapter: A25B
Carrying Case: 90M1404

OPTIONAL ACCESSORIES

Desk Stand: Models 5338, S37A, 5388, S39A, S40A
Disconnect

Adapter: Model A45
Line Matching

Transformer: Model A95 Series
Windscreen: Model A61 WS

REPLACEMENT PARTS

Cartridge: R65
Cable: C51 CN
Switch:
Grille Assembly:
Plug Elemenl: RK4CP
Case Assembly: RK15OC

RKlO6S

RS65

I

XL

serles,

f

L

AREA CODE 3 12/866-2200 CABLE SHUREMICRO

D

8

@HH

SHURE BROTHERS

222

HARTREY AVENUE

EVANSTON, ILLINOIS

Copyright 1980 Printed in U.S.A.
Shure Brothers

27A1295 (TD) and 3,240,883

Inc.

U.S.A.

8

INC.

60204

U.S. Patents 3,132,713