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.