Shure PE585 User Guide

MODEL PE585 SPECIFICATIONS (Continued)

Connector:

Shock

Mount:

Case:

Swivel

Adapter:

Cable:

Net

Weight:

Packaged

Weight:

Equipped with Amphenol MC1 type connector

Internal rubber vibration-isolator
Chrome-plated die casting and steel mesh grille
Adjustable through

5/,”-27 stand thread

6

lm

(20

ft) single-conductor shielded cable, equipped with
Amphenol
phone plug on equipment end

383 grams (13% 02) less cable

1

MC1

16 kilograms

90”

from vertical to horizontal, to ftt

type connector

(2

Ib, 9

02)

FURNISHED ACCESSORIES

Swivel

Carrying

Adapter:

Case:

A25B
90A1413

OPTIONAL ACCESSORIES

Desk

Stand:

Disconnect

Adapter:

Line

Matching

Transformer:

Windscreen:

Models S33B, S37A, S38B, S39A, S40A

Model A45

Model A95 Series
Model A6lWS

REPLACEMENT PARTS

Cartridge:

Cable:

Screen

Grille

Assembly:

Case

Assembly:

Switch:

and

R85

(25-1

RS85
RK44C
RK48S

SHURE

222

BROTHERS

HARTREY AVENUE

EVANSTON, ILLINOIS

U.S.A.

Copyright
Shure Brothers Inc

27A381

1979

(SK)

8

on

microphone end and

CABLE

INC.

60204

U.S.

1/4

in

SHUREMICRO

Printed in U.S.A.

Patents 3,132.713

and 3,240,883

I

MODEL PE585
UNISPHEREF9

Slips out
adapter, easily and

for

hand-held

of

swivel stand

use.

A

quickly,

Your selection of a Shure UNISPHERE~ 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

as

microphone

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

of

the front

the microphone. Unwanted audience noise or

other noises occurring at the rear of the microphone are

you

to

eliminated or suppressed. This allows

work at sig­nificantly 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

Shure Microphone more effectively.)

HOW TO CONTROL FEEDBACK

A performer’s number one enemy in using a microphone is

“feedback.” This is a harsh hum, howl
curs 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
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 lolidspeakers 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.

(Important Note: If you cannot

lem with your
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
drive 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.

if

the microphone picks Lip sound coming

UNISPHERE~

or

squeal which oc-

solve

the feedback prob-

A

microphone, a Shure

so

that you do not

over-

YOUR SHURE MICROPHONE

Your

Shure Microphone is ruggedly built and should give

of

you years
that it is a sensitive instrument. Avoid dropping the micro­phone,
Normal usage,
the unit. Use the protective carrying case to prevent dam­age not only when traveling, but also when storing the
microphone.

MICROPHONE CHECK-LIST

I.

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

Check the above list. If the microphone still does not
appear to be operating, check it on a spare cable.
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.

uninterrupted service; however, remember

or

subjecting it to unnecessarily rough treatment.

of

course, will not impair performance of

DOES

IS

BUILT TO LAST!

NOT WORK

If

the

2

3

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 thrce or four inches apart. The
sound from the speakers should be the same when talking
into either microphone or directly between them

are in phase with each other.
or if a dead spot is found when talking between the two
microphones, they are out of phase. All cables and micro­phones should be tested in this manner
are in phase with each other.

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

IMPEDANCE

Your Model PE585 is a high-impedance microphone.

cable lengths over
if

the microphone is to be connected to a low-impedance
input, it will be necessary to transform the microphone
line to low impedance. Shure Model A95 Series Line

Matching Transformers are available for use in those cases.
These transformers provide a proper impedance match
between

impedance input and are supplied with various input and
output connectors.

a

high-impedance microphone line and a low-

7.6

If

the sound drops drastically,

tb

insure that they

meters (25 feet) are required, or

if

2).

they

This

If

V

USING MORE THAN ONE MICROPHONE

It is often desirable for a group to use a separate micro­phone 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

If

mixer.

performer use the same type and model

so

2.

Check the placement of the microphones with relation
to loudspeakers
feedback is minimized.

3.

As

feedback increases. Turn off,
phones to help solve this problem.

SHURE FEEDBACK CONTROLLER

Lets you “tune” your sound system to
room. The result is more overall sound power
feedback. Eight linear-motion filter controls are infinitely

variable from

8

kHz roll-off switches attenuate low and high frequencies.

Can be installed between mixer or console and amplifier

for total system control,
a single-channel preamplifier with feedback control.

this is not possible, it is desirable that each

of

that the group as a whole will be “balanced.”

(as

previously mentioned)

additional microphones are added the possibility of

or

down, unused micro-

the

0

to 12 dB cut. Below

or

following each microphone

microphone

so

acoustics of the

withoul

63

Hz and Above

that

as

4

5

MODEL

Type:
Frequency Response:

Impedance:

Output Level

(at 1,000 Hz):

Phasing:

Switch:

PE585

SPECIFICATIONS

Dynamic, Cardioid (Unidirectional)

50 to

13,000

Hz (see Figure

**a

-0

r

$0

v

5

80

Microphone impedance is "High ' for connection to high­impedance microphone inputs

Open Circuit Voltage

0

dB = 1 volt per microbar

Positive pressure on diaphragm produces positive voltage
on WHITE cable conductor and TIP of phone plug (see Fig-

ure 2 and Page

CARTRIDGE

COOED

4).

TRANSFORMER

GREEN WHITE

Y~~L~W

1)

SRlTU*c,

FIGURE

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

SWITCH

(OFF

POSITION

-

BLACK

.

Imo

I*

"Ell,>

1

-58.0 dB (1.24 mV)

)

AMPHENOL

CONNECTORS

MCiM

n

WHITE

TYPE

CABLE

SHIELD

fu

FIGURE

2

Built-in On-Off switch with lockplate installed in unlocked
position To lock switch in On position, move to On posi-

tion, loosen screw on lockplate and turn lockplate 180"

Retighten screw.

PHONE

THE

BETWEEN

THE

VITAL

ILIINK

YOU

AND

AUDIENCE

SHURE PROFESSIONAL ENTERTAINER

MICROPHONES

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 re-

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 consequential or incidental
damages.

SHIPPING INSTRUCTIONS

GUARANTEE

Carefully repack the unit and return it prepaid to:

If

outside the United States, return the unit to your dealer or Authorized Shure

Service Center lor repair. The unit will be returned to you prepaid.

Shure Brothers Incorporated
Attention: Service Department
1501 West Shure Drive
Arlington Heights, Illinois

60004