Shure PE585 UNISPHERE User Manual

MODEL PE585 SPECIFICATIONS (Continued)

Connector:

Equipped with Amphenol MC1 type connector

Shock

Mount:

Internal rubber vibration-isolator

Case:

Chrome-plated die casting and steel mesh grille

Swivel

Adapter:

Adjustable through

90”

from vertical to horizontal, to ftt

5/,”-27 stand thread

Cable:

6

lm

(20

ft) single-conductor shielded cable, equipped with

Amphenol

MC1

type connector

on

microphone end and

1/4

in

phone plug on equipment end
383 grams (13% 02) less cable

1

16 kilograms

(2

Ib, 9

02)

Net

Weight:

Packaged

Weight:

FURNISHED ACCESSORIES

Swivel

Adapter:

A25B

Carrying

Case:

90A1413

OPTIONAL ACCESSORIES

Desk

Stand:

Models S33B, S37A, S38B, S39A, S40A

Disconnect

Adapter:

Model A45

Line

Matching

Transformer:

Model A95 Series

Windscreen:

Model A6lWS

REPLACEMENT PARTS

Cartridge:

R85

Cable:

(25-1

Screen

and

Grille

Assembly:

RS85

Case

Assembly:

RK44C

Switch:

RK48S

I

CABLE

SHUREMICRO

SHURE

BROTHERS

INC.

222

HARTREY AVENUE

EVANSTON, ILLINOIS

60204

U.S.A.

Copyright

1979

Shure Brothers Inc

27A381

(SK)

8

Printed in U.S.A.

U.S.

Patents 3,132.713

and 3,240,883

MODEL PE585
UNISPHEREF9

A

Slips out

of

swivel stand

adapter, easily and

quickly,

for

hand-held

use.

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
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 sig­nificantly greater distances from your microphone than
with non-directional (omnidirectional) microphones, with-

out 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

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 Lip 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 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

solve

the feedback prob-

lem with your

UNISPHERE~

A

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

over-

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.

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

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

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.

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

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, they are out of phase. All cables and micro­phones should be tested in this manner

tb

insure that they

are in phase with each other.

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 Model PE585 is a high-impedance microphone.

If

cable lengths over

7.6

meters (25 feet) are required, or

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

a

high-impedance microphone line and a low­impedance input and are supplied with various input and
output connectors.

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
mixer.

If

this is not possible, it is desirable that each

performer use the same type and model

of

microphone

so

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

2.

Check the placement of the microphones with relation
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 micro-

phones 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

withoul

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

0

to 12 dB cut. Below

63

Hz and Above

8

kHz roll-off switches attenuate low and high frequencies.
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.

4

5

THE

VITAL

ILIINK

BETWEEN

YOU

AND

THE

AUDIENCE

SHURE PROFESSIONAL ENTERTAINER

MICROPHONES

MODEL

PE585

SPECIFICATIONS

Type:
Frequency Response:

Impedance:

Output Level
(at 1,000 Hz):

Phasing:

Switch:

Dynamic, Cardioid (Unidirectional)

50 to

13,000

Hz (see Figure

1)

**a

-0

r

5

80

$0

v

Imo

SRlTU*c,

I*

"Ell,>

FIGURE

1

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

Open Circuit Voltage

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

-58.0 dB (1.24 mV)

0

dB = 1 volt per microbar

Positive pressure on diaphragm produces positive voltage
on WHITE cable conductor and TIP of phone plug (see Fig­ure 2 and Page

4).

CABLE

SWITCH

(OFF

POSITION

)

AMPHENOL

TYPE

CARTRIDGE

COOED

CONNECTORS

-

MCiM

PHONE

TRANSFORMER

GREEN WHITE

n

WHITE

Y~~L~W

BLACK

.

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.

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 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

Carefully repack the unit and return it prepaid to:

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

60004

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.