MODEL PESEQ
EQUALIZERMICROPHONE
Slips out of swivel adapter
easily and quickly
for hand-held use.
Your selection of this Shure Equalizer Cardioid Microphone
will contribute significantly to the professional quality of your
performance. Now you can equalize
-
in frequency response
without the need for more elaborate
-
make selective changes
audio equipment. Four switches, conveniently located on the
microphone handle, activate filters that attenuate microphone
6
response by approximately
dB at each switch frequency.
(Sixteen different shaped microphone response curves can be
obtained by use of these four switches.)
Antifeedback control is also accomplished through the
PESEQ's four switches. These switches help eliminate that
annoying howl or squeal that means feedback is present.
Your microphone also helps control feedback because it is
unidirectional. Since it picks up sound only from the front of
the microphone, audience noise and other unwanted sounds
occurring at the rear or sides of the microphone are sup-
pressed. This permits a greater working distance from the
microphone with minimal background sound pickup. The
PESEQ also features an excellent wind and "pop" filter, and
instant usage with low- or high-impedance microphone inputs
using the line matching transformer supplied.
(See inside for information on how to use your
I,
..
1
\
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
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 using
the microphone filter switches or by turning down the amplifier volume control and working closer to the microphone.
To minimize feedback, adjust the microphone filter switches
as
Locate and turn on
the feedback. (Use a pencil or other instrument to move
switches.) Gain or tone controls may then be increased until
another feedback pitch is heard. Locate the filter switch that
eliminates this feedback. NOTE: No more than two filter
switches should be used simultaneously for feedback control;
otherwise overall gain may be reduced and tone quality is
likely to be affected.
(Important Note: If you cannot solve the feedback problem
-
so they do not point toward the microphone.
follows. Raise the amplifier gain until feedback occurs.
with your E-Qualidyne Microphone, a Shure
back Controller is suggested.)
(IN)
the one filter switch that eliminates
PE610
Feed-
EQUALIZATION
When it is not necessary to use the filter switches to control
feedback, their response-shaping or equalization function can
be utilized. For instance, the LO switch will roll off the low
end to compensate for room boominess or proximity effect;
the HI switch will remove undesirable sibilance
from speech or vocals.
Experimenting with other switches (or combinations) will
demonstrate suitable effects for other applications. (See graph
on page
8
for typical attenuation provided at each frequency.)
("sss" sounds)
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 micro-
:
phone
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 the amplifier
to distortion.
2.
Don't change your distance from the microphone need-
as
lessly,
the loudspeakers.
3.
Consider the microphone
your technique to enhance your performance.
this will affect the level of sound coming from
as
an instrument and practice
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 damage 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
3.
Check microphone, amplifier and/or mixer.
a. Are they turned on?
b. Are volume controls turned up?
4.
Are microphone filter switches properly set?
-
are they tightly plugged in?
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 Prod-
ucts 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
wires connected to pins 2 and
the phase of a microphone, the microphone cartridge leads
must be interchanged (see Figure B). This should be performed by your dealer, the Shure Factory Service Department,
or other qualified service personnel.
A15PR Phase Reverser or interchange the
3
of the connector. To change
IMPEDANCE
Your microphone as supplied is wired for low impedance for
25
connection to microphone inputs rated at
For optimum filter operation, load impedance should be
100 ohms or greater. To use the microphone with highimpedance microphone inputs, simply plug the furnished
A95FP Line Matching Transformer into the amplifier end
of the cable supplied with your microphone.
to 200 ohms.
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 microphone mixer such as
the Shure
Optimum filter response will be achieved with each microphone connected to a separate mixer input.
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 microphones to help solve this problem.
MODEL PE610 FEEDBACK CONTROLLER
Lets you "tune" your sound system to the acoustics of the
room. The result is more overall sound power
back. Eight linear-motion filter controls are infinitely variable
0 to
from
switches attenuate low and high frequencies. Can be installed
between mixer or console and amplifier for total system con-
trol, or following each microphone as a single-channel pre-
amplifier with feedback control.
PE68M Mixer or PE70RM ReverbIMixer.
without
12
dB cut. Belows63 Hz and Above 8 kHz roll-off
feed-
THE VITAL LINK
BETWEEN
YOU
AND
THE AUDIENCE
SHURE PROFESSIONAL ENTERTAINER
MICROPHONES
Impedance:
Output
Level
(at 1,000 Hz)
Power Level
Dynamic. Cat'dioid (Unidir,ectional). Equalizer (switcl
selectable)
50 to 15,000 Hz (see Figure
Microptione t,ating inrpedance is 150 ohms (170
actual) for connection to niicrophone inputs rat
25 to 200 ohms. (For
impedance should be
br: connected as high impedance with supp
May
transformer (see
:
--81
dB
(.09
(0 dB = 1
:
-59
dB
(0 dE
=
Positive: pressure on diaphragrri groduces positive
age on Pin 2 (see Page
1
CARTRIDGE
ASSEMBLY ASSEMBLY ASSEMBLY
Pagc
rnV)
volt per microbar)
tnilliwatt with 10 niicrobars)
FILTER SWITCH PLUG
A)
FREOOENCY IN HERTZ
FIGURE
100
A
optinium filter opi,ration,
ohrr~s or greater.)
4)
4).
r
at 190
(LO)
5GO
FIGURE
IG5n
and
B
4900
f
This Shure product is guaranteed in normal use to be free
from electrical and mechanical defects for a period of one
year from the date of purchase. Please retain proof of pur-
chase date. This guarantee includes all parts and labor.
SHIPPING INSTRUCTIONS
Carefully repack the unit and return it prepaid to the factory.
If outside the United States, return the unit to your dealer
or Authorized Shure Service Center for repair. The unit will
be returned to you prepaid.
\
GUARANTEE
7
(HI)
Hz (see
\
J
MODEL PESEQ SPECIFICATIONS (Continued)
ure
C).
Filter attenuation varies with load impedance
FREWENCY
IN
Connector:
Case:
Swivel Adapter:
Cable:
Net Weight:
Packaged
Weight:
FURNISHED ACCESSORIES
Line
Transformer:
Swivel Adapter:
Carrying Case:
OPTIONAL ACCESSORIES
Desk Stand:
Disconnect
Adapter:
REPLACEMENT PARTS
Cartridge:
GrilleAssembly:
%pin Plug
Element:
Filter Switch
Assembly:
Equipped with professional three-pin audio connector
(male) designed to
Cannon
equivalent connectors
Internal rubber vibration-isolator
Satin-chrome die casting with stainless steel grille.
Adjustable tllrough 90" from vertical to horizontal, to
fit
6.lm (20 ft), two-conductor, shielded cable?, equipped
with professional three-pin audio connectors
and female)
340 grams
1.26
Model
Model A255
90h.11404
Models S33E, S37A
blodcl
R97
RK82G
RK40P
RK185
XL
96''-27 stand thread.
kilograms (2 Ib 12% oz)
A95FP
A45
(12
FIGURE C
series, Switchcraft A3 (Q.G.) series or
mate with furnished cable or
oz) less cable
S38B,
S39A, S40A
HERTZ
(male
REA CODE
69
Copyright 1976
Shure Brothers
27A1187
(PC)
312/328-9000
-44
SHURE BROTHERS
EVANSTON, ILLINOIS 60204
Inc.
D
INC.
222 HARTREY AVENUE
U.S.A.
8
CABLE SHUREMICR
8
Printed in
U.S.A.
Patent Pending
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