Shure PE610 Schematic

222 HARTREY AVE.. EVANSTON, IL. 60204 V.S.A.

AREA CODE 312/328-9000 . CABLE: SHUREMICRO

@

DATA

SHEET

MODEL

~~610

FEEDBACK CONTROLLER

GENERAL CONTROLS AND CONNECTORS

The Shure Model

designed to improve sound

PE610 Feedback Controller is

reinforcement systems by

allowing the user to smooth out major irregularities
in the overall frequency response which limit gain
before feedback. Conveniently arranged inputs, out­puts, and controls simplify installation and adjustment

in either new or existing systems.

PE610 can also be used as a guitar preamplifier

The
(between the guitar and guitar amplifier). It can pro­vide special effects by adjusting the guitar sound in
each octave. It also provides additional gain, allowing
longer sustained notes and facilitating the production
of guitar acoustic feedback sounds.

The operating controls consist of eight linear-motion

potentiometers to allow gain reduction in each of eight
octave frequency regions, high- and low-frequency
roll-off switches, a filter level (volume) control, and a
bypasslfilter mode switch. Inputs for high-impedance
microphone, instrument and auxiliary high-level lines
are available. Outputs are for microphone, guitar am-

plifier and power amplifier level lines.

Features include:

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Eight dip filters with depth individually adjustable

0 to approximately 12 dB, with nominal center

from
frequencies at 63, 125, 250, 500, 1000, 2000, 4000,

and 8000 Hertz.

Switches to insert 6 dB-per-octave roll-offs outside
the frequencies covered by the dip filters.

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Unity gain in bypass mode for convenient installa­tion in microphone, instrument or auxiliary lines.

Filter level control, disabled in bypass mode, allows
convenient increase of system gain as filters are
adjusted.

Phone jack input connector, switchable for high-

impedance microphones or instruments.

m

Phono pin jack, switch type, for auxiliary input.

When a plug is inserted in auxiliary input the micro-

phone input is automatically disabled.

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Phono pin jack for power amplifier output, usable
simultaneously with microphone output and guitar

amplifier output.

Phone jack for guitar amplifier output, usable simul­taneously with microphone and power amplifier
output.

m

Male professional three-pin audio connector for

Inputs

The

MICROPHONEIINSTRUMENT INPUT, located on

the rear panel and designated INPUT, is designed for
high-impedance dynamic, ribbon

denser microphones or musical instruments, The unit

is

not

recommended

for

use

with

microphones or crystal or ceramic instrument pickups.
A slide switch above the INPUT connector selects
either microphone- or instrument-level inputs. The
MICROPHONE position provides the maximum level
for normal microphone use, while the INSTRUMENT
position provides a reduced level for electrified instru­ments or high sound level microphone use, such as
for "hard rock" vocalists. The input connector is a
two-conductor, standard phone jack. See Figure A for
high-impedance microphone connections.
ance microphones may be connected by using a Shure

A95 series line matching transformer.

Note: Some condenser microphones produce very

high output signals which may overload the
input. Using the INPUT slide switch in the IN­STRUMENT position will improve this situation.

The AUX INPUT phono pin jack on the rear panel

has a built-in switch that disables the microphone input

preamplifier when a phono plug is inserted.

The AUX INPUT will accept output from a high­impedance, high-level source, such as a microphone
mixer, audio console, electrified instrument, tape re­corder, AM-FM tuner, or phonograph preamplifier.

Outputs

The receptacle marked MIC OUTPUT is a dual im­pedance output, either low impedance balanced or
high impedance unbalanced, as selected by the LO-HI
IMPEDANCE Switch above the receptacle. The re­ceptacle is a professional three-pin audio connector
(male).* See Figure A for output receptacle connec­tions.

'Designed to mate with Cannon

equivalent connector. [Shure part

MICROPHONE INPUT

MICROPHONE INPUT PLUG CONNECTION

MIC OUTPUT MIC OUTPUT

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XL

series, Switchcraft

95A407

SHIELD

MlCllNSl

microphone output, switchable for low or high im-

pedance.

Low

hum, noise, and rf susceptibility.

Listing by Underwriters' Laboratories, Inc. and list-

ing by Canadian Standards Association as certified.

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Jacks for external dc supply.

LOW IMPEDANCE

(BALANCED

LINE1

MICROPHONE OUTPUT PLUG CONNECTIONS

FIGURE A

HIGH IMPEDANCE

MICROPHONE CONNECTIONS

Copyright

27A1047

1976,

Shure Brothers Inc.

(PD)

crystal

(male) or

or

or

ceramic

Low-imped-

A3

(O.G.)

95A548

(female).]

Printed in

con-

series or

U.S.A.

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-5

2

-10

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2

-15

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2

z

4681

20 I

FIGURE BI- EACH FILTER AT 6 dB ATTENUATION

0

2

4

20 100 1000 10,000 20poo

681

FIGURE

P

GO

82-

EACH FILTER AT MAXIMUM ATTENUATION

4681

FREOUENCY

2

4

FREQUENCY

681

FIGURE

2

I000 10,000 20,000

(HZ)

2

(HZ)

B

4683

4

681

2

2

INDIVIDUAL OCTAVE FILTER FREQUENCY

CHARACTERISTIC (TYPICAL)

The phono pin jack marked OUTPUT TO POWER
AMPLIFIER is a high-impedance, high-level output de­signed primarily to feed a power amplifier or auxiliary

input requiring 0.1 to 2 volts.

The phono jack marked OUTPUT TO GUITAR AM­PLIFIER is designed to feed a guitar or similar instru­ment amplifier input requiring 15 to 300 millivolts.

30

Accessory

Volts DC

These rear panel jacks are used as a power input
when using the Model

A67B Battery Power Supply

(Accessory).
Controls

Power Switch and Pilot Light:

The power ON-OFF switch controls operation of the
unit when it is powered either by the ac line or by an
external dc source. The pilot light indicates operation
only when ac power is used.

FILTER FREQUENCY Controls:

The eight linear-motion FILTER FREQUENCY con-

trols located on the front panel are used for adjusting

the level of eight octave-spaced bands having center

frequencies of 63 Hz, 125 Hz, 250 Hz, 500 Hz, 1 kHz, 2
kHz, 4 kHz, and 8 kHz respectively. The levels of the
octave-spaced bands are individually and continuously
adjustable from flat at full up position to approximately
12 dB cut at full down position. Figures

B1 and 82

illustrate the frequency response characteristic of each

octave filter when adjusted for 6 dB cut and full cut.

8K

BELOW 63 and ABOVE

63

The BELOW

Slide Switch reduces the gain of

Switches:

frequencies below the 63 Hz octave band when placed

8K

in the down position, and the ABOVE
reduces the gain of frequencies above the

Slide Switch

8

kHz
octave band when placed in the down position. Figure
C shows the frequency response characteristics of
these filters.

8

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In

g

0

B

-5

Y-I02

E

W

a

4

6

81

2

4

6

51

2

4

6

20 100 1000 lop00 20.000

BELOW

63

AND ABOVE

FREOUENCY (HZ)

8K

FILTER FREQUENCY CHARACTERISTICS

81 2

(TYPICAL)

FIGURE C

MODE (Filter-Bypass) Switch:

In the BYPASS position, the MODE switch disables

the filters and the FILTER LEVEL Control and sets

gain from AUX INPUT to OUTPUT TO POWER AMPLI­FIER or MICROPHONE INPUT to MIC OUTPUT, at ap­proximately unity. The filters and FILTER LEVEL

Controls are operative in the FILTER position.

FILTER LEVEL Control:

The FILTER LEVEL Control provides up to 24 dB
gain when the MODE Switch is in the FILTER position,
as well as gain reduction below unity. The FILTER
LEVEL Control is used to increase system gain as
filters are adjusted. A FILTER LEVEL setting of ap­proximately 4 provides unity gain with the MODE
Switch in the FILTER position and all FILTER FRE-

QUENCY Controls in the full up position.

INSTALLATION:

PE610 is typically connected in the auxiliary,

The
high-level line between the

mixer/preamplifier and the

power amplifier, or between the microphone and the

mixer/preamplifier in single-microphone systems. Any
combination of inputs and outputs available may be
used, however, according to the particular needs of
the user.

To use the
in a Shure Vocal Master
connect the microphone to the

PE610 to equalize a single microphone

(VA300 or VA302) system,

PE610 INPUT and the
PE610 MIC OUTPUT to a Vocal Master Console MI­CROPHONE INPUT. Set the

IMPEDANCE Switch to HI (for

PE610 MIC OUTPUT

VA300) or LO (for
VA302). Additional PE6lOs may be added, one per
channel, to provide an optimum feedback control
system.

To use a single

PE610 to provide overall equaliza-

tion of a Vocal Master Console, connect a length of

low-capacitance, single-conductor, shielded cable with

phone plugs attached to each end between the Con-

ECHO/TO INPUT jack and the PE610 INPUT

sole
connector and set the INPUT switch to INSTRUMENT.
Connect a similar cable between the Console

ECHO/
TO OUTPUT jack and the PE610 OUTPUT TO GUITAR
AMPLIFIER connector. Set all the Console REVERB

IN/OUT switches to the OUT position. Note that this
hook-up removes the reverb signal from those Console
channels being equalized. The reverse is also true:
when individual channel REVERB switches are acti­vated (in), those channels will not be equalized by

PE610. This set-up is ideal for sound systems not

the

requiring reverberation.

To maintain reverberation capability using a single
PE610 with a Vocal Master Console, connect the
PE610 INPUT as described in the preceding para­graph. Connect the
6 INPUT of the Console and set the
PUT IMPEDANCE switch to HI (for

VA302). Set the REVERB IN/OUT Switches on

(for
channels 1 through 5 to OUT and channel

PE610 MIC OUTPUT to the channel

PE610 MIC OUT-

VA300) or LO

6

to IN.
Preset channel 6 VOLUME to 5. Microphone inputs
1 through 5 are combined in the Console and sent to

PE610 for equalization. The equalized signal re-

the
enters the Console on channel 6 and is switched to the

reverberation circuit for a total reverberation effect.

OPERATION
NOTE: Before adjusting the

PE610, try to approximate
the performance conditions (microphone and
speaker placement, curtains, etc.). If the mi­crophones are to be moved during the

per-