Shure PE9 User Guide

PROFESSIONAL ENTERTAINER

MODEL PE9 UNIDIRECTIONAL

DYNAMIC MICROPHONES

PE9H-C: High impedance, nondetachable

1-conductor shielded cable and phone plug

PE9L-CN: Low impedance, nondetachable

2-conductor shielded cable and 3-pin professional connector

The

PE9 Series offers the features demanded by the profes-

sional entertainer.

Unidirectional (cardioid) pickup pattern minimizes feedback in live performance Wide frequency response provides clean and natural reproduction of voice and instruments Shock-mounted cartridge reduces handling noise Lockable On-Off switch

Nonreflective dark gray finish for professional appearance onstage Rugged, reliable, and backed by the Shure guarantee

SPECIFICATIONS

Type

Dynamic

Frequency Response

80 to 13,000 Hz (see Figure 1)

<RFOULWCI

MLRTI

Polar Pattern

FIGURE

Cardioid (unidirectional) See Figure 2

'/in

Impedance

PE9H-C:

High (greater than 30 kilohms)

PE9L-CN: Low (150 ohms rating)

Output Level (at 1,000 Hz)

PE9H-C

Open Circuit Voltage*. -59.0 dB

......

*O dB = 1Vlpbar (1.1 mV)

Power Level*

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

**0 dB = 1 mWllO pbar

Phasing

PE9H-C: Positive pressure on diaphragm

produces

positive voltage on sleeve of phone plug PE9L-CN: Positive pressure on diaphragm produces

positive voltage on pin 2 of connector

CARTRIDGE SWITCH CABLE PHONE

TERMINAL

(OFF POSITION1 PLUG

PE9H-C

CARTRIDGE SWITCH

CODED AUDIO CONNECTOR

IOFF POSITION1

CABLE 3-PIN

PROFESSIONAL

PE9L-CN

FIGURE

Switch

Built-in On-Off switch with lockplate. To lock switch On, remove screw and turn

lockplate

180°. Reassemble and

tighten screw.

Cable

PE9H-C: 6.lm (20 ft) attached, 1-conductor shielded, with

%-inch phone plug

PE9L-CN: 6.lm (20 ft) attached, 2-conductor shielded, with

3-pin professional audio connector

Case

Dark gray with black screen and black

ARMO-DURB grille

Cartridge Shock Mount

Internal rubber vibration isolator

Net Weight (less cable)

312 grams (11 oz)

Swivel Adapter

Positive action. adiustable from vertical to horizontal, for

mounting on

5/a"'-27 thread

FURNISHED ACCESSORIES

Swivel Adapter .A25B

PaddedGigBag 26A07

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

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

---

.....I

400

000

HI HI

---

.....

Z500

6300

10,000

TYPICAL POLAR PATTERNS

FIGURE

222 HARTREY AVENUE, EVANSTON, ILLINOIS 60202-3696 U.S.A.

27A2242

1985,

(El)

Shure

Brothers

Inc.

OPTIONAL ACCESSORIES

Windscreen .AlWS Series

Floor Stand (Weighted base) MS-1OC Floor Stand (Tripod base) S15 Baby Boom BB-44

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

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

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

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

REPLACEMENT PARTS

Cartridge

Screen and Grille RK219G Switch

TELEPHONE:

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

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

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

(312) 866-2200

CABLE: SHUREMICRO

Printed

RK57S

R15

U.S.A.

SHURE-QUALITY IS OUR FIRST CONSIDERATION

Congratulations on the purchase of your new Shure microphone. It will serve you faithfully even in the most difficult circumstances. Because more than 50 years of experience with microphones has taught us one thing: they are not always used under ideal conditions. Far from it! So Shure develops, designs, builds, and tests them for the worst conditions we can imagine.

We know they'll be flung into equipment boxes after performances. We know they'll be called upon to function at humidity levels near 100%. We know they'll be left in the direct rays of the midday sun for hours, waiting for outdoor concerts to begin. Professional vocalists depend upon their microphones much as musicians depend upon their instruments, but many don't hesitate to throw their Shure microphones across the stage and down on the floor-violently -as part of their performance. They never give it a second thought. They know that Shure microphones shrug off abuse that would make others fail.

Shure reliability begins during the design stage. Shure has a staff of specialists whose sole function is to uncover any weaknesses before Shure microphones are put into quantity production. During the testing process, microphones are:

Heated at temperatures up to 85OC (185OF) often for entire days Frozen down to -46OC (-50°F) for half-hour periods during the heat

test Shaken from side to side, back and forth, and up and down,

simultaneously and violently Subjected to steamy humidities-up to 100% at room temperature

and 93% at Subjected to ultraviolet rays, salt sprays, alcohol, sand, and water And for good measure, dropped repeatedly 2 meters (6 ft) onto hard-

wood floors. That is our standard test procedure. All during production, units chosen at random are put through these same tests. Failure of any one microphone brings production to a halt until the original design requirements are again met.

That's why at Shure we say, quality is our first consideration. The purchasers of the millions of microphones bearing the name Shure during past years, and those now buying their first Shure microphone can rely on us to continue to follow the philosophy and policies that keep Shure microphones working dependably

Quality is our first consideration!

BASIC MICROPHONE TECHNIQUE

Good microphone technique will add to your effectiveness as a performer. Keep the following points in mind when using your Shure Professional Entertainer Microphone.

1. Maintain the proper distance from the microphone. When you want a

warm, full sound, get close to the microphone and lower your voice. For a wide open, driving sound, raise your voice and back away from the microphone to avoid overdriving the amplifier into distortion.

2. Don't change your distance from the microphone needlessly as this will affect the level of sound coming from the loudspeakers.

Your Shure PE Microphone is your link to the audience. Consider the microphone an instrument and develop your technique through Dractice.

FEEDBACK AND UNIDIRECTIONAL MICROPHONES

A performer's worst enemy in using a microphone is "feedback". This is a harsh hum, howl, or squeal that occurs when the microphone picks up sound from the loudspeakers, reamplifies and rebroadcasts it over and over again. This vicious circle results in feedback.

A unidirectional microphone aids in preventing feedback because it rejects sound that originates from the sides and rear. Sound pickup from the sides is reduced by about one half, and pickup from the rear is reduced by about nine tenths. You can demonstrate this reduction in pickup by repeating "Test one, two" or some other convenient phrase as you rotate the microphone from front to back.

Using unidirectional microphones close to the performer or instrument ensures that the direct sound will be much louder than the feedback-producing amplified sound. Because the amplifier gain can be turned up less to achieve the desired overall loudness, the amplified sound will likely remain below the volume that triggers feedback.

Other helps in preventing feedback are: to the sides as possible; be sure that the microphones point toward the performers and away from the loudspeakers; and make certain that any stage monitor speakers are positioned in front of the performers and face the insensitive rear of the microphone.

38OC (lOO°F)

year after year after year.

keep the loudspeaker as far

UNIDIRECTIONAL MICROPHONES, OMNIDIRECTIONAL MICROPHONES, AND PROXIMITY EFFECT

Because of their usefulness in reducing the likelihood of feedback, unidirectional microphones are best in sound reinforcement and public address; while omnidirectional microphones are best in recording where feedback problems do not arise, or for close-miking instruments and amplifiers.

When unidirectional microphones are used close to a vocalist or musical instrument, there is an increase in bass (low-frequency) output called proximity effect. At a distance of about 6mm crease is shown on the curve below.

Proximity effect can be used to improve your sound.

1. With vocalists, it increases warmth, giving a fuller quality to the voice.

2. With instruments, it provides a flat or boosted bass output without tone controls, simply by changing the distance between source and microphone; and close ing bass pickup of other instruments.

Most Shure unidirectional microphones are designed with a bass response that provides control at low frequencies yet still allows proximity effect to be used advantageously when desired. To employ proximity effect, you need to hear the amplified result. Just as you practice

your instrument, you will want to practice your microphone technique to get the precise sound you want. (A good way to hear the actual result of

proximity effect is to use monitor speakers or headphones if they are

available.)

Omnidirectional microphones do not exhibit proximity effect when

used

closeup. Because the response does not change with angle or distance from the performer, an omnidirectional microphone is valuable when the sound must stay the same for several performers positioned around the microphone, or for a performer who moves from place to place during a play or interview. But be aware of feedback problems that may occur if omnidirectional microphones are used when sound amplification is present.

CHOOSING A MICROPHONE EXTENSION CABLE

Low-impedance microphones can be used with practically unlimited lengths of cable with no added noise or high-frequency loss. Any Shure 2-conductor balanced cables (e.g., C25E or C25F TRIPLE-FLEXe, or C25J, C50J, or ClOOJ HI-FLEX) can be used as extension cables for Shure low-impedance microphones. These cables can also be used in any required lengths or combinations between a low-impedance microphone and the or between the microphone and an

High-impedance microphone cables are usually limited to to avoid high-frequency loss or possible noise pickup. If longer cables are needed with high-impedance microphones, use such Shure

impedance

quired distance. Then add the plug into the equipment. Adjust the treble control on the equipment to compensate for the high-frequency cable.

Look for the Shure Audio Connectionm for quality microphone cables. 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 retain 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, have it insured, and return it prepaid to:

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.

cables as the C25B, C25E, C25F or C20H to reach the re-

miking provides natural isolation by minimiz-

C25G Low-to-High-Impedance Cable-Transformer

A95UF Matching Transformer.

C20A or C15A high-impedance cable to

rolloff caused by the extra length of

Shure Brothers Incorporated Attention: Service Department 222 Hartrey Avenue Evanston, Illinois 60202-3696

('A

in.) a typical in-

6.lm (20 ft)

low-