MODEL
PESOSP
Slips out of swivel stand
adapter easily and quickly
for hand-held use
Your selection of a Shure SUPER-PRO Cardioid Microphone
will contribute significantly to the professional quality of
your performance. This ball-type microphone has a super
rugged steel
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, to reduce the pickup of
unwanted sounds either indoors or out-of-doors.
Your microphone 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 suppressed. This permits
a
greater working distance from the
microphone with minimal background sound pickup. The
PESOSP
also features instant usage with low- or highimpedance microphone inputs using the line matching
transformer supplied.
(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 posi-
tion 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-so they do not point toward the micro-
phone. 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
sopnd from the loudspeakers 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
SUPER-PROTM microphone, a Shure Feed-
back Controller is suggested.)
BASIC POINTS FOR PROFESSIONAL
MICROPHONE TECHNIQUE
Proper microphone technique will add to the overall ef-
fectiveness 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 prac-
tice 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
1.
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.
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
AlSPR Phase Reverser or inter-
change the wires connected to pins
2
and 3 of the connec-
tor. 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 microphone is supplied wired for low impedance for
connection to low-impedance microphone inputs (rated at
19 to
300
ohms). For instant change for connection to
high-impedance
(?4
in. phone jack) microphone inputs,
connect the supplied cable (or any number of additional
CS 1 CNs) to the low-impedance side of the furnished
A95FP Line Matching Transformer and plug the high-
impedance side
(%
in. phone plug) into the input.
For internal impedance change, remove male plug insert
by turning slotted setscrew inward (counterclockwise).
Disconnect two-terminal impedance selection socket from
rear of male insert, and reconnect socket in reverse posi-
tion so that pin
3
of male insert is inserted in socket
terminal
"H".
NOTE:
After following the above direc-
tions, the PESOSP with the supplied two-conductor
CSlCN
cable will be suitable for connection to high-impedance
inputs using three-pin professional audio connectors. For
direct connection to
1/4
in. phone jack inputs, replace the
CSICN cable with the CS-X: 6.lm
(20
ft) single-con-
ductor shielded with three-pin professional audio connector
(female) on microphone end and
'/4
in. phone plug on
equipment end.
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 microphones 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
without
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.
.,.
11,1,1
(.'II"IX,f
XI,
THE VITAL LINK
BETWEEN
YOU
AND
THE AUDIENCE
SHURE PROFESSIONAL ENTERTAINER
MICROPHONES
MODEL PESOSP SPECIFICATIONS
Type: Dynamic, Cardioid (Unidirectional)
Frequency
Response:
50
to
15,000
Hz (see Figure
1)
Impedance:
Output
Level
(at
1,000
Hz):
Phasing:
Switch:
i i
I llllllil l llllllll ll
rn
m
w
--.
m
-
--
FIGURE
1
Dual. Low: Microphone rating impedance is
150
ohms
(285
ohms actual) for connection to microphone inputs rated at
19
to
300
ohms.
High: Microphone impedance is "High" for
mnnection to
high-impedance microphone inputs.
Wired for low impedance
as
supplied. Instant conversion to
high impedance with furnished Line Matching Transformer
(Internal impedance change instructions on Page
4.)
IMPEDANCE
Low High
Open Circuit Voltage*
...........
-77.0
dB
-54.5
db
(.141
mV)
(1.89
mV)
..................
Power Level"
-57.5
dB
*O
dB = 1
volt per microbar
'*O
dB = 1
milliwatt per
10
microbars
Low Impedance: Positive pressure on diaphragm produces
positive voltage on Pin
2.
(See Figure 2 and Page
4.)
High Impedance: Positive pressure on diaphragm produces
positive voltage on Pin
1.
(See Figure 2 and Page 4.)
FIGURE
2
Built-in magnetic reed On-Off switch with lockplate installed
in unlocked position. To lock switch in On position, move
to On
posi:ion, loosen screw on lockplate, and turn lock-
plate
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 reraln proof of purchase date. This guarantee ~ncludes 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
He~ghts, Illinois 60004
If outside the
Un~ted States, return the unlt to your dealer or Authorized Shure
Service Center for repair. The unit will be returned to you prepaid
\
7
MODEL PESOSP SPECIFICATIONS (Continued)
Connector:
Equipped with professional three-pin audio connector
(maiel
designed tc mate with furnished cable or Cannon XL series.
Switchcraft A3
(Q.G.)
series, or equivalent connector.
Shock Mount: Internal rubber vibration-isolator
Swivel Adapter: Adjustable through 90" from
vertlcal to
horizontal,
to fit
546"-27 stand thread
Line Matching
Transformer:
Cable:
Net Weight:
Packaged Weight:
Provldes instant conversion of 19 to 300 ohm microphone
line to high-impedance. Equipped with
profsssional three-pin
audio connector (female) on low-impedance end and
'/a
in.
phone plug on high-impedance end.
7.6m (25 ft) two-conductor shielded, TRIPLE-FLEX@, detachable,
with profess~onal three-pin audio connectors (male
and female)
298 grams
(10'/z oz) less cable
1.8
kg
(4 Ib)
FURNISHED ACCESSORIES
Swivel Adapter: A256
Line Matching
Transformer:
A95FP
Carrying Case: 90M1404
OPTIONAL ACCESSORIES
Desk Stand:
Disconnect
Adapter:
Windscreen:
REPLACEMENT PARTS
Cartridge: R65
Cable: C51CN
Switch: RK106S
Grille Assembly: RK143G
Plug Element: RK40P
Case Assembly: RK168C
f
AREA
CODE
312/866-2200 CA
SOUND OF
THE
PROFESSIONALS@
03
SHURE BROTHERS
INC.
222
HARTREY AVENUE
EVANSTON, ILLINOIS
60204
U.S.A.
Copyright 1979 Printed in U.S.A.
Shure Brothers Inc.
U.S. Patents 3,132,713
27AI296 (SJ) and 3,240,883
8
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