Shure PE47 Series User manual

PROFESSIONAL ENTERTAINER
MODEL PE47 TONE-SHAPING
UNIDIRECTIONAL
DYNAMIC MICROPHONES
PE47L-LC: Supplied without cable
PE47L-CN: Supplied with C25B Cable
The PE47 Series adapts to the changing requirements of the profes-
sional entertainer. Tone-shaping switches produce four different fre-
quency response selections. You get four microphones in one! This
selectable response can emphasize the best characteristics of any
voice or instrument. High output provides excellent gain before feed-
back.Thesetop-quality m~crophonessupply the mostdemanded perfor-
mance features.
Unidirectional (cardioid) polar pattern minimizes feedback in live
performance
Tone-shaping switches for individually selectable response
Vocals: BASS Normal
(-); TREBLE Boost (A )
Instruments: BASS Cut ( r); TREBLE Flat (-)
All switches recessed to prevent accidental changes
Quiet, reliable, miniature On-Off switch
Unique popfilter grille reduces "ppopping" and breath noise
Effective internal shock mount for low handling noise
Transformerless, high-output, low-impedance cartridge minimizes
magnetic hum pickup
Nonreflective dark gray finish for professional appearance onstage
Extremely rugged and reliable
Backed by the Shure guarantee
SPECIFICATIONS
TYpe
Dynamic
Frequency Response
50 to 15,000 Hz with selectable Bass and Treble Tone Shaping (see
Figure 1)
TYPICAL FREQUENCY RESPONSE
FIGURE 1
Polar Pattern
Cardioid (unidirectional) See Figure 2
..... ,Z,HZ ,OO"Z
- 200s "2
--.wo "Z
..... .OOQ sr
TYPICA~POLAR PATTERNS
FIGURE 2
Impedance
Low (150 ohms rating)
Output Level (at 1,000 Hz)
Open Circuit Voltage .....
'0 dB = 1Vlhbar
Power Level" ............................. -57.5dB
"0 dB = 1 mWllO hbar
Phasing
Positive pressureondiaphragm produces positive voltage on pin2of
connectors
CARTRIDGE ON-OFF 3-PIN PROFESSIONAL AUDIO CONNECTORS
CABLE I- CN ONLY)
FIGURE 3
Switch
Built-in recessed On-Off switch, and recessed Tone-Shaping swit-
ches: BASS-Normallcut
(- ,r) and TREBLE-BoostlFlat ( A , - )
(see Figures 1 and 4)
Cable
PE47L-LC: supplied without cable.
PE47L-CN: 7.6m (25 ft) 2-conductor shielded with 3-socketand3-pin
professional audio connectors
Case
Dark gray with dark gray grille and black screen
Cartridge Shock Mount
Internal rubber vibration isolator
Net Weight (less cable)
297 grams (10'/2 oz)
Swivel Adapter
Positive action, adjustable from vertical to horizontal, for mounting
on 5/s"-27 thread
FURNISHED ACCESSORIES
Swivel Adapter ........................................ .A250
PaddedGigBag ....................................... 26A07
OPTIONAL ACCESSORIES
Windscreen ..................................... AlWSSeries
FloorStand (Weightedbase) ............................ MS-1OC
FloorStand(Tripodbase) .................................. S15
............................................ BabyBoom 86-44
REPLACEMENT PARTS
Cartridge .............................................. R118
..................................... Screenand Grille RK223G
....................................... Cable(PE47L-CN) C25B
USING THE TONE-SHAPING SWITCHES
The BASS Cut switch compensates for the incre-rsed low-frequency
output (proximityeffect)that occurswhen the microphone isused close
to the mouth. The graph below shows the output when the microphone
is50 mm
(2 in.) from the mouthwith the BASSswitch inNormal (- )and
Cut
(r) positions.
I I I lllllllll I
FIGURE 4
Sometimes the bass boost due to proximity isdesirable, and then the
switch should be in Normal
( - ). For a less bassy sound, move the
switch to Cut
(r ).
It is usually preferable that instruments sound as natural as possible.
For instrument pickup, therefore, the TREBLE switch is moved to Flat
( - ). For maximum intelligibility of vocals, however, a rise at mid to
high frequencies is desirable. Therefore, for voice pickup, usethe TRE-
BLE switch in Boost
(
).
These are all only suggestions. For best results, always experiment
and listen. Then you will be sure to get exactly the sound you want.
222 HARTREY AVENUE, EVANSTON, ILLINOIS60204 U.S.A. TELEPHONE: [phone] CABLE: SHUREMICRO
Copyright 1985, Shure Brothers Inc.
27A2125 (EE) Printed in U.S.A.

SHURE-QUALITY ISOUR FIRST CONSIDERATION
Congratulations on the purchase of your new Shure microphone. it
will serve you faithfully even in the most difficult circumstances.
Becausemore than 50 years of experience with microphoneshastaught
us one thing: they are not always used under ideal conditions. Far
from it!SoShure develops, designs, builds, and tests them for theworst
conditions we can imagine.
We know they'll be flung into equipment boxes after performances.
We know they'll becalled upontofunctionat 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 in-
struments, but many don't hesitate to throw their Shure microphones
across the stage and down on the floor-violently -as part of their per-
formance. 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 to85OC (185OF) often for entire days
Frozendown to -46OC (-50°F) for half-hourperiodsduring 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 3E°C (lOO°F)
Subjected to ultraviolet rays, salt sprays, alcohol, sand, and water
And for good measure,dropped repeatedly 2 meters (6ft)onto hard-
wood floors.
That isour standard test procedure. All during production, unitschosen
at random are put through these same tests. Failure of any one
microphone brings production to a halt until the original design re-
quirements are again met.
That's why at Shurewe say, quality isour first consideration.The pur-
chasers of the miliions of microphones bearing the name Shure during
past years, and those now buying their.first Shure microphone can rely
on us tocontinue tofollow the philosophy and policies that keep Shure
microphones working dependably-year after year after year.
Quality is our first consideration!
BASIC MICROPHONETECHNIQUE
Good microphone technique will add to your effectiveness as a per-
former. Keepthe following points inmindwhen usingyourshure Profes-
sional Entertainer Microphone.
1. Maintainthe proper distancefrom 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.
3. Your Shure PE Microphone isyour link tothe audience. Consider the
microphone an instrument and develop your technique through
practice.
FEEDBACK AND UNIDIRECTIONALMICROPHONES
A performer's worst enemy inusinga microphoneis"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 instru-
ment ensures that the direct sound will be much louder than the
feedback-producingamplifiedsound. Becausethe 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 preventingfeedback are: keep the loudspeaker as far
tothe sides as possible; be sure that the microphonespoint toward the
performers and away from the loudspeakers; and makecertain that any
stage monitor speakers are positioned in front of the performers and
face the insensitve rear of the microphone.
UNIDIRECTIONALMICROPHONES, OMNIDIRECTIONAL
MICROPHONES, AND PROXIMITY EFFECT
Because of their usefulness in reducing the likelihood of feedback,
unidirectional microphones are best insound 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
(% in.) a typical in-
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 miking provides natural isolation by minimiz-
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 prox-
imitv effect to be used advantaaeouslv when desired. To employ prox-
. ..
imity effect, you need to hear the ampiified result. Just as you practice
your instrument.you will want topractice your microphonetechnique to
$et the precisesound you want. (A goodway toheartheactual result of
proximity effect is touse 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 isvaluable
when the sound must stay the same for several performers positioned
around the microphone, or for a performer who moves from place to
placeduring a play or interview. Butbeaware of feedback problemsthat
may occur if omnidirectional microphones are used when sound
amplification is present.
CHOOSING A MICROPHONE EXTENSIONCABLE
Low-impedance microphones can be used with practically unlimited
lengths of cable with no added noiseor high-frequency loss. Any Shure
2-conductor balanced cables (e.g., C25B, C25E, C25F, C50F, ClOOF, or
C20HI can be used as extension cables for Shure low-impedance
microphones. These cables can also be used inany required lengths or
combinations betweena low-impedance microphoneandtheC25G Low-
to-High-Impedancecable-~ransformeror between the microphone and
an A95UF Matching Transformer.
High-impedance microphonecables are usually limitedto6.lm(20ft)
to avoid high-frequency loss or possible noise pickup. If longer cables
are neededwith high-impedancemicrophones, use such Shure cables
as the C25B, C25E, C25F or C20H to reach the required distance. Then
add the C20A to plug into the equipment. Adjust the treble control on
the equipment to compensate for the high-frequencyrolloff caused by
the extra length of cable.
Look for the ShureAudio ConnectionNfor quality microphonecables.
GUARANTEE
This Shure product is guaranteed in normal use to be free from elec-
trical and mechanical defects for a periodof one year from date of pur-
chase. Pleaseretain proof of purchase date. This guarantee includes all
parts and labor. This guarantee isinlieuof any and allother 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:
Shure Brothers Incorporated
Attention: Service Department
222 Hartrey Avenue
Evanston, Illinois 60204
If outside the UnitedStates, return the unit toyour dealer or Authorized
ShureService Center for repair.The unit will be returned toyou prepaid.