Shure PE565 User manual

~)E~ PE56.5 S L’KC I FIC AT1
Type : Dynamic, C’ardioid (Unidirectional).
Frequency
Respome : 50 to 15,000 H7 (cps).
Impedance: High.
Output Level:
55 db ( 1.76 niv) below 1 volt per niicr o-
bar.
Shock Mount: Internal Vihration-Isoldtion unit of rub-
ber construction
Chrome-plated, die-c‘ist
md steel mesh
grille.
(’ase :
Net Weight: 10%. ounces (298 grams).
C hie: Model C5-4, 20-foot (6 1 m) one-
conductor, shielded, with connector and
\tandard phone plug attached.
Swivel Adapter: Model A25B positive action to fit %‘‘-21
stand thread.
GUARANTEE: Each microphone is guaranteed to be
free from electrical and mechanical defects for a period
of one year trom date ot shipment from factory, provided
all Instructions are complied with fully. In case of damage,
return the microphone to the factory for repairs Our
e is voided if the microphone IS subjected to xci-
tl-ure
or if the cdse 15 opened.
222 Hartrey Avenue
Evanston, Illinois 60204
USA
Copyright 1966
Shure Brothers, liic
27A383 (3-66)
Printed in U 8 A
U 5 Patent 3,132,713
Your selection of a Shure Unisphere
contribute significantly to
the p
performance. This ball-type mi
screen with
a special filter whic
wind, blast and “pop” (explosive breath sounds).
Thi\
feature allows you to work as close to the microphone a5
you wish, either indoors or out-of-doors.
Another feature of your unidirectiona~ micr[~phone 15
that it effectively controls feedback (that very annoying
loudrpeaker “rqueal”) because
it picks up round only from
the front
of the ~icrophone. Unwanted audience noise or
other nokes occurring at rear
of the microphone are
eliminated
or wppressed T allows you to work at sig-
~ii~ean~lygreater distances from your niicro
with n~~n-d~rectional (oninid tional) ~i~icr~~phoner, with-
out picking up ~~b~estIo~ia1b ground round or See~bask

is “feedback.” This is a harsh, shrill squeal which occurs
when the microphone picks up sound from the loudspeak-
ers, re-amplifies and rebroadcasts it over and over again.
But take heart, you have already taken the best possible
step to defeat feedback by selecting
a Shure Unisphere
Microphone. The unidirectional (frontal pickup) charac-
teristics
of the microphone are valuable in rejecting the
sound from the loudspeakers
so that feedback does not
occur.
Another factor to remember in the prevention
of feedback
is the position
ot the loudspeakers in relation to the micro-
phone. Even with a Unisphere Microphone, feedback can
occur if the front (live) end of the microphone picks up
sufficient sound coming
t rom loudspeakers. Keep the
loudspeakers
as far to the sides as possible-and so they
do not point toward the front of the microphone. Wheri-
ever possible, it is good practice to keep the microphone
between the performer and the loiid\peakers.
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
turning down the amplifier volume control and working
closer to the microphone.
microphone technique will add to the over-all effectiveness
with which you project yourself
to your audience. Keep
owing points in mind when using the microphone:
ntain the proper distance from the microphone.
en 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
your distance from the micro-
ct the
level of sound coming
erdrive your amplifier
to distortion.
3. Consider the microphone as an instrument and prac-
tice your technique to enhance your performance.
USING MORE THAN ONE MIC
It will often be desirable for a group to use a separate
microphone for each individual performer.
In this case,
the following points should he remembered.
1. It is best if the microphones are individually controlled
at the amplifier for volume,
or through a separate
microphone mixer.
If this is not possible, it is desirable
that each performer
use the saine type and model of
inicrophone so that the performance of the group as
a whole will he “balanced.”
2. Check the placement of the microphones with relation
to loudspeakers (as mentioned before)
so that feed-
back is minimized.
Your Shure Microphone
is ruggedly built and should give
you years
of uninterrupted service; however, remember
that it is
a sensitive electronic instrument. Avoid dropping
the unit,
or subjecting it to unnecessary 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.
(~I~~Cr~-LIST IZ
1. Check microphone connector-is It plugged into the
high impedance input
of the mplifier”
2. Check microphone cable connector\ to niicrophonc ‘tnd
to amplifier-are they tightly plugged in)
3. Check amplifier.
a.
Is it turned on‘)
b.
Is volume control for microphone turned up’
If microphone still does not appear to he operating C hech
microphone on
a spare ccible. It microphone \till doe\ not
appear
to be operating, have unit checked by your Shrrie
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