Shure PEISL-SP User manual

THE SOUND OF THE PROFESSIONALS ... WORLDWIM
MODEL PEISL-SP UNlDlRECTlONAL
DYNAMIC MICROPHONE
PE85L-SP Supplied with C25B Cable,
A95 Llne Matchlng Transformer and
A55M Cush~onedSwivel Adapter
Take an acoustlc designthat approaches the theoretical Idealand couple it
with avery effectlve popandwind filter inthe ball-typegrille.Then adda brand
new cushionedswlvel adapter that eliminates
mechanical now.Finally supply
a low-to-high impedance matching transformer and you have a complete
microphone system that is the professional'schoice for every occaslon and
every appl~cat~onThe PE85 has
~t all!
Unusually effectlve and uniform unidirectional [cardioid] pickup pattern
mlnlmlzesfeedback in live performance
w Very w~defrequency response, ideally shaped for both voice and in-
struments
w Ball-type pop-filter grille reduces "p-popping" and breath nolse
w Very effective internal shock mount minimizeshandling noise
w Cushioned shock-mount swivel adapter prevents transm~ssionof
microphone stand noise
High-output low-~mpedancecartridge
Low-to-High Impedance matchlng transformer supplied to permlt instant
attachment toany
microphone Inputwithout sacrificing cable length
w Silent, magnetic-reed On-Off switch with lockplate
Nonreflective dark gray finish for professional appearance onstage
Extremely rugged and rellable
w Backed by the Shure guarantee
Copyr~ght1982. Shure Brothers Inc
27A1803 (BF)

SPECIFICATIONS
Type
Dynamic
Frequency Response
50to 15,000 Hz [see Figure 1 ]
a
- +I0
6
g O
-10
20 50 100 1900 10,000 20,OW
FREWENCl IN HERTZ
FIGURE 1
Polar Pattern
Cardioid [unidirectional]
Impedance
Microphone: Low [I50ohms rating]
A95 Line Match~ngTransformer: High [greater than 30
kilohms]
Output Level [at 1,000 Hz]
MICROPHONE AS5
Open Circuit Voltage* . . . . . . . . -77.5 dB -56.0 dB
*O dB = IVlpbar [0.13mV] [I.6mV]
Power Level**
. . . . . . . . . . . . . . . . . . . . . . . - 57.5 dB
**0dB
= 1 mW110 pbar
Phasing
Posit~vepressure on diaphragm produces positive voltage on pin 2 of audio
connectors and on sleeve of phone plug
ON - OFF CARTRIDGE 3-PIN PROFESSIONAL AUDIO CONNECTORS
SWITCH
CODED CABLE
YELLOW YELLOW
BLUE
TRANSFORMER PHONE
n
PLUG
SLEEVE
BLACK
FIGURE 2

Switch
Built-in magnetic-reed On-Off switch with lockplate. To lock switch On,
remove screw and turn lockplate 1
80°. Reassembleand tighten screw.
Cartridge Shock Mount
Internal rubber vibration rsolator
Case
Dark gray with dark gray spherical screen
Cable
7.6m [25 ft] 2-conductor shielded with 3-socket and 3-pin professional
audio connectors
NetWeight [less cable]
298 grams [I0%oz]
Line Matching Transformer
Provides instant conversion of low-impedancemicrophone line tohigh im-
pedance; 3-socket professional audio connector on low-impedance end
and -inch phone plug on high-impedanceend.
Swivel Adapter
Noiseless, cushioned desrgn, positive action, adjustable from vertical to
hor~zontal,for mountrng % "-27 thread
FURNISHED ACCESSORIES
LineMatchrng Transformer A95 Series
SwivelAdapter A25B
CushionedSw~velAdapter A55M
PaddedGrg Bag 26A07
OPTIONAL ACCESSORIES
Windscreen ............................... A61WSSeries
Floor Stand [Weightedbase]
........................ MS-1OC
FloorStand [Tripod base]
............................ S15
BabyBoom .................................. BE44
REPLACEMENT PARTS
.......................................
Cartridge R120
................................
Switch .90D1725
........................................
Cable C25B
............................
ScreenandGrille RK225G

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. Because more
than 50yearsof experience with microphones hastaught usonething: 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 tothrow their Shure microphones across the stage and down
on the floor-violently-as part of their performance. They never give ita se-
condthought. They know that Shure microphones shrug off abusethat 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 attemperatures up to 85OC [I85OF] often for entire days
Frozendown to
-46OC [-50°F] for half-hour periods during the heat test
Shakenfromside to
s~de,back andforth, andup anddown, simultaneously
and violently
Subjected tosteamy humidities-up to 100%at room temperature and
93% at 3E°C
[I OO°F]
Subjected toultraviolet rays, salt sprays, alcohol, sand, and water
And for goodmeasure, droppedrepeatedly
2 meters [6 ft]ontohardwood
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 pur-
chasers 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 policiesthat keep Shure microphones
working dependably-year after year after year.
Quality is our first consideration!
BASIC MICROPHONE TECHNIQUE
Good microphone technique will add toyour effectiveness as a performer.
Keep the following points in mind when using your Shure Professional Enter-
tainer Microphone.
1.Maintain the proper distance from the microphone. When you want a
warm, full sound, get close tothe 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 is your link to the audience. Consider the
microphone an instrument and develop your technique through practice.

FEEDBACK AND UNIDIRECTIONAL MICROPHONES
A performer's worst enemy in using a microphone is "feedback". This isa
harsh hum, howl, or squeal that occurs when the microphone picks up sound
from the loudspeakers, reamplifies and rebroadcastsit over and over again.
This vicious circle results in feedback.
A unidirectional microphone aids in preventing feedback because it rejects
sound that originates fromthe sides and rear. Sound pickup fromthe sides is
reduced by about one half, and pickup fromthe rear is reduced by about nine
tenths.You candemonstrate this reductioninpickupby repeating "Test one,
two" or some other convenient phrase as you rotate the microphone from
front to back.
Usingunidirectional microphonesclose tothe performeror instrument en-
sures that the direct sound will be much louder than the feedback-producing
amplified sound. Because the amplifier gain can be turned up less toachieve
the desired overall loudness, the amplified sound will likely remain below the
volume that triggers feedback.
Other helps in preventing feedback are: keep the loudspeakers as far to
the sides as possible; be sure that the microphones point toward the per-
formers and away from the loudspeakers; and make certain that any stage
monitor speakers are positioned in front of the performers and face the in-
sensitve rear of the microphone.
UNIDIRECTIONAL MICROPHONES, OMNIDIRECTIONAL
MICROPHONES. AND PROXIMITY EFFECT
Becauseof thei; usefulness in reducing the likelihoodof feedback, unidirec-
tional microphones are bestin sound reinforcementand public address; wh~le
omnidirectional microphones are best in recording where feedback problems
do not arlse, or for close-m~kinginstruments and amplifiers.
When unidirectionalmicrophonesare used closetoavocalist or mus~calin-
strument, there is an increase in bass[low-frequency] output called proximity
effect. At adistance of about 25 mm [I in.] atypical increase is shown onthe
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 w~thouttone
controls, simply by changingthe distance betweensource andmicrophone;
and close miking provides natural isolation by minimizing bass pickup of
other instruments.

MostShure unidirectional microphones are designedwith a bass response
that provides control atlow frequencies yet still allows proximity effect to be
used advantageously when desired. To employ proximity effect, you need to
hear the amplifiedresult. Just as you practice your instrument, you w~llwant
topracticeyour microphone technique toget 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. Becausethe response does notchange 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 toplaceduring a play
or ~nterview.But be aware of feedback problems that may occur if omnidirec-
tional microphones are used when sound amplification is present.
CHOOSING A MICROPHONE EXTENSION CABLE
Low-impedancemicrophonescan be used with practically unlimited lengths
of cable with no added noise or high-frequency loss. Any Shure 2-conductor
balancedcables [e.g., C25B. C25E, C25F, C50F, C1OOF, or C20H] 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 C25G Low-to-High-Impedance Cable-
Transformer or between the microphone and an A95UF Matching
Transformer.
High-impedance microphone cables are usually limited to 6.
I m [20 ft] to
avoid high-frequency loss or possiblenoisepickup. If longer cables are needed
with high-impedance microphones, use such Shure cables as the C256,
C25E. C25F or C20Htoreachthe required distance. Then addthe C20Ato
plug into the equipment. Adjust the treble control on the equipment to com-
pensate for the high-frequency rolloff caused by the extra length of cable.
Look for the Shure
Audio Connection'" 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, andthere shall be no recovery for any consequentialor in-
cidental 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, Illinois60204
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.

Shure Brothers Inc.
Post Office Box
1582
Evanstoa, Illinois 60204
U.S.A.
PLACE
1 1
POST CARD

PROFESSIONAL ENTERTAINER
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NAME:
What will this microphone be used for? SOUND REINFORCEMENT [PA] RECORDING
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