Shure_PE588B_User_Guide 电路图.pdf

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1、6 MODEL PE588B-CN UNISPHEREO B Slips out of swivel stand adapter, easily and quickly, I for hand-held use Your selection of a Shure UNISPHERE Cardioid Micro- phone will contribute significantly to the professional quality of your performance. This ball-type microphone has a wire-mesh screen with a s

2、pecial filter which provides protection from wind, blast and pop (explosive breath sounds). This feature allows you to work as close to the I microphone as you wish, either indoors or out-of-doors. Another feature of your unidirectional microphone is that it effectively controls feedback (that very

3、annoying loudspeaker squeal) because it picks up sound only from the front of the microphone. Unwanted audience noise or other noises occurring at the rear of the microphone are eliminated or suppressed. This allows you to work at sig- nificantly greater distances from your microphone than with non-

4、directional (omnidirectional) microphones, with- out picking up objectionable background sound or feedback. (See inside for infornzation on how to use your Shure Microphone more effectively.) RadioFans.CN 收音机爱 好者资料库 HOW TO CONTROL FEEDBACK A performers number one enemy in using a microphone is feedb

5、ack. This is a harsh hum, howl or squeal which oc- curs 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

6、 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

7、 they are posi- tioned 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 sound from the loudspeakers may bounce back into the microphone and create feedback. Solve this problem by turning down the amplifier volume control an

8、d working closer to the microphone. (Important Note: If you cannot solve the feedback prob- lem with your UNISPHEREB B microphone, a Shure Feedback Controller is suggested.) BASIC POINTS FOR PROFESSIONAL MICROPHONE TECHNIQUE Proper microphone technique will add to the overall ef- fectiveness with wh

9、ich 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 you

10、r voice and back away from the microphone so that you do not over- drive your amplifier to distortion. 2. Dont change your distance from the nlicrophone needlessly, as this will affect the level of sound coming from the loudspeakers. 3. Consider the microphone as an instrument and prac- tice your te

11、chnique to enhance your performance. RadioFans.CN 收音机爱 好者资料库 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 micro- phone, or subjecting it to u

12、nnecessarily 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 inpu

13、t 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 then does n

14、ot 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. RadioFans.CN 收音机爱 好者资料库 PHASING To test two mi

15、crophones andlor 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. I

16、f 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

17、-impedance microphone cable, either use a Shure AISPR 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 Fa

18、ctory Service Department, or other qualified service personnel. IMPEDANCE Your microphone is wired for low impedance for connec- tion to low-impedance microphone inputs (rated at 19 to 300 ohms). Low impedance is recommended where long cable lengths are required or under conditions of severe hum dis

19、turbance. The permissible cable length is practical- ly unlimited since neither response nor level is appreciably affected by long cables. Shure Model A95 Series Line Matching Transformers are available for use in those cases where a low-impedance microphone line is desirable but the associated ampl

20、ifier or mixer has a high-impedance input. These transformers provide a proper impedance match between a 19 to 300 ohm microphone line and a high-impedance input, and are available with various in- put and output connectors. USING MORE THAN ONE MICROPHONE It is often desirable for a group to use a s

21、eparate micro- phone 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 sarne t

22、ype and rnodel of microphone so that the group as a whole wjil1 he halanced. 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 dow

23、n, unused micro- phones 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

24、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. THE VITAL LINK BETWEEN YOU AND THE AUDIENCE SHURE PROFESSIONAL ENTERTAINE

25、R MICROPHONES MODEL PE588B-CN SPECIFICATIONS Type: Dynamlc, Cardloid (Unldirectonal) Frequency Response. 80 to 13.000 Hz (see Fgure 1) -20 - I !ill r : 0 m am ma S.EOU*l * *In ,om., 2 - FIGURE 1 Impedance: Microphone ratlng Impedance IS 150 ohms (170 ohms actual) fcr connection to microphone Inputs

26、rated at 19 to 300 ohms Output Level (at 1,000 Hz). Open Clrcutt Voltage* -82 0 dB (078 rnV) Power Level -60 5 dB 0 dB = 1 volt per mlcrobar 0 dB = 1 mllllwatt per 10 mlcrobars Phasing: Positve pressure on dtaphragm produces posltve voltage on Pin 2 (See Flgure 2 and Page 4 ) SWTtlf lOTF-PO51TID11 C

27、hRTRIOGL n CONNECTOR WSLE AND R U G ASSEMSLY Swilch: /CODED + TERMINAL FIGURE 2 Built-in On-Off switch with lockplate installed in unlocked position To lock swltch in On position, move to On position. loosen screw on lockplate, and turn lockplate 180. Re- tghten screw GUARANTEE This Shure product is

28、 guaranteed in normal use to be free from electrical and mechanical defects for a period of one year from date of purchase. Please re- rain proof of purchase date. This guarantee includes all parts and labor. Thls guarantee is in lleu of any and all other guarantees or warrantes, express or implied,

29、 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 Heights, Illinois 60004 If outside the Unlted States, retur

30、n the unit to your dealer or Authorized Shure Service Center lor repair. The unit will be returned to you prepaid. 7 J MODEL PE588B-CN SPECIFICATIONS (Continued) Connector: Equipped wlth professional three-pin audio connector de- sgned to mate with furnished cable or Cannon XL series. Swtchcraft A3

31、(Q.G.) serles or equvalent connector Shock Mount: Internal rubber vibraton-isolator Case: Slver-fnsh die castlng with steel mesh grille Swivel Adapter: Adjustable through 90 from vertical to horizontal, to f t 5/B1-27 stand thread Cable: 7.61n (25 ft) two-conductor shielded, Trlple-Flex, detach- abl

32、e, wlth professional three-pn and three-socket audio connectors Net Weight: 340 grams (12 oz) less cable Packaged Weight: 1.68 kilograms (3 Ib, 11% oz) FURNISHED ACCESSORIES Swivel Adapter: A25B Carrying Case: 90M1404 OPTIONAL ACCESSORIES Desk Stand: S33B, S37A, 5388, S39A, S40A Disconnect Adapter:

33、A45 Line Matching Transformer: A95 Series Windscreen: A61 WS REPLACEMENT PARTS Cartridge: R8 Cable: C5l CN Switch: RK81S Grille Assembly: RK82G Plug Element: RK40P AREA CODE 312,466-2200 CABLE SHUREMICRO SOUND OF THE PROFESSIONALS H - 4 4 B 8 SHURE BROTHERS INC. 222 HARTREY AVENUE EVANSTON, ILLINOIS 60204 U.S.A. Copyright 1981 Printed in U.S A. Shure Brothers Inc. U.S. Patents 3,132,713 27A1665 (UC) and 3,240,883 8