Shure_PE15_User_Guide 电路图.pdf

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1、PROFESSIONAL ENTERTAINER MODEL PE15 UNIDIRECTIONAL DYNAMIC MICROPHONES PE15H-LC:High impedance Supplied without cable PE15L-LC: Low impedance k PE15H-C: High impedance - Supplied with C20A Cable PE15L-CN: Low impedance - Supplied with C25B Cable The PE15 Series offers the most desirable features for

2、 the professional entertainer. Unidirectional (cardioid) pickup pattern minimizes feed- back in live performance Wide frequency response provides clean and natural reproduction of voice and instruments Ball-type grille reduces p-popping and excessive breath noise when used close up Shock-mounted car

3、tridge reduces handling noise w Lockable On-Off switch Nonreflective dark gray finish for professional appearance onstage Rugged, reliable, and backed by the Shure guarantee SPECIFICATIONS Type Dynamic Frequency Response 80 to 15,000 Hz (see Figure 1) . F i 0 1 m V.PMw2. 3 smz TYPICAL FREQUENCY RESP

4、ONSE FIGURE 1 Polar Pattern Cardioid (unidirectional) See Figure 2 TYPICAL POLAR PATTERNS FIGURE 2 Impedance PEl5H-LC, PE15H-C: High (greater than 30 kilohms) PEl5L-LC, PE15L-CN: Low (150 ohms rating) Output Level (at 1,000 Hz) IMPEDANCE High Low Open Circuit Voltage* . -59.5 dB -82.0 dB 0 dB = 1Vlp

5、bar (1.1 mV) (.08 mV) . Power Level* -60.5 dB *O dB = 1 mWllO pbar Phasing PE15H-LC, PE15H-C: Positive pressure on diaphragm pro- duces positive voltage on pin 1 of connectors and on sleeve of phone plug PE15L-LC, PE15L-CN: Positive pressure on diaphragm pro- duces positive voltage on pin 2 of conne

6、ctors CARTRIDGE SWITCH 3-PIN PROFESSIONAL CABLEI-C ONLY) PHONE (OFF POSITION1 AUDIO CONNECTORS PLUG TERMINAL PEl5H CARTRIDGE SWITCH 3-PIN PROFESSIONAL AUDIO CONNECTORS CODED (OFF POSITION) CABLE (-CN ONLY1 I BLUE /I BLACK 1 PE15L FIGURE 3 Switch Built-in On-Off switch with lockplate. To lock switch

7、On, remove screw and turn lockplate 180. Reassemble and tighten screw Cable PE15H-LC, PE15L-LC: supplied without cable PE15H-C: 6.lm (20 ft) 1-conductor shielded with 3-socket professional audio connector and %-inch phone plug PE15L-CN: 7.6m (25 ft) 2-conductor shielded with 3-socket and 3-pin profe

8、ssional audio connectors Case Dark gray with dark gray screen and grille Cartridge Shock Mount Internal rubber vibration isolator Net Weight (less cable) 340 grams (12 oz) Swlvel Adapter Positive action, adjustable from vertical to horizontal, for mounting on 5/8-27 thread FURNISHED ACCESSORIES . Sw

9、ivel Adapter A25B . Padded Gig Bag 26A07 OPTIONAL ACCESSORIES . Windscreen A61 WS Series . Floor Stand (Weighted base) MS-1OC . Floor Stand (Tripod base) S15 . Baby Boom BB-44 REPLACEMENT PARTS . Cartridge R8 . Screen and Grille RK220G . Switch RK57S . Cable (PE15H-C) C20A . Cable (PE15L-CN) C25B 22

10、2 HARTREY AVE. EVANSTON, IL, 60204 U.S.A. AREA CODE 3121866.2200 CABLE: SHUREMICRO TWX: 910-231-0048 TELEX: 72-4381 Copyright 1984, Shure Brothers Inc. 27Al756 (DC) Printed in U.S.A. RadioFans.CN 收音机爱 好者资料库 SHURE-QUALITY IS OUR FIRST CONSIDERATION Congratulations on the purchase of your new Shure mi

11、crophone. it will serve you faithfully even in the most difficult circumstances. Because more than 50 years of experience with microphones has taught us one thing: they are not always used under ideal conditions. Far from it! So Shure develops, designs, builds, and tests them for the worst condition

12、s we can imagine. We know theyll be flung into equipment boxes after performances. We know theyll be called upon to function at humidity levels near 100%. We know theyll be left in the direct rays of the midday sun for hours, waiting for outdoor concerts to begin. Professional vocalists depend upon

13、their microphones much as musicians depend upon their in- struments, but many dont hesitate to throw thew 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 woul

14、d 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 to 85OC (185OF) of

15、ten for entire days Frozen down to -46OC (-50) for half-hour periods during 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 38OC (lOOF) Subjected to ultraviolet rays, salt s

16、prays, alcohol, sand, and water And for good measure, dropped repeatedly 2 meters (6 ft) onto hard- wood 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 or

17、iginal design re- quirements are again met. Thats 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 a

18、nd policies that keep Shure microphones working dependably -year after year after year. Quality is our first consideration! BASIC MICROPHONE TECHNIQUE Good microphone technique will add to your effectiveness as a per- former. Keep the following points in mind when using your Shure Profes- sional Ent

19、ertainer Microphone. 1. Maintain the proper distance from 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. Dont

20、 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 MICROPHON

21、ES A performers worst enemy in using a microphone is 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

22、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 p

23、hrase 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-producing amplified sound. Because the amplifier gain can be turned up less to achieve the desired overal

24、l loudness, the amplified sound will likely remain below the volume that triggers feedback. Other helps in preventing feedback are: keep the loudspeaker as far to the sides as possible; be sure that the microphones point toward the performers and away from the loudspeakers; and make certain that any

25、 stage monitor speakers are positioned in front of the performers and face the insensitve rear of the microphone. UNIDIRECTIONAL MICROPHONES, OMNIDIRECTIONAL MICROPHONES. AND PROXIMITY EFFECT Because of their usefulness in reducing the likelihood of feedback, unidirectional microphones are best in s

26、ound 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-f

27、requency) output called proximity effect. At a distance of about 6mm (Ih in.) a typical in- crease is shown on the curve below. I i i iiiiiiii i illiiiil . . I TYPICAL . . . mrmwv IN rmz Proximity effect can be used to improve your sound. 1. With vocalists, it increases warmth, giving a fuller quali

28、ty to the voice. 2. With instruments, it provides a flat or boosted bass output without tone controls, smply 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

29、 designed with a bass response that provides control at low frequencies yet still allows prox- imity effect to be used advantageously when desired. To employ prox- imity effect, you need to hear the amplified result. Just as you practice your instrument, you will want to practice your microphone tec

30、hnique to get 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. Because the response does not change with angle or dista

31、nce 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 to place during a play or interview. But be aware of feedback problems that may occur if omnidirectiona

32、l microphones are used when sound amplification is present. CHOOSING A MICROPHONE EXTENSION CABLE Low-impedance microphones can be used with practically unlimited lengths of cable with no added noise or high-frequency loss. Any Shure 2-conductor balanced cables (e.g., C25B, C25E, C25F, C50F, ClOOF,

33、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. Hi

34、gh-impedance microphone cables are usually limited to 6.lm (20 ft) to avoid high-frequency loss or possible noise pickup. If longer cables are needed with high-impedance microphones, use such Shure cables as the C25B, C25E, C25F or C20H to reach the required distance. Then add the C20A to plug into

35、the equipment. Adjust the treble control on the equipment to compensate for the high-frequency rolloff caused by the extra length of cable. Look for the Shure Audio Connectionm for quality microphone cables. GUARANTEE This Shure product is guaranteed in normal use to be free from elec- trical and me

36、chanical defects for a period of one year from date of pur- chase. 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, and there shall be no recovery for any consequential or i

37、ncidental 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 United States, return the unit to your dealer or Authorized Shure Service Center for repair. The unit will be returned to you prepaid. RadioFans.CN 收音机爱 好者资料库