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 special 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 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-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.)
HOW TO CONTROL FEEDBACK
A performer's number one enemy in using a microphone is
"feedback." 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 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 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 and 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 which 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 your voice and back
away from the microphone so that you do not over-
drive your amplifier to distortion.
2. Don't 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 technique to enhance your performance.
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 unnecessarily 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 input 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 not
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.
PHASING
To test two microphones 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. If 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-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. T o 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 Factory
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 disturbance. 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 amplifier 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 separate 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 type 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 down, 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
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 ENTERTAINER
MICROPHONES
MODEL PE588B-CN SPECIFICATIONS
Type: Dynamlc, Cardloid (Unldirect~onal)
Frequency
Response. 80 to 13.000 Hz (see F ~ g u r e1)
-20

-- I ' " ! i l "r " ' l

:0

m a m ma ,om., 2-
S.EOU*l * *In
FIGURE 1
Impedance: Microphone ratlng Impedance IS 150 ohms (170 ohms actual)
fcr connection to microphone Inputs rated at 19 to 300 ohms

Output Level
(at 1,000 Hz). Open Clrcutt Voltage* -82 0 dB
( 0 7 8 rnV)
Power Level" -60 5 dB
'0 dB = 1 volt per mlcrobar
"0 dB = 1 mllllwatt per 10 mlcrobars

Phasing: Posit~ve pressure on dtaphragm produces p o s l t ~ v e voltage

on Pin 2 (See Flgure 2 and Page 4 )
SWTtlf
lOTF-PO51TID11
ChRTRIOGL

n CONNECTOR WSLE AND RUG ASSEMSLY

'/CODED
TERMINAL
+
FIGURE 2
Swilch: 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-
t ~ g h t e nscrew

\
GUARANTEE
This Shure product is guaranteed i n 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 i s in lleu of any and all other guarantees or warrant~es, express or
implied, 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, return the unit to your dealer or Authorized Shure
Service Center l o r 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-
s ~ g n e d to mate w i t h furnished cable or Cannon XL series.
S w ~ t c h c r a f t A3 (Q.G.) serles or e q u ~ v a l e n t connector
Shock Mount: Internal rubber vibrat~on-isolator
Case: S ~ l v e r - f ~ n ~dsi eh castlng w i t h 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-
able, wlth professional t h r e e - p ~ n 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: A45
Line Matching
Transformer: A95 Series
Windscreen: A61 WS

REPLACEMENT PARTS
Cartridge: R8
Cable: C5l CN
Switch: RK81S
G r i l l e Assembly: RK82G
P l u g Element: RK40P

AREA C O D E 312,466-2200 CABLE SHUREMICRO

SOUND OF THE PROFESSIONALS@

H - 4 4
B
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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 ( U C ) and 3,240,883
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