Shure 1969 catalogue microphones public address

Page 1

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AND MIXERS"
FOR

PUBLIC ADDRE
AND TAPE
RECORDI

*and related circuitry produfls

Page 2

Selecting the Correct Microphone for

tiIE1{_t tint UP PATTERNS

UNlDlRECTlONAL

tmicmnhonet

WHAT IT IS

These microphones pick up sound mainly
from the front, while suppressing sound
and noise coming from the back. lhe most
generally useful unidirectional pick-up
pattern is the CARDIOID (meaning "heart.
shaped). This pattern will suppress rear
sounds at least 70% while picking up front
sound over a broad area. Sounds l20 to
l80 off-axis are almost entirely suppressed.

In addition to the Cardioids (the Unidyne
lV, Unidyne lll, Unldyne ll, Unidyne A,
Unidyne B and the UniSphere Series of
unidirectional microphones) other Shure
unidirectional micmphones are described
as Super-Cardioid (Model 330).

WHERE TO USE N

the most commonly applied solution to
feedback problems. Greatly simplifies plan-
ning of sound installations. With the rear
of the microphone reiecting sound, the
microphone can be placed so that sound
projecting from the loudspeaker cannot
re-enter the microphone to generate feed-
back. Performers can work much further
away from unidirectional microphones than
with omnidirectional microphones.

Eflectively suppresses audience noises,
coughing, shuffling feet, etc. ideal for fixed
installation before an individual performer
or a small group. Pickup of large groups
can be efiected with multiple microphone
installation-

(microphone)
OMNtDlRECTlONAL .

BlDlRECTlONAL

(microphone)

STEP H
FREQUENCY RESPONSE

The fidelity of reproduction afforded by
the microphone depends on three factors
of the frequency response:

I. Response Range. in general, the more
extended the frequency response of

Use

Response Range

these microphones pick up sound more or
less evenly from all directions. In efiect.
they are nondirectionai. They can be hand-
held, stand-mounted, or worn around the
neck. This type includes the greatest trum-
ber of microphones, together with the wid-
est price range and response characteristics.

Pick up sound from front and back while
suppressing sound from sides. top and
bottom.

the micrOphone is, the more faithtui
the reproduction will be.

2. Smoothness. A high fidelity microphone
is made so that no conspicuous abrupt
peaks or valleys of output occur at any
frequency. This results in an essentially
smooth frequency response curve.

3. Flatness. A flat frequency response
curve is one showing output remain-
ing at approximately the same level
throughout the frequencv range. This
means that the micrOphone responds

RESPONSE REQUIREMENTS

Response Character

Recording, broadcasting, highest quality
public address for music and voice

High quality public address for voice and
music

- - - --- ... -.~._- __.- --

Good tor general applications where leedbock
or ouo'ience noise is no greol problem. Ex-
tremely versatile. Practically all ultro~sum
"probe" type microphones me omnidirectional
units? they are ideal tor wolk-oround" and
interview Situations. (Note: Shure also makes
unidirectional "probes ' (See page A)

Ideally suited for use when two perform-
ers, or groups, are on opposite sides of
microphone. Allows the same freedom 0
movement as unidirectional microphones,
while solving difficult feedback problems
such as rooms with "hard" ceilings or
where loudspeakers are mounted over or
to the side of the microphone.

equally well at any frequency. an es-
sential of high fidelity reproduction.

While the microphone with the widest
range, smoothest and flattest frequency
response curve will give the highest fidel-
ity, it is not necessarily the best micro-
phone for every application. [For example.
a shaped (peaked) response is often de-
vised to achieve added "presence for
microphones used in paging and communi-
catiOns systems] Frequency response re
quired for various applications is sum-
marized below:

Possible Microphones

50-l5,000 Hz Flat

Smooth
7040.000 Hz Flat or slightly rising

No prominent peaks

indoor paging systems and public-address
systems for voice use

Ribbon
Dynamic

Ribbon
Dynamic
Some crystals or ceramics

200-5,000 Hz Slightly rising

No prominent peaks

Outdoor paging systems or systems in
noisy locations. For Voice use when
maximum intelligibility required.

2 (6;, 1968 Share Brothers, inc.

BOO-3,500 Hz Rising
A peak in the 2000 to
3500 Hz region is often

desirable

above plus
Some Controlled
Magnetics

Controiled Magnetic
Dynamic

Carbon

Some Ceramics