PHASING To test two microphones 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 then1 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, they are out of phase. All microphones should be tested in this manner to insure that they are in phase with each other. 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 Factory Service Department, or other qualified service personnel.
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IMPEDANCE Your Model PE53 is a high-impedance microphone. If cable lengths over 7.6 meters ( 25 feet) are required, or if the microphone is to be connected to a low-impedance input, it will be necessary to transform the microphone line to low impedance. Shure Model A95 Series Line Matching Transformers are available for use in those cases. These transformers provide a proper impedance match between a high-impedance microphone line and a lowimpedance input and are supplied with various input and output connectors.
USING MORE THAN ONE MICROPHONE It is often desirable for a group to use a separate microphone 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 same type and model of microphone so that the group as a whole will be �balanced.� 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 microphones 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.
