Shure Model PE 585- excellent

Connector: Shock Mount: Case:
Swivel Adapter:
Cable:
Net Weight: Packaged Weight:
Equipped with Amphenol MC1 type connector
Internal rubber vibration-isolator
Chrome-plated die casting and steel mesh grille
Adjustable through 90” from vertical to horizontal, to ftt 5/,”-27 stand thread
6 l m (20 ft) single-conductor shielded cable, equipped with Amphenol MC1 type connector on microphone end and 1/4 in phone plug on equipment end
383 grams (13% 02) less cable 1 16 kilograms (2 Ib, 9 02)

——-Used and in excellent condition both cosmetically and sounds Fabulous!———-

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 Lip 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 lolidspeakers 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 UNISPHEREA~ 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 microphone 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 Model PE585 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 low- impedance input and are supplied with various input and output connectors.