Shure 1979 catalogue microphone

Page 1

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For publlc oddrgss, 33" i _
tape recording 9nd
communications.

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Selecting the Correct Shure Microphone
For the Application .......................... 2-3

Unidyne Unidirectional Dynamic Microphones .4. 5. 6

Unisphere Unidirectional Dynamic Microphones .7-8

Ribbon Microphones .......................... 9
Omnidirectional Microphones ........ '1 O, 11, 12. 13
Paging Microphones ......................... 12
Mobile Communication Microphones ........ 14. 15
Noise-Canceling Microphones .............. 15, 18
Base Station Microphones .................... I6
"Ham and CB Microphones .................. 16
Microphone Modifiers ........................ 21
Microphone Accessories ................... 22. 23
Microphone Cases ........................... 23
Studio Microphones ....................... 9, 20
Accelerometers ............................. 19
Analyzer Microphones ........................ 18
l..ava|ierMicrophones .................... 5. 11,20
Gold Microphones ........................... 24
Microphones with Attached Plugs .............. 24

UHIDIRECTIOIIAL

l

(microphone)

OMNIDIRECTIOIIAL

(microphone)

BIDIRECTIONAL

(microphone)

STEP I/PICK-UP PATTERNS

WHAT IT 18

These microphones pick up sound mainly from the
front. while suppressing sounds and noise coming
from the back. The most generally useful unidirec-
tional pick-up pattern is the CARDIOID (meaning
"heartshaped"). This pattern will suppress rear sounds
at least 70% while picking up front sound over a broad
area. Sounds 120° to 1800 off-axis are almost entirely
suppressed.

In addition to the Cardioids (the Unidyne 1 IV.
Unidyne Ill. Unidyne ll. Unidyne A. Unidyne B. and
the Unisphere" Series of unidirectional microphones)
other Shure unidirectional microphones are described
as Super-Cardioid (Model 330).

WHERE TO USE IT

The most commonly applied solution to feedback
problems. Greatly simplifies planning of sound instal-
lations. With the rear of the microphone rejecting
sound. the microphone can be placed so that sound
projecting from the loudspeaker cannot re-enter the
microphone to generate feedback. Performers can
work much further away from unidirectional micro-
phones than with omnidirectional microphones.

Effectively 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 effected with multiple microphone in-
stallation.

WHAT IT 18

These microphones pick up sound more-or-Iess
evenly from all directions. In effect. they are nondirec-
tional. They can be hand-held. stand-mounted, or
worn around the neck. This type includes the greatest
number of microphones, together with the widest
price range and response characteristics.

WHERE TO USE IT

Good for general applications where feedback or
audience noise is no great problem. Extremely ver-
satile. Practically all ultra-slim "probe" type micro-
phones are omnidirectional units-they are ideal for
walk~around" and interview situations.

WHAT IT IS

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

WHERE TO USE IT

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