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  • 8/23/2019 Basics Microphones Wireless



  • 8/23/2019 Basics Microphones Wireless


  • 8/23/2019 Basics Microphones Wireless



    We believe that the phrase legendary perormance should not be used lightly. At Shure,we take its connotations seriously and use past accomplishments as a oundation androadmap or the uture.

    We start by thinking about perormance as it relates to our products, and we work hardto ensure that they remain the gold standard o quality, reliability, and durability.

    Equally, we are always conscious o our perormance as an industry leader. We arecommitted to developing products that will provide the same high quality and reliabilitytomorrow as they do today.

    We also rate our perormance in the context o our relationships. Enabling others toulll their potential drives us to provide the best service, support and training possible.In this respect, we like to share our knowledge reely.

    Ultimately, our 84-year heritage has been built on a diverse and storied oundationo legendary perormances, and all o our activities revolve around optimizing yourperormance.


    For almost every application there are specially designed and optimized Shure micro-phones and wireless systems. This guide provides you a basic overview on how micro-phones, wireless systems and in-ear-monitoring systems work, what you need to con-sider to select the best product or your requirements, and how to set them up anduse them.



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    The asics7

    Transducer type 8Polar pattern/ directionality 9Frequency response 10

    How to fnd the right microphone 11What do you want to pick up? 11In which environment do you want to use the microphone? 11Do you preer a natural sound or an optimized soundor a specic application? 12

    Application and positioning 13Speech and vocals 13Electrical instruments 13Acoustic instruments 14

    Shure wired microphones at a glance 18Microphone overview 18Application guide 20


    Components 24Basics o RF 26A word on legality 26

    How to fnd the right wireless system 27Which application is the wireless system or? 27How many wireless systems will be in use at the same time and location? 28

    Application and positioning 29Signal path rom transmitter to receiver 29Receiver and antenna placement 30Power supply 31Setup snapshots 32

    Shure wireless systems at a glance 36Wireless systems 36Microphone options 38


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    The asics45

    What is monitoring? 45The advantages o in-ear-monitoring 45Where can I use in-ear-monitoring? 46Ways to go in-ear 47

    How to fnd the right in-ear-monitoring system 49Stereo or mono? 49Are you a stationary or mobile perormer? 49Can you share a monitor mix with others

    or do you require a personal monitor mix? 50How many channels need to operate simultaneously? 50

    Application and positioning 51RF remains RF 51Setup snapshots 52

    Shure in-ear-monitoring systems at a glance 54PSM Systems 54

    Earphones 56

    APPENDIXGlossary 60Imprint 63



  • 8/23/2019 Basics Microphones Wireless


  • 8/23/2019 Basics Microphones Wireless




    Microphones are used whenever the sound o a voice or an instrument needs to bereinorced either on stage, in a rehearsal room, at presentations or recording at homeor in a studio.

    There are three main technical characteristics that distinguish microphones rom eachother. These characteristics are important to understand to make the best choice oryour needs:

    Transducer typeHow does the microphone physically pick up the sound and convert it into an electricalsignal?

    Polar pattern/ directionalityFrom which direction does a microphone pick up the sound?

    Frequency responseIs the output level or sensitivity o all requencies the same?



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    Transducer Type

    The transducer is the heart o the microphone. It converts sound into an electricalsignal. The two most common transducer types are Dynamic and Condenser:


    Voice coil



    Dynamic Microphones Condenser Microphones

    Dynamic microphones employ a dia-phragm, a voice coil and a magnet. Thevoice coil is surrounded by a magneticeld and is attached to the rear o thediaphragm. The motion o the voice coilin this magnetic eld generates the elec-trical signal corresponding to the pickedup sound.

    Dynamic microphones have a relative-ly simple construction and are there-ore economical and rugged. They canhandle extremely high sound pressurelevels and are largely unaected by ex-treme temperatures or humidity.

    Condenser microphones are based onan electrically-charged diaphragm/ back-plate assembly which orms a sound-sensitive capacitor. When the diaphragmis set in motion through sound, thespace between the diaphragm and thebackplate is changing, and thereorethe capacity o the capacitor. This vari-ation in spacing produces the electrical


    All condenser microphones need tobe powered: either by batteries in themicrophone or by phantom power(c. Glossary p. 61) provided by a mixer.Condensers are more sensitive and canprovide a smoother, more natural sound,particularly at higher requencies.



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    Polar pattern/ directionality

    The polar pattern o a microphone is the sensitivity to sound relative to the direction orangle rom which the sound arrives, or easier worded how well the microphone hearssound rom dierent directions. The most common types o directionality are:

    OmnidirectionalThe omnidirectional microphone has equaloutput or sensitivity at all angles, this meansit picks up sound rom all directions. There-

    ore the microphone has not to be aimedin a certain direction which is helpul es-pecially with lavalier microphones. A disad-vantage is that an omni cannot be aimedaway rom undesired sources such as PAspeakers which may cause eedback.

    CardioidA cardioid microphone has the most sensi-tivity at the ront and is least sensitive at theback. It isolates rom unwanted ambientsound and is much more resistant to eed-back than omnidirectional microphones.That makes a cardioid microphone particu-larly suitable or loud stages.

    SupercardioidSupercardioid microphones oer a narrowerpickup than cardioids and a greater rejec-tion o ambient sound. But they also havesome pickup directly at the rear. Henceit is important to place monitor speakerscorrectly. Supercardioids are most suitablewhen single sound sources need to be pi-

    cked up in loud environments. They are themost resistant to eedback.



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    Frequency Response

    The requency response is the output level or sensitivity o a microphone over its ope-rating range rom lowest to highest requencies. Generally two types exist:

    Flat requency response Tailored requency response

    All audible requencies (20 Hz 20

    kHz) have the same output level. Thisis most suitable or applications wherethe sound source has to be reproducedwithout changing or coloring the origi-nal sound, e.g. or recording.

    A tailored response is usually designed to

    enhance a sound source in a particularapplication. For instance, a microphonemay have a peak in the 2 8 kHz rangeto increase intelligibility or live vocals.


    Every directional microphone (i.e. cardioid, supercardioid) has a so-called prox-imity eect. This is created when the microphone moves closer to the soundsource resulting in an increase in bass response and, hence, warmer sound.Proessional singers oten work with this eect. To test this out, experiment withbringing the microphone closer to your lips when singing and listen or the chan-ge in sound.

    INFO: Proximiy Effec

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    What do you want to pic up?

    The rst important criterion to choose a suitable microphone is the appli-cation. Are you speaking, singing or playing an instrument? Dynamic micro-phones are generally preerred or loud voices, amplied guitars or drums.

    Condenser microphones provide a more natural, detailed sound and are there-ore the better choice or acoustic instruments such as guitars, brass andoverheads with drums or delicate voices. Especially in studios a more naturalsound reproduction is desired, which makes the condensers more suitable inrecording applications.

    I a condenser microphone is your rst choice, remember that your mixermust be able to supply phantom power to the microphone or you need tobuy a condenser microphone that uses batteries to supply the condenserelement power.

    In which environment do you want to use the microphone?

    Will the microphone be used on stage, in a conerence room or in a recor-ding studio? The usage environment infuences the directionality o a micro-phone.

    Omnidirectional microphones provide the most natural sound reproduction.However, they are the most sensitive to eedback. They are best suitable orrecording or presentations where small PAs are used.

    On stages with loud PA and monitoring systems, you will not nd omnidi-rectional microphones but cardioids or supercardioids. Through picking upthe sound rom the ront and isolating unwanted o-axis sound and ambientnoise, these unidirectional microphones minimize eedback.



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    Do you preer a natural sound or an optimized sound or a specifc


    Depending on the use o the microphone and the environment it is used in, a fat ortailored requency response may be the better choice.

    A microphone with a tailored requency response (e.g. the PG58, SM58, Beta 58A)cuts through the mix without the need to adjust the mixer. I it is desired to reproducea sound source without changing or coloring, a fat requency response (e.g. PG81,KSM137) is the better choice. In studios you will mostly nd microphones with a fatrequency response.


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    Application Desired Response Positioning


    Natural soundMinimal p popping

    and s sounds.

    10-50 cmaway rom the mouth,

    slightly o to one side.


    Robust soundEmphasized bass,

    maximum isolation

    rom other sources.

    < 10 cmaway rom the mouth,

    directly in ront o


    Electrical Instruments


    Most attack

    Sharp attack

    Medium attack

    2 cmaway rom speaker,centered directly in ront

    o speaker cone.

    2 cmaway rom speaker, at the

    edge o speaker cone.

    10-15 cmaway rom speaker, directly

    in ront o speaker cone.


    Speech and Vocal



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    Application Desired Response Positioning


    More bassGood placement when

    leakage or eedback

    is a problem.

    Bass heavyFull sound.

    Warm, mellowLess detail.

    NaturalWell balanced,

    slightly bright.

    20 cmrom the sound hole.

    10 cmrom the sound hole.

    10-15 cmrom the bridge.

    15 cmabove the side,

    over the bridge.15 cm


    Acoustic Instruments

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    Application Desired Response Positioning


    Natural, bright

    Natural, balanced

    2-15 cmjust over open top, above

    treble strings.

    Good placement when only

    one microphone is used.

    2-15 cmjust over open top, one

    microphone above bass

    strings, one microphone

    above treble strings or stereo.

    Wind Instruments

    BrightClear sound.

    15-60 cmaway rom the instrument

    and directly in ront o

    the bell.


    Acoustic Instruments

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    Application Desired Response Positioning

    Bass Drum

    Sharp attackMaximum bass

    sound, highest sound

    pressure level.

    Medium attackBalanced sound.

    Soft attackBalanced, resonant


    3-7 cmaway rom beater head (inside

    drum), slightly o-center rom


    20-30 cmaway rom beater head (insidedrum), directly in ront o


    5-8 cmaway rom outside head,

    directly in ront o beater

    (double head kick drum only).


    Most attack

    Crisp snap.

    2-7 cmabove rim o top drum head.

    Aim mic at drum head.


    Medium attackFull, balanced sound.

    2-7 cmone microphone on each tom,

    or between each pair o

    toms, above drum heads.

    Aim each mic at top

    drum heads.


    Acoustic Instruments

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    Application Desired Response Positioning


    Most attackNatural sound.

    2-7 cmabove rim o top head o

    drum. Aim mic at drum



    Natural 3-15 cmaim microphone down

    toward cymbal, a ew

    inches over edge.

    Cymbals (Overhead)

    Natural 30-100 cmabove drummers head.



    Acoustic Instruments

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    Microphone Overview

    PG SeriesThe entry to Shure.

    SM SeriesIndustry standard. Proessional utility.

    The entry to proessional Shure quality,

    reliaility and sound

    Analog and digital connectivity options

    Wide range o microphones to suit dierent


    Legendary sound or perormance and

    recording applications

    Reduced handling noise and improved gaineore eedac

    Roc-solid construction proven through

    decades o rigorous use

    PG48 SM48

    PG58 SM58

    PG57 SM86

    PG81 SM87A

    PG52 SM57

    PG56 SM81

    PG27 SM94

    PG42 SM137



    dynamic fat cardioid omnidirectional

    condenser tailored supercardioid bidirectional

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    beta SeriesThe frst choice o proessionals.

    kSM SeriesPremium microphones.

    Specialized, precision engineered models

    with high sensitivity

    Maximum isolation and minimum o-axis

    sound or higher gain-eore-eeac

    Unmatched, tour-tested construction andruggedness

    Wide dynamic range, high sensitivity and low

    sel noise

    Full requency response and minimizedproximity eect

    Shure renown ruggedness comined with

    premium studio sound

    beta 58A kSM9

    beta 87A kSM32

    beta 87C kSM44

    beta 53 kSM137

    beta 54 kSM141

    beta 57A

    beta 98S

    beta 98H/C

    beta 52A

    beta 56A

    beta 91

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    Applicaion Guide

    PGThe entry to Shure.


    Dynamic PG58 | PG48

    Condenser Live ---

    Condenser Studio PG42 | PG27

    Headset PG30

    Choir PG81


    Guitar PG81 | PG27

    Brass PG57 | PG27

    Piano PG81

    Strings PG81


    Guitar PG57 | PG27

    Bass PG52 | PG57 | PG56

    Drums & Percussion

    Bass Drum PG52

    Snare Drum PG57

    Hi-Hat PG81

    Tom Tom PG56 | PG57

    Overhead PG81 | PG27

    The ollowing examples show the preerred choices or the listedapplication (preerred option in old, alternative options ollow).

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    SMLegendary microphones.

    betaThe frst choice o proessionals.

    kSMPremium microphones

    SM58 | SM48 Beta 58A ---

    SM86 | SM87A Beta 87A | Beta 87C KSM9

    SM27 --- KSM44 | KSM32

    WH30 | WH20 Beta 54 | Beta 53 ---

    SM81 | SM137 --- KSM141

    SM81 | SM137 Beta 57A KSM137 | KSM141

    SM27 | SM57 Beta 98H/C KSM32 | KSM44

    SM81 | SM137 Beta 91 KSM141 | KSM137

    SM81 | SM137 Beta 57A KSM137 | KSM141

    SM57 | SM7B I SM27 Beta 57A KSM32 | KSM44

    SM57 I SM27 Beta 52A | Beta 56A I Beta 57A KSM32 | KSM44

    SM57 Beta 52A | Beta 91 ---

    SM57 Beta 57A | Beta 98D/S ---

    SM81 | SM94 Beta 98S KSM137 | KSM141

    SM57 Beta 56A | Beta 98D/S ---

    SM81 | SM27 --- KSM137 | KSM32

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  • 8/23/2019 Basics Microphones Wireless




    Conventional wired microphones convert sound into an electrical audio signal that issent to the sound system through a cable. Live music stages that are crowded withcables rom microphones or vocals, guitars, drums and other instruments can be-come a snake pit o overlapping wires and limit the perormers reedom o movement

    on the stage.

    Wireless microphone systems convert audio signals created by microphones into ra-dio signals, which are sent by a transmitter through the air to the receiver and thenthrough the sound system. They eliminate the need or cables, so you are no longertethered to a sound system or tripping through messy perorming environments.

    With continuous advances and improvements in sound quality and reliability, wirelessmicrophone systems are more aordable and popular than ever. Their potential goesar beyond the stage. You can nd wireless microphone systems in exercise studios,schools, houses o worship, presentation halls anywhere a perormer or presenterwants true reedom o movement.



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    A wireless microphone system basically eatures two components: a transmitter anda receiver. The sound is mainly infuenced by the microphone capsule. The wirelesssystem should not aect this sound.

    TransmitterTwo types o transmitters handheld or bodypack send sound, without a cable, to awireless receiver at the mixing console:

    HandheldThe handheld microphone transmitter integrates the transmitter into themicrophone handle, so both unctions are contained in one unit. Uniquewith all Shure wireless systems is that the microphone head is interchan-geable, and you can choose the best microphone option depending onthe application.

    bodypacLavalier, headworn and instrument microphones, as well as guitar cables,

    must plug into a bodypack transmitter to send their audio signals. Sleek,lightweight bodypacks can be easily clipped to clothing or a guitar strap.

    Headworn vocal microphones: Rugged, comortable, easy-to-position head-sets provide superior voice pickup in any active user setting.

    Lavalier vocal microphones: A range o sizes combine low visibility with

    high-quality proessional audio. They provide ull, clear sound or speechand vocal applications.

    Clip-on instrument microphones: A versatile solution or high volume wind,brass and percussion players. Gooseneck and clamp ensure secure t andpositioning.

    Guitar/ ass cale: Connects any guitar to a bodypack or wireless peror-mance.


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    ReceiverWireless receivers process signals sent rom a handheld microphone or a bodypacktransmitter and convert them into an electrical signal. This signal is then sent through acable to the guitar amp or the mixer.



    So-called diversity receivers eature two separate antennas to ensure consis-tent signal reception. I the wireless signal becomes worse or even noisy on oneantenna, the second antenna takes over the reception, and so drop outs and noisysignals are avoided. All Shure wireless products eature diversity reception to

    maximize reliability compared to non-diversity systems.

    INFO: Diversiy Receiver

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    basics o RF

    Every wireless microphone system transmits and receives sound on a specic radiorequency, known as the operating requency. The crucial part in using wireless sys-tems is the right choice o this operating requency. You cannot combine arbitrary RFrequencies as the microphones will compete with each other, and each system will ex-perience noisy intererence and/ or drop outs. It is also not possible to use two wirelesssystems on one requency in the same venue or to use two wireless microphones with

    just one receiver at the same time. More advanced systems oer greater requencyselection, fexibility and the ability to combine more receivers and transmitters to serve

    more users.

    To make it easier or the user, Shure systems oer pre-congured requencies to ac-commodate multiple users. Furthermore, several Shure wireless systems automaticallyscan the environment or open requencies.

    A word on legality

    Operating requencies o wireless microphone systems are only a part o the wholespectrum o wireless devices such as radio, TV, mobile phones and the like. Everycountry has dened dierent requencies available or microphone systems. Shurewireless systems are pre-programmed to use the legal requencies in your country.Please contact the Shure distributor in your country or more details on the legal useo wireless microphones.


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    Which application is the wireless system or?

    For almost every application there is a specic wireless system conguration available.Which one is the best choice or you, depends on how you want to use it.

    Your usage application is only one key actor in choosing a wireless microphone. Alsoconsider the microphone transducer design and polar pattern. These greatly impacthow any wireless microphone reproduces your live sound.

    For example, i you are a vocalist who perorms onstage with loud monitors, you mightwant a handheld transmitter with a cardioid or even supercardioid polar pattern tominimize eedback. I you tend to sing in a low voice a condenser microphone helpsto produce a clearer and more natural sound. I you have already used a wired Shuremic (e.g. the SM58) it makes sense to choose the same microphone capsule with awireless system.

    For presentations or in a theater, lavalier and headworn microphones with an omnidi-rectional polar pattern are suitable, as foor wedges are rarely used or these appli-cations. These microphones are the least sensible to breathing noise and deliver themost natural sound which is particularly benecial or speech applications.



    Application Confguration

    Vocals Handheld transmitter

    Singing dancer, keyboarder, drummer,tness instructor, dance instructor

    Headworn microphone & bodypack

    Stage actor, presenter, worship leader Lavalier microphone & bodypack

    Horn, percussion Clip-on instrument microphone & bodypack

    Guitar, bass Instrument cable & bodypack

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    How many wireless systems will e in use at the same time andlocation?

    Every wireless microphone system has a certain maximum amount o compatiblechannels that can be used simultaneously. I you are operating only a single system inone location, you can choose any wireless system available.

    Beore choosing a wireless system you should consider how many systems might beadded in the uture in your band. This also includes wireless in-ear-monitoring sys-tems. I you choose a system with maximum our compatible channels it can become

    tight pretty ast. Better systems allow or eight, twelve or even more units to be operatedat the same time without intererence. Thereore you should consider the maximumamount o compatible channels with a wireless system beore the purchase.

    I you operate more than one wireless system the carrier requencies have to be cho-sen careully, as RF signals interact and intererences can occur. I you are usingwireless systems o the same type this is normally no problem as the requencies areusually stored in groups that are compatible with each other. With dierent wirelesssystems this is more complicated. Units with Auto Frequency Selection help to nd an

    open requency automatically and avoid sources o intererence.

    Should you have diculties in nding open requencies please contact the ShureSupport Team.


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    Signal path rom transmitter to receiver

    Transmitter signals radiate in all directions, not just in a direct path. This causes re-fections on walls, foors and ceilings which overlap with the directly sent signal. Withsingle antenna receivers, so called non-diversity systems, direct and refected signalcan oten cancel each other out, causing a sound drop out.

    Diversity receivers with two antennas are better able to handle longer distances andmore cluttered signal paths. They are also more reliable in settings where there is noline o sight between the receiver and the transmitter.



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    Receiver and antenna placement

    Place the receiver properlyReceivers are not only subject to intererence rom external sources that use radiorequencies. Where possible, keep receivers also a ew eet (or rack spaces) away romCD/ DAT/ MD players, PCs/ notebooks and special-eect units.

    Position antennas properlyIdeally, antennas should be positioned above an audience or other obstructions so thatthe transmitter and receiver can see one another. When receivers are mounted in

    a rack, antennas must be located on the ront panel or allowed to project through thetop o the rack. With diversity receivers the antennas should be oriented at a 45-de-gree angle to maximize the distance between the tips. To receive the optimal diversityeect the antennas should have a distance o 40 cm (one wave length). Less distancedeteriorates this eect.

    The usage o an antenna splitterI you operate more than one wireless system and move rom venue to venue, it isusually more convenient to mount receivers in a rack case. This degrades the peror-

    mance o the wireless systems as the antennas are too close to one another. With moreadvanced wireless systems the antennas are detachable which allows the usage o anantenna splitter. The splitter eeds one master pair o antennas to serve all receiversor an increased RF-reliability. With our or more receivers in one rack we recommendto use an antenna splitter as this leads to a signicant improvement in perormance.

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    Power supply

    Unlike most wired microphones, all wireless transmitters require batteries. As a result,batteries are an important and constant replacement part that should also be checkedregularly.

    The usage o rechargeable batteries is possible. Rechargeable mignon (AA) batteriesare recommendable as they are available with a capacity o 2500 mAh or even more the more capacity, the longer the battery lie. Unortunately, there are no rechar-geable 9 V batteries available that oer an appropriate capacity. Alkali 9 V batteries

    oer twice the battery lie. But i the usage is less than three hours, rechargeable 9 Vbatteries can be used as well.

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    Setup Snapshots


    Signal to PA

    RF signal is


    to receiver

    Signal to mixing



    Handheld transmitter

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    Signal to PA

    Signal to mixing






    RF signal is

    transmitted to



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    Signal to PA

    RF signal

    is transmitted

    to receiver

    Signal to mixing

    console or

    guitar amp


    Bodypack transmitter

    Cable to bodypack

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    Saxophone player

    Signal to PA



    Signal to

    mixing console



    RF signal is


    to receiver


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    Wireless Sysems

    Perormance GearWireless

    The entry to Shure Wireless.


    Legendary sound.

    Remaraly easy.

    Handheld Confgurations PG58PG58, SM58, SM86,

    Beta 58A

    Compatible Systems Per Band Up to 4 Up to 8

    Selectable Frequencies 10 Up to 90

    Auto Setup Features No Scan/ Sync

    Audio Reerence Companding No Yes

    Furnished Antennas Internal 1/4-wave Attached 1/4-wave

    Advanced Antenna Options No No

    Rack Hardware Optional (URT) Optional (URT)

    Carrying Case Optionaler System Case System Case

    Transmitter Display Multi-Color LED Multi-Color LED

    Receiver Display Multi-Color LEDs Multi-Color LEDs

    Batteries, Battery Lie 9 V, > 8 hrs. 2 AA, > 8 hrs.

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    The out-o-the-ox wireless



    Sophisticated, scalale wireless

    solution. Tae Control.


    Premier, networale

    wireless technology. Do More.

    SM58, SM86, Beta 58A,

    Beta 87A, Beta 87C

    SM58, SM86, SM87A, Beta 58A,

    Beta 87A, Beta 87C

    SM58, SM86, SM87A, Beta 58A,

    Beta 87A, Beta 87C, KSM9

    Up to 12 Up to 20 Up to 47

    Up to 960 Up to 1440 Up to 3000

    Scan/ Sync Scan/ Group Scan Scan/ Group Scan/ Sync

    Yes Yes Yes

    Detachable 1/4-wave Remoteable 1/2-wave Remoteable 1/2-wave

    Yes Yes Yes

    Included Included Included

    Optional System Case Optional System Case Transmitter Case

    Backlit LCD + multi-color LED Backlit multi-unction LCD + LED Backlit multi-unction LCD

    LCD + LEDs Multi-unction LCD + LEDs Multi-unction LCD + LEDs

    2 AA, > 8 hrs. 9 V, > 8 hrs. 2 AA, > 8 hrs.

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    PG588 SM58

    A rugged mic tuned to accentuate the clarity

    o lead and backup vocals.

    The legendary Shure vocal mic designed or

    superior vocal clarity and warmth. Consistently

    the rst choice o perormers around the globe.

    60 Hz - 15 kHz* 50 Hz - 15 kHz*


    bETA 58A8 bETA 87A

    A top choice among vocalists or its smooth

    extended requency response. Provides

    maximum isolation rom other onstage


    Studio-quality sound or live perormance

    vocals. Provides smooth, tailored requency

    response or detail and accuracy o sound.

    50 Hz - 16 kHz* 50 Hz - 20 kHz*


    Microphone Opions

    Wireless Handhelds

    dynamic condenser cardioid supercardioid

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    SM86 SM87A

    This smooth sounding vocal mic is tailored or

    warm and rich vocal reproduction.

    A sensitive vocal mic that eatures a smooth,

    tailored response or a warm, accurate sound.

    Tight polar pattern and 3-stage pop lter.

    50 Hz - 18 kHz* 50 Hz - 18 kHz*


    bETA 87C kSM9

    The Beta 87C vocal microphone oers an

    extremely smooth, tailored response or a

    warm, natural sound. The cardioid polar pattern

    compensates or the isolation oten associated

    with the use o personal monitors.

    KSM9 captures vocal subtlety with extraordinary

    detail to deliver clear articulation, unctional

    fexibility and precise vocal reproduction. It oers

    exceptional consistency across all requencies,

    providing more gain-beore-eedback, and

    minimizing proximity eect.

    50 Hz - 20 kHz* 50 Hz - 20 kHz*


    * Overall requency response depends on wireless system.

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    Wireless Headset Microphones

    WH20 PG30

    Rugged design with fexible gooseneck boomCompact, rugged design with fexible

    gooseneck boom

    50 Hz - 15 kHz* 50 Hz - 20 kHz*

    Black nish Black nish

    beta 53 beta 54

    Interchangeable requency response capsulesSuperior ambient rejection; high gain-beore-


    20 Hz - 20 kHz* 20 Hz - 20 kHz*

    Black or tan nish (WBH53) Black or tan nish (WBH54)

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    WH30 WCM16

    Rugged design with fexible gooseneck boom High ambient rejection

    40 Hz - 20 kHz* 50 Hz - 18 kHz*

    Black nish Black nish

    Countryman WCE6

    Combines high audio quality with minimal


    30 Hz - 20 kHz*

    Black, tan or light tan nish (WCE6i)







    All shown headset microphones are also available

    as wired version.

    * Overall requency response depends on wireless system.

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    Wireless Lavalier and Instrument Microphones

    dynamic cardioid omnidirectional

    condenser supercardioid hypercardioid

    PG185 WL93

    Compact, rugged design Two dierent cable lengths

    50 Hz - 20 kHz* 50 Hz - 20 kHz*

    Schwarz Black or tan nish

    WCb6 WL50

    Lowest visibility Two sensitivity versions

    20 Hz - 20 kHz* 20 Hz - 20 kHz*

    Black, cocoa, tan or light tan Black, tan or white nish

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    All shown lavalier and instrument microphones

    are also available as wired version.

    * Overall requency response depends on wireless system.

    WL183 WL184 / 185

    Interchangeable polar pattern capsules Interchangeable polar pattern capsules

    50 Hz - 17 kHz* 50 Hz - 17 kHz*

    Black nish Black nish

    WL51 beta 98H/C

    Low visibilityA versatile mic or brass and percussion


    20 Hz - 20 kHz* 20 Hz - 20 kHz*

    Black or white nish Black

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    What is monitoring?

    Learning about in-ear-monitoring begins with understanding what monitoring is andwhy its necessary. Monitoring boils down to being able to hear (monitor) your per-ormance as you perorm, so you know exactly what you and the other musicians aredoing on stage.

    Stage monitoring got its starts in the 1960s, as progressively louder rock bands startedto discover that i everyone in a group can hear each other, they can perorm better.This was accomplished by sending specic sound mixes to onstage foor-resting loud-speakers (foor wedges). They ushered in the age o monitoring, but were noisy,bulky and centered their sound in one place.

    Today, in-ear-monitoring systems enable you to personally hear just what you want towithout aecting what others hear. These systems are comortable, wearable ampli-

    cation devices to replace foor wedges with earphones worn in ear.

    The advantages o in-ear-monitoring

    Conventional monitoring is achieved with bulky, heavy foor wedges placed onstage.In-ear-monitoring provides a more pleasant and precise way o monitoring:

    Sound quality: When youre in-ear, you can enjoy a clear mix at lower levels, high-de-lity sound and less interruption rom outside noise.Also the sound or the audience is better as in-ear-monitoring systems eliminate eed-back, and the loud stage noise oten resulting rom booming foor wedges is not pickedup by the microphones onstage.

    Moility: Floor wedges center their sound on one place. With in-ear-monitoring, thespeakers are in your ears, so you can expand your range onstage and hear yourselperectly anywhere you go.

    Portaility: An entire in-ear system ts in a briecase that goes where you go. Not onlyare foor wedges noisy, they are also bulky onstage and heavy to load out.



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    Where can I use in-ear-monitoring?

    Generally, you can use in-ear-monitoring systems or every application where monito-ring is necessary.

    Live on stage Bands oten playing at dierent locations benet rom the ability tocontrol their own personal mix. Furthermore, transportation eort is reduced as nofoor wedges and ampliers are necessary.

    Rehearsal rooms In-ear-monitoring turns the worst rooms into good rehearsal spaces.You not only get more practice in, you also reduce vocal strain and ringing ears.

    Studio During recording, in-ear perormers can control volume levels and adjust theclick track volumes themselves. They also enjoy the comort o small earphones versusbulky traditional headphones. Isolating earphones also reduce outside noise and micbleeding during the vocal overdubs.

    Classical music perormers Especially with picking up acoustical instruments foorwedges tend to create eedback. Onstage or in the pit, in-ear-monitoring systems pro-vide discrete monitoring or perormers without sacricing the quality o the sound the

    audience enjoys.

    Theater and stage perormances These perormers appreciate a cleaner, less-clut-tered stage, thanks to the absence o foor wedge monitors. But the greatest in-earadvantage in these situations is the ability or actors, actresses and crew to monitordirector instructions without the knowledge o the audience.

    broadcast environments Besides the sound advantages, in-ear-monitoring systemshelp reporters and broadcast personalities isolate outside noise. They also enable cue-

    ing o events via satellite link and can be used as a wireless interruptible oldback (IFB)system or camera operators, stage managers and on-camera talent.


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    Ways to go in-ear

    As with microphones there are two ways to get in-ear: wired and wireless. Both othese systems are made up o complementary components that enable you to hear themonitor mix in your ear. These include:

    Earphones compact, high-delity stereo in-ear-monitors.

    bodypac receiver sleek, wearable units that receive sound and give youcontrol.

    Transmitter modules that send sound or wirelesssystems.

    Mixer modules that allow or advanced levels ocontrol.



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    Wired in-ear-monitoringI youre in one place the majority o the time, like a drummer, keyboardistor backup singer, wired systems are an easy choice. They are the lower-costalternative and also save RF requencies.

    A wired in-ear-monitoring system includes a lightweight and small bodypackand a pair o earphones. The bodypack is connected to the mixer directly witha cable. The perormer hears the monitor mix through the earphones.

    Wireless in-ear-monitoringWireless in-ear-monitoring systems oer the perormer ull reedom o move-ment on stage.

    As with wired systems the musicians wear a bodypack receiver clipped to abelt, guitar strap or pocket. The monitor mix is not received by a cable butthrough radio requencies and thereore a transmitter is needed to send thesignal. This unit is connected to the mixer with a cable.

    Hyrid in-ear-monitoringA ew bodypacks (like the Shure P2R) are hybrid units. This means the recei-vers are capable o working either with wired or wireless systems. So you canstart out wired and purchase a wireless transmitter later to upgrade to wirelesswhen your budget permits. Or use in either conguration, depending on yoursetting.

    There are also variations beyond that to combine wired and wireless usage. Adrummer or instance can receive the in-ear-monitoring mix wireless and adda click track wired directly in the bodypack.


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    Stereo or mono?

    Conventional monitoring is solely used mono. With in-ear-monitoring a stereo mix isalso possible. In mono, both earphones reproduce the same audio, and stereo meansyoure listening to the ullest, most accurate monitor sound possible.

    However, not or all perormers a stereo image is useul and some even preer mono asthe stereo signal does not turn with the movements on stage. Whereas stereo is a bigadvantage or a pianist that is used to hear his signal as natural as possible.There are mono and stereo systems available. Mono systems can only be used mono

    and stereo systems can be used mono as well as stereo.

    Shure stereo systems oer a proprietary eature called MixMode. This is a dual channelmode, enabling you to control relative levels o two separate signals (a vocal and bandmix, or example) while hearing both signals in both ears at the same time.

    Are you a stationary or moile perormer?

    Stationary I you are in one place the majority o time, like a drummer, keyboardist orbackup singer, wired systems are an easy choice and a lower cost alternative.

    Moile I you need to move when you perorm, go wireless and leave the cablesbehind. Youll hear a great mix no matter where you are on stage. Wireless systems aremore complex than wired, but oer greater fexibility.



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    Can you share a monitor mix with others or do you require a personal

    monitor mix?

    Shared Mix With a shared wireless mix, everyone in your group with a wireless body-pack can hear the same monitor mix rom a single transmitter. Its a cost-eective wayor a band to monitor in-ear.

    Personal Mix In a band or ensemble situation, perormers oten want to receive amonitor mix tailored to their preerences. Typically, a musician wants to hear himselat louder volume than the rest o the band. Wired systems oer this in any way. Withwireless systems, every musician needs his own wireless receiver and transmitter.I the musicians preer a mono mix, the amount o transmitters can be halved. Anexample would be a signal sent rom one stereo transmitter or a singer and a guitarist.On the let side is the mix or the singer and on the right side the mix or the guitarist.In MixMode the singer can turn the balance knob to receive only the let signal andthereore has its own mix the same counts or the guitarist who turns the balanceknob to receive the right side and so his own monitor mix.

    How many channels need to operate simultaneously?

    RF requencies no matter i wireless microphones or in-ear-monitoring systems need to be chosen careully. For an easy setup all Shure in-ear-monitoring systems ea-ture pre-selected requencies which are compatible. This means they can be operatedsimultaneously without intererence rom each other. All systems have a maximumamount o compatible channels, and the number o channels needed in your setupdenes the right system or you. But you also need to consider the amount o wirelessmicrophone systems that are used at the same time.


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    RF remains RF

    The setup and the handling are the same with RF signals rom a xed transmitter anda mobile receiver as with in-ear-monitoring or the other way round as with wirelessmicrophone systems. Thereore, the same basics as with wireless microphone systemsare valid.

    Again, i antennas are too close to one another they interact and create intererences.Reducing the number o transmitter antennas in close proximity reduces the chanceo experiencing sound drop outs. Similar to the antenna splitters with wireless micro-phone systems there are antenna combiners available or in-ear-monitoring systems.These units combine multiple wireless transmitter antennas to one antenna and leadto the best possible perormance.



    In most cases bodypack receivers are non-diversity (with one antenna). Asmentioned above, diversity systems work most eectively with a 40 cm distancebetween the antennas. As the distance becomes less (as in the case o a smallbodypack receiver) the diversity eect does not work properly anymore. Theperormance increase does not justiy the higher cost associated with a diversityreceiver. Additionally, it is not as critical as with a wireless microphone i shortsound drop outs occur.

    INFO: Bodypack receiver

    In-ear-monitoring transmitters and wireless microphone receivers interactheavily. Thereore, a minimum distance o 3 meters is recommended. The bestway is to separate those systems in two dierent racks.


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    Setup Snapshots

    Vocalist (wireless)


    RF signal is sent

    to transmitter

    Monitor mix

    (Mono, Stereo or






    Input signal

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    Guitarist (wired)



    Wired bodypack


    guitar signal


    Monitor mix is transmitted to

    bodypack receiver via cable

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    PSM Sysems

    PSM 200The ull eatured entry toin-ear-monitoring.

    Listening Mode Mono

    Compatible Systems per Band Up to 4

    Transmitter Inputs 2 x XLR/ 6.3 mm ComboMic/ Line Level

    Transmitter Outputs 2 x XLR Split Outputs

    Wired Bodypack Option Yes

    Personal Mix Control On Transmitter

    Remoteable Transmitter Antenna No

    Battery Lie Wired 6 hrs./ Wireless 4 hrs.

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    PSM 400For greater versatilityand control.

    PSM 700The industry standardin in-ear-monitoring.

    Mono, Stereo or MixMode Mono, Stereo or MixMode

    Up to 8 Up to 16

    2 x 6.3 mm

    Line Level

    2 x XLR/ 6.3 mm Combo

    Line Level

    2 x 6.3 mm Split Outputs

    3.5 mm Earphone Output

    2 x 6.3 mm Split Outputs

    3.5 and 6.3 mm Earphone Output

    Yes No

    On Receiver On Receiver

    Yes Yes

    Wired and Wireless 8 hrs. Wireless 6 hrs.

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    Professional Earphones

    Specifcally designed or use with in-ear-monitoring systems.



    Dynamic MicroSpeakers

    deliver ull range sound.

    Wideband MicroSpeakers

    with extended requency


    Sensitivity 105 dB SPL/mW 115 dB SPL/mW

    Impedance 16 26

    Frequency Response 22 Hz - 17.5 kHz 25 Hz - 18.5 kHz

    Weight 30 g 28 g

    Cable Length 157 cm 141 cm 141 cm 157 cm 157 cm

    Color Variations Transparent Black Black White Gray

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    MicroSpeakers with Tuned

    BassPort or detailed highs

    and extended bass.


    MicroSpeakers with inline

    crossover or incredibly

    accurate sound.

    109 dB SPL/mW 122 dB SPL/mW

    29 110

    22 Hz - 19 kHz 20 Hz - 18.5 kHz

    31 g 31 g

    141 cm 157 cm 155 cm

    Black White Transparent

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    Consumer Earphones

    Specifcally designed to work best with portable audio devices.



    The 2nd Generation

    Dynamic MicroSpeakers

    deliver detailed, warm,

    sound quality with improved



    MicroSpeakers or ull range


    Sensitivity 105 dB SPL/mW 114 dB SPL/mW

    Impedance 16 26

    Frequency Response 22 Hz - 17.5 kHz 25 Hz - 18.5 kHz

    Weight 30 g 30 g

    Cable Length 45/ 136 cm* 45/ 136 cm*

    Color Variations Blue/ red/ pink/ black Black/ white

    * modular cable

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    MicroSpeakers + Tuned

    BassPort or extended

    range audio plus enhanced


    Dual TruAcoustic Micro-

    Speakers with a dedicated

    tweeter and wooer or

    dened lows, mids and


    Triple TruAcoustic Micro-

    Speakers with a dedicated

    tweeter and dual wooers or

    an expansive soundstage

    and ull-bodied bass.

    111 dB SPL/mW 109 dB SPL/mW 119 dB SPL/mW

    28 22 36

    22 Hz - 19 kHz 20 Hz - 19 kHz 18 Hz - 19 kHz

    28 g 31 g 30 g

    45/ 136 cm* 45/ 136 cm* 68/ 136 cm*

    Black/ white Black/ white Bronze

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    balanced/ unalanced circuitAn unbalanced output carries the signal on a single conductor (plus shield). Infu-ences on the cable (like the humming o a parallel power cable) are audible.When using a balanced output the signal is carried on two conductors (plus shield).The signal on each conductor is the same level but the opposite polarity. A balanced

    microphone input amplies only the dierence between the two signals and rejectsany part o the signal which is the same on each conductor.

    CardioidSee p. 9

    Condenser microphoneSee p. 8

    DiversitySee p. 25

    Dynamic microphoneSee p. 8

    Dynamic range [db]The range between sel noise and the maximum sound pressure level. Within thisrange the microphone can successully pick up.

    Electret (permanently iased) condenser microphoneThe microphone capsule (membrane and backplate) o a condenser microphone re-quires polarizing voltage to charge the condenser element. Is an electret (a syntheticpolarized material) attached to the backplate, the polarizing voltage does not need tobe supplied externally. Nevertheless, an electret condenser microphone also requirespower (by battery or phantom power) to operate the preamplier.

    FeedacDuring the normal operation o any sound system, sound produced by the

    loudspeakers can be picked up by the microphones, re-enter the system and becomeamplied. At certain points this can cause the system to create a noisy, sustainedhowl known as eedback.


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    Frequency responseSee p. 10

    Impedance []In an electrical circuit, opposition to the fow o alternating current, measured in ohms.The lower the impedance, the more current supports the microphone. The outputimpedance o a microphone should be much smaller than the input impedance o themicrophone input o a mixer.

    MixModeSee p. 49

    OmnidirectionalSee p. 9

    Operating requencySee p. 26

    Phantom power

    All condenser microphones require phantom power. The 48 V (sometimes 12 V) areprovided by the most mixers through the microphone cable. Some condensers can beoperated with a battery and are thereore suited or mixers without phantom power orPC sound cards.

    Proximity eectSee p. 10

    Sel-noise [db]

    The sel-noise or equivalent noise level is the sound level that creates the same outputvoltage as the microphone does in the absence o sound. This is the lowest point othe microphones dynamic range, and is particularly important with recording soundsthat are quiet.

    Sensitivity [mV/Pa] or [db/Pa]The electrical output that a microphone produces or a given sound pressure level. Inmost cases sensitivity is measured with a sound pressure level o 94 dB (1 Pascal).The higher the sensitivity, the louder the microphone.



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    Small and large diaphragmThe terms small and large diaphragm are used with condenser microphones.A large diaphragm has a diameter o at least 1 inch (2.54 cm). Large diaphragm micro-phones are popular or vocal recordings as they add harmonics to the sound whichmakes voices sound smoother. Small diaphragm microphones eature a fat requencyresponse and sound more natural. This is why they are popular or instrumentrecordings.

    SupercardioidSee p. 9

    THD total harmonic distortion [%]The total harmonic distortion, or THD, o a signal is a measurement o the harmonicdistortion present and is dened as the ratio o the sum o the powers o all harmoniccomponents to the power o the undamental.

    Transducer typeSee p. 8

    Want to now more?Additional literature can be ound under the category Tech Support

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    Shure Europe GmbHHeadquarters Europe,Middle East, AricaWannenckerstr. 2874078 Heilbronn, Germany

    Phone: 49-7131-7214-0Fax: 49-7131-7214-14

    Email: [email protected]


    Did you know many popular Shure models including the SM58and Beta 58A are illegally manuactured and sold around the

    world as authentic Shure products?Despite all supercial similarities to authentic Shure products,countereits, on average, use much lower quality materials andare very unreliable, much less rugged and oer signicantly lowerperormance and sound quality. Countereits are also not covered byShures warranty policy should you need it.

    While Shure is taking action to protect you and our brand, there are things you can

    actively do to reduce the chances that you purchase a countereit:

    Be a wise shopper. Familiarize yourself with signs of counterfeit products, becautious o incredibly low prices oered by on-line auctions and merchants and,when possible, inspect merchandize beore you buy.

    BuyonlyfromauthorizedShuredealers.Youcanndalistofauthorizeddealersand distribution centers on the Shure websites.

    Technical Support:Tel.: 49-7131-72 14-30Email : [email protected]

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    Shure Europe GmbH

    Headquarters Europe