Basics Microphones Wireless

8/23/2019 Basics Microphones Wireless

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MICROPHONES.WIRELESS SYSTEMS.IN-EAR-MONITORING.bASICS


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WHAT LEGENDARY PERFORMANCE MEANS TO SHURE

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.

SHURE kNOWS HOW

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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INTRODUCTION


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WIRED MICROPHONES

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

WIRELESS MICROPHONESThe asics 23

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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IN-EAR-MONITORING

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

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CONTENT


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WIRED MICROPHONES

THE bASICS

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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WIRED MICROPHONES


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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:

Magnet

Voice coil

Diaphragm

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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

signal.

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.

Diaphragm

Backplate


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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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WIRED MICROPHONES


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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.

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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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HOW TO FIND THE RIGHT MICROPHONE

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

application?

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

Speech

Natural soundMinimal p popping

and s sounds.

10-50 cmaway rom the mouth,

slightly o to one side.

Vocal

Robust soundEmphasized bass,

maximum isolation

rom other sources.

< 10 cmaway rom the mouth,

directly in ront o

microphone.

Electrical Instruments

Electric-Guitar

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.

APPLICATION AND POSITIONING

Speech and Vocal

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Guitar

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

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Acoustic Instruments


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WIRED MICROPHONES


Piano

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.

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Bass Drum

Sharp attackMaximum bass

sound, highest sound

pressure level.

Medium attackBalanced sound.

Soft attackBalanced, resonant

sound.

3-7 cmaway rom beater head (inside

drum), slightly o-center rom

beater.

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

beater.

5-8 cmaway rom outside head,

directly in ront o beater

(double head kick drum only).

Snare

Most attack

Crisp snap.

2-7 cmabove rim o top drum head.

Aim mic at drum head.

Toms

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.

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Percussion

Most attackNatural sound.

2-7 cmabove rim o top head o

drum. Aim mic at drum

head.

Hi-Hat

Natural 3-15 cmaim microphone down

toward cymbal, a ew

inches over edge.

Cymbals (Overhead)

Natural 30-100 cmabove drummers head.

WIRED MICROPHONES

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SHURE WIRED MICROPHONES AT A GLANCE

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

applications

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

SM27

SM7b

dynamic fat cardioid omnidirectional

condenser tailored supercardioid bidirectional


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WIRED MICROPHONES

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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.

Vocal

Dynamic PG58 | PG48

Condenser Live ---

Condenser Studio PG42 | PG27

Headset PG30

Choir PG81

AcousticInstruments

Guitar PG81 | PG27

Brass PG57 | PG27

Piano PG81

Strings PG81

ElectricInstruments

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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WIRELESS MICROPHONES

THE bASICS

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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Components

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.


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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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HOW TO FIND THE RIGHT WIRELESS SYSTEM

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.


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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.

Non-Diversity

Diversity


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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

Singer

Signal to PA

RF signal is

transmitted

to receiver

Signal to mixing

console

Receiver

Handheld transmitter


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Presenter

Signal to PA

Signal to mixing

console

Lavalier

microphone

Bodypack

transmitter

RF signal is

transmitted to

receiver

Receiver


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Guitarist

Signal to PA

RF signal

is transmitted

to receiver

Signal to mixing

console or

guitar amp

Receiver

Bodypack transmitter

Cable to bodypack


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Saxophone player

Signal to PA

Clip-oninstrument

microphone

Signal to

mixing console

Bodypack

transmitter

RF signal is

transmitted

to receiver

Receiver


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SHURE WIRELESS SYSTEMS AT A GLANCE

Wireless Sysems

Perormance GearWireless

The entry to Shure Wireless.

PGX

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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SLX

The out-o-the-ox wireless

solution.

ULX

Sophisticated, scalale wireless

solution. Tae Control.

UHF-R

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*

PGW PGX PGX SLX ULX UHF-R

bETA 58A8 bETA 87A

A top choice among vocalists or its smooth

extended requency response. Provides

maximum isolation rom other onstage

sounds.

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*

PGX SLX ULX UHF-R SLX ULX UHF-R

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*

PGX SLX ULX UHF-R ULX UHF-R

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*

SLX ULX UHF-R UHF-R

* 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-

eedback

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*


Countryman WCE6

Combines high audio quality with minimal

visibility

30 Hz - 20 kHz*

Black, tan or light tan nish (WCE6i)

cardioid

supercardioid

omnidirectional

hypercardioid

dynamic

condenser

All shown headset microphones are also available

as wired version.



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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.


WL183 WL184 / 185

Interchangeable polar pattern capsules Interchangeable polar pattern capsules

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


WL51 beta 98H/C

Low visibilityA versatile mic or brass and percussion

instruments

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

Black or white nish Black


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IN-EAR-MONITORING

THE bASICS

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.

IN-EAR-MONITORING

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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.

IN-EAR-MONITORING

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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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HOW TO FIND THE RIGHT IN-EAR-MONITORING SYSTEM

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.

IN-EAR-MONITORING

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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.

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IN-EAR-MONITORING

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.

AttENtION:


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Setup Snapshots

Vocalist (wireless)

Earphones

RF signal is sent

to transmitter

Monitor mix

(Mono, Stereo or

MixMode)Wireless

bodypack

receiver

Mixing

console

Input signal


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Guitarist (wired)

IN-EAR-MONITORING

Earphones

Wired bodypack

receiver

guitar signal

Mixingconsole

Monitor mix is transmitted to

bodypack receiver via cable


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SHURE IN-EAR-MONITORING SYSTEMS AT A GLANCE

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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IN-EAR-MONITORING

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.

SCL2Earphones

SCL3Earphones

Dynamic MicroSpeakers

deliver ull range sound.

Wideband MicroSpeakers

with extended requency

response.

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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IN-EAR-MONITORING

SCL4Earphones

SCL5Earphones

High-Defnition

MicroSpeakers with Tuned

BassPort or detailed highs

and extended bass.

High-Defnition

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.

SE115Earphones

SE210Earphones

The 2nd Generation

Dynamic MicroSpeakers

deliver detailed, warm,

sound quality with improved

bass.

High-Denition

MicroSpeakers or ull range

audio.

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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IN-EAR-MONITORING

SE310Earphones

SE420Earphones

SE530Earphones

High-Denition

MicroSpeakers + Tuned

BassPort or extended

range audio plus enhanced

bass.

Dual TruAcoustic Micro-

Speakers with a dedicated

tweeter and wooer or

dened lows, mids and

highs.

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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APPENDIX

GLOSSARY

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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APPENDIX


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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 onwww.shure.com/proaudio


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APPENDIX

IMPRINT

Contact

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

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

Email: [email protected]

SHURE AGAINST COUNTERFEITING

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

Basics Microphones Wireless

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