6
Use the supplied ShureLock® rubber suspension mount to secure the microphone to a floor or boom
stand.
Important:
Thread the knurled locking ring securely to the base of the microphone. Do not overtighten.
Suspension Mount
Power Requirements
This microphone requires phantom power and performs best with a 48 V DC supply (IEC-61938).
However, it will operate with slightly decreased headroom and sensitivity with supplies as low as 11
Vdc.
Most modern mixers provide phantom power. You must use a
balanced
microphone cable: XLR-to-
XLR or XLR-to-TRS.
Positioning
Position the front of the microphone, with SHURE®,
towards the desired sound source. Position the rear
of the microphone, with the vintage circle S logo,
towards any unwanted sound sources.
Selecting a Polar Pattern
The three position switch on the front of the microphone sets the polar response pattern. This chang-
es the microphone's sensitivity to sounds coming from different angles.
Cardioid.
Picks up sound directly in front of the microphone and is least sensitive to those in
back. This is most commonly used in studio recording and live-sound applications.
Omnidirectional.
Picks up sounds from all directions. Best for picking up room ambience and
for miking several sources simultaneously, such as an ensemble or multiple singers. The om-
nidirectional polar pattern exhibits no proximity effect.
Bidirectional.
Picks up equally from the front and back of the microphone while reject-
ing sounds from the sides. Often used for stereo recording (such as mid-side and Blumlein
techniques).
Note:
As with all bidirectional microphones, sounds picked up from the back will be out of
polarity with the source. Those from the front are in polarity with the source.
CAUTION:
The switch produces mechanical noise which, when amplified, may damage the loudspeak-
ers. Turn down any loudspeakers or mute the microphone at the mixing console before using the switch.
Operation
