7
Selecting Low-Frequency Response
A three-position switch on the back of the microphone lets you adjust the low-frequency response.
Use the low-frequency filter to reduce wind noise, room noise, or proximity effect.
Flat response.
Provides the most natural sound in most applications.
Low frequency cutoff.
Provides an 18 dB-per-octave
cutoff at 80 Hz. Helps eliminate floor rumble and low-fre-
quency room noise from heating and air conditioning sys-
tems. This setting may also be used to compensate for
proximity effect or to reduce low frequencies that make an
instrument sound dull or muddy.
Low frequency rolloff.
Provides a 6 dB-per-octave roll-
off filter at 115 Hz. Use this to compensate for proximity ef-
fect or to reduce low frequencies that could make an instru-
ment sound dull or muddy.
Setting Attenuation
The attenuation switch lets you reduce the signal level without altering the frequency response. This can
prevent extremely loud sounds from overloading the microphone circuitry.
0 dB
For "quiet" to "normal" sound levels.
-15 dB
For use with extremely loud sound sources such as drums, horns, or loud guitar cabinets.
Load Impedance
Maximum SPL capability, output clipping level, and dynamic range vary with the input load impedance
of the preamplifier to which you connect the microphone. Shure recommends a minimum input load
impedance of 1000 Ω. Most modern microphone preamplifiers meet this requirement. Higher impedance
results in better performance for these specifications.
Integral Pop Filter
The microphone grille consists of 3 separate mesh layers that
act as an integral pop filter. This helps reduce wind and breath
noise. Depending on the performer, an external pop-protection
screen or windscreen may be necessary when close-miking
vocalists.
20
1000
50
100
9
8
7
6
5
4
3
2
+5
0
–10
Hz
dB
Flat Response
Low Frequency Cutoff
Low Frequency Rolloff
