«625»
«Audio Producer»
«CET»| 625 Content: 2002 : #8
Rode and Shure microphones for radio and television Wired general-purpose microphones Handheld microphones are traditional tools which are used to convert a real sound wave into an electrical audio signal; they are quite familiar to any artist, reporter or announcer. They have an extremely wide range of applications: from live concerts and various events to musical instrument reinforcement, both on-stage and in-studio. That's why handheld microphones should meet the strictest requirements put to universal professional equipment, i.e. to provide high-quality signal and be reliable, unpretentious and immune to various kinds of noise. As for the microphones made by Shure, they are sure to meet all these requirements! Shure SM 58 Shure SM 58 is a professional dynamic microphone that has de facto become the standard and enjoys wide popularity among lead-singers all over the world. The SM 58 offers vivid and clear sounding together with the legendary Shure quality, ruggedness and reliability. Its frequency response, precisely tailored for vocals, with brightened midrange and bass roll-off ensure maximum power and energy with minimal proximity effect for both male and female vocals. Uniform cardioid pickup pattern isolates the main sound source and minimizes background noise while rejecting off-axis coloration. The SM 58 has the following specifications:
The microphone is available in two variations: with on/off switch (SM 58S-LC) and without on/off switch (SM 58-LC).
Shure Beta 58A The Beta 58 is one of the best dynamic microphones for high-quality work with vocals that combines warm bass reproduction, peculiar proximity effect and extended dynamic range of the trebles. The Beta 58 is ideal for vocals, brass wind instruments and flute. Its optimum frequency response allows to reproduce the entire vocal range, from the deepest bass to the highest alto while minimizing background noise. This model is characterized by excellent sounding and universally recognized reliability. Frequency range of the Beta 58 A is 50 to 16000 Hz. Polar pattern - uniform super-cardioid, impedance - 150 Ohms, open circuit voltage - -71 dB (0.28 mV). Shure SM 57 The SM 57 universal dynamic microphone has become classical for various on-stage/concert applications. Its frequency response has a smooth boost in midrange, which provides bright and clear reproduction of each and every timbre shade when working with musical instruments, and gives rich warm vocals. The SM 57 is indispensable at reinforcement of drums, percussions and work with instrumental amplifiers. Frequency range - 40...15000 Hz, polar pattern - uniform cardioid, impedance - 150 Ohms, open circuit voltage - -75 dB. General-purpose studio microphones for broadcasting General-purpose studio broadcasting microphones should meet the following three requirements: Firstly, they must provide warm sounding that allows to bring to the listener undistorted announcer's speech with its natural timbre coloration. Secondly, these models must offer high reliability for sometimes, if not quite often, they have to work in on-air studios twenty-four hours a day: with announcers, DJs, talents constantly shifting one another, the operating studio microphone must put on the air all the information, emotions, tension or ease of the program without the slightest hint at a failure. And the last but not least, when being used in on-air television studios, the microphone must feature an austere yet prestigious design, on the one hand - not diverting attention from the action, on the other hand - emphasizing the TV-channel's reliability. Below, we are to recommend some Rode and Shure microphone models already installed and successfully utilized in thousands of broadcast stations all over the world. Rode Broadcaster Specifically designed for live broadcast applications, the Rode Broadcaster condenser microphone provides studio sound quality, reproduces the entire warmth of both speech and vocal, and brings to the listener the slightest intonation nuances. The company, well known for its studio condenser microphones, has designed this model specifically for radio broadcasting. Moreover, the Rode Broadcaster perfectly blends high-quality studio sound, excellent design and high reliability together, which allows to utilize the microphone under the hardest of live broadcasting conditions. The technical specifications of the Rode Broadcaster are comparable to those of the most prestigious studio condenser microphones: 1" gold-plated pressure gradient sensing capsule, frequency range - 20...20000 Hz, noise - 14 dB (A-weighted), sensitivity - 18 mV/Pa, maximum sound pressure level - 135 dB SPL. The capsule's internal shock-mounting system reduces structural-borne noise to negligible levels; the Broadcaster's body is machined from high-grade stainless steel, ensuring the microphone's finish remains as flawless as its operation. Unique to the Broadcaster is the "On-Air" indicator. This remotely-switched flush-mounted LED provides subtle visual indication of the microphone's active status. The microphone kit comes complete with the BM 1 microphone stand adapter, a rigid carrying case and 5-pin connector. Shure SM 7 One of the best dynamic microphones in its category, the SM 7 is especially popular in radio and television. Linear frequency response of the model ensures clear and natural sound reproduction. The microphone features a switchable bass roll-off filter and a midrange boost switch. It comes complete with a mount to precisely fix the microphone position at installation. Polar pattern - cardioid. Frequency range - 40...16000Hz. Clip-on microphones Any professional engineer carrying out either recording or live broadcasting knows well enough that it is extremely important to provide both the talent and program audience with good miniature microphones. Such microphone models allow to make up for the feeling of being "suppressed" within the studio limits and gain the atmosphere of natural, free and easy conversation. Furthermore, it is very important to ensure relaxedness of the audience. Don't you just forget theatrical staging as well: here, the possibility to concentrate upon creative rather than technical aspect of the action plays a special role. It is more than possible to obtain all that with the help of Shure miniature microphones. Moreover, their failsafe operation and high sound quality guarantee successful work without technical problems. Shure SM 93 The SM 93 miniature clip-on condenser microphone provides clear sound reproduction. It features a bass cut-off filter together with input pre-amplifier and comes complete with mounts and a windscreen. Frequency range of the SM 93 is 80 to 2000 Hz. Polar pattern - omnidirectional. Shure SM 11-CN The Shure Model SM11 is a miniature dynamic lavalier microphone that comes supplied with a tie clasp assembly, tie tack assembly and connector belt clip. The SM 11-CN model features an incorporated cable with XLR-connector. An optional kit for mounting the SM11 on various musical instruments is available as Shure Model RK279. Specifications: frequency range - 50...15000 Hz, polar pattern - omnidirectional, impedance - 150 ohms, open circuit voltage -85 dB (0.06 mV). The SM 11-CN is designed for use in television broadcasting (on camera), for sound reinforcement, in certain radio and motion picture applications, and similar uses where a small, professional-quality, microphone is required. Capsule dimensions - 14.3x38.1 mm, capsule weight - 7.8 g. Shure MX 183/184/185
Shure WL 93 The Shure WL 93 is an omnidirectional subminiature lavaliere condenser microphone which is extremely attractive for its high quality sound and visual unobtrusiveness. That's why it is a perfect tool for a wireless system, as well as communication and television complexes of all kinds. The WL 93 model is included in Shure T series wireless system kit. For a number of applications the color of a clip-on microphone plays a vital role, that's why, besides the basic model, the WL 93T tan finish modification is also available. Shure WL 183 The WL 183 omnidirectional clip-on condenser microphone is recommended for general-purpose sound reinforcement, recording, or remote monitoring applications. Particularly, the Shure developing team includes it in very popular LX wireless systems. Shure WL 184 The WL 184 super-cardioid clip-on condenser microphone is recommended for sound reinforcement applications requiring high rejection of ambient noise and narrow pickup angle. A number of Shure LX series wireless systems comes complete with this model. Shure WL 185 This is a high-quality clip-on microphone with omnidirectional polar pattern and outstanding sound characteristics owing to its condenser type. Shure WL 50 The WL 50 series miniature electret condenser microphones have omnidirectional pickup pattern and are designed specifically for use in wireless communication systems. The microphone features interchangeable equalization caps for optimal clarity and response: silver mesh cap provides a 4 dB boost in the 8-18 kHz range - typically used in applications that require a microphone to be head-mounted; gold mesh cap provides a 10 dB boost centered at 12 kHz - typically used in applications that require a chest-worn microphone. The WL 50B and WL 50T models come equipped with the TA 4F 4-pin mini connector that fits directly into Shure wireless transmitters. All models include two types of foam windscreens, a multi-purpose clip, magnet mount and come complete with a 1.8 m long cable. Shure WL 51 Shure's new WL51 professional lavalier electret condenser microphone series sets a new standard for miniature microphones. Despite its small size, the microphone's condenser element provides full, clear and natural reproduction of speech. Designed for applications that require minimal visibility without compromising sound quality, these microphones are available individually, as well as with the Shure UHF, UC, SC and LX Wireless Systems. It features unidirectional pickup pattern and frequency response ranging from 20 to 2000 Hz with a 10 dB boost centered at 12 kHz. The kit includes the High Boost equalization caps for optimal clarity and response and two types of foam windscreens. All models are equipped with a magnet mount, lapel clip, dual tie clip and pin mount. Headset microphones
Shure WH 20 The WH 20 is a dynamic headset microphone that has a cardioid (unidirectional) pickup pattern suitable for wireless systems. A carefully shaped frequency response (50 to 15000 Hz) includes a voice-frequency presence peak and a low-frequency roll-off to compensate for the proximity effect inherent in cardioid microphones during close-talk operation. The WH20 is supplied with a foam windscreen and clothing clip. The following model modifications are available: the WH20QTR that has a right-angle 1/4 inch phone plug for use with Shure Headset Wireless Microphone Systems, or any unbalanced microphone input, the WH20XLR that has a three-pin male XLR connector, and the WH20TQG has a miniature female 4-pin Tini Q-G-type mini connector for direct connection to Shure wireless body pack transmitters. Shure WH 30 The Shure WH 30 lightweight durable condenser electret microphone offers a cardioid pickup pattern and is supplied with two snap-on windscreens, clothing clip and cable-management device. The WH30 headworn microphone is available in a wired version, as well as with the LX, ULX, UC, and UHF series wireless microphone systems. Shure WCM 16 The Shure Model WCM 16 is equipped with a headset and good to be used as a wireless system microphone. Particularly, some modifications of LX and SC series wireless systems come complete with this model. Frequency response - 50...18000 Hz. Pickup pattern - hyper-cardioid. A noteworthy feature: high load capacity eliminates overload distortion. Shure Beta 53 The Beta 53 is a fully adjustable omnidirectional condenser headset microphone, designed for applications where inconspicuous appearance and incredible sound quality are required. Its light weight together with soft modular headband provide a comfortable fit while still allowing the Beta 53 to be positioned as close to the left or right corner of the mouth as possible, assuring maximum voice pickup. Frequency range - 20 to 2000 Hz. The kit comes complete with two windscreens and a clip to attach the cable to clothing. Available in either black or tan. Headsets for studio applications and intercom systems Microphones relating to this category of equipment should ensure good intelligibility and be fully protected from feedback. Here individual mobility comes to the fore. Hence, the two models by Shure to follow come complete with comfortable headsets.
Shure SM 2 The SM 2 a professional headset with dual high-quality enclosed ear receivers. The SM 2 includes the SM 10A dynamic microphone with a fully adjustable boom providing complete freedom for creative work, high selectivity, and rejects feedback problems. The SM2's frequency responses: earpiece receiver - 100 to 8000 Hz (impedance - 2 kΩ ), microphone - 50 to 15000 Hz, polar pattern - unidirectional cardioid, impedance - 150 ohms, open circuit voltage - -47 dB (4.5 mV). The model suits perfectly for TV/radio applications, as well as cinema/video production and is fully compatible with both stereo and monaural audio modes. The detachable cable may be configured according to the user's needs. Shure 512 The 512 microphone consists of the popular SM10A microphone element mounted on a lightweight headband with a single earphone. The headset is well suited for monitoring, as well as in-studio intercom or outdoor concert communication purposes. Frequency range - 50....15000 Hz, pickup pattern - cardioid, impedance - 150 ohms, open circuit voltage - -47 dB (4.5 mV).
Boundary layer microphones Flat - shape microphones are typically used for voice recording and/or speech reinforcement. These are convenient, unpretentious devices not diverting the audience's attention from the subject, while at the same time properly receiving and transmitting all the information to the amplifying equipment. Special authority of Shure boundary microphones is determined by their simple installation and high reliability providing good sound reinforcement for the most important events. Shure MX 391/392/393 The Microflex MX 391, 392, 393 highly effective boundary desk microphones are used practically everywhere: beginning with conference-systems and ending with distance learning centers. The microphones come equipped with three Microflex interchangeable condenser capsules of the following pickup patterns: cardioid, super-cardioid and omni-directional (C, S and O marks respectively). All the three models have frequency range of 50 to 17000 Hz. The MX 291 is a boundary desk microphone with an external preamplifier. It features a 3.6 m long detachable cable with the TA 4F 4-pin connector. The MX 392 represents a boundary desk microphone with a built-in preamplifier and connectorless (unlike MX 393) 3.6 m long cable. It features logic control functions, a programmable switch and LED indicator. Shure Easyflex EZB series The EZB series is the perfect choice for all types of voice reinforcement applications, where quality, value and budget are primary considerations. The EZB models feature either a cardioid or omnidirectional polar pattern. All the microphones relating to this series are equipped with a built-in preamplifier. Overhead microphones Overhead microphones are used for mobile sound reinforcement of halls, stage performances, choirs and mass events. Besides high sound quality, the microphones of this category must feature higher sensitivity for the distance between the microphone capsule and the sound source may sometimes be quite long. Fortunately enough, these features are characteristic of all overhead microphones manufactured by Shure. Shure MX 202 B The Microflex MX 202 B miniature overhead high-sensitivity condenser microphone is the best choice to reinforce choirs, performance groups and musical ensembles. The microphone features high quality of audio reproduction and is very small in dimensions. The model is equipped with a cable preamplifier, 10 cm long flexible mount and 9 m long cable. The microphone is phantom power-operated. It is supplied with two types of capsules: C - with cardioid pickup pattern and S - with super-cardioid pickup pattern. Frequency range of the MX 202 B is 50 to 17000 Hz. Shure Easyflex EZO series The Easyflex series of condenser microphones with a cardioid polar pattern is designed for installation in environments where quality, value and budget are primary considerations. The EZO/G and EZO/W overhead condenser microphones are intended for reinforcement of choirs and performance groups and also suitable for use in conference-halls. Both models feature a 9 m long cable for accurate and stable positioning and are available with different housing finishes, where the G index stands for gray, whereas W - for white. Stereo microphones Stereo microphones are called upon to solve the most difficult problems of sound reinforcement. Their application area is unlimited and includes orchestral recording; concert reinforcement; studio work; picking up of the general background sound of an event (ambient noise), etc. Besides, what's noteworthy is that microphones belonging to this category must be precisely factory calibrated, so that the stereo sound stage wouldn't have any roll-offs with respect to its panorama. Below, we are to examine some stereo microphones manufactured by Rode & Shure. Rode NT 4 The NT4 is a stereo condenser microphone coming supplied with special stereo cables featuring both XLR and mini jack connectors. The two 1/2 in. capsules are in an XY arrangement, 90 degrees of each other. The NT 4 requires 48 V phantom power, but it can also be powered via a 9-volt battery. The NT 4 captures the entire audio frequency range, features low noise level and comes complete with mounts and a windscreen packed in a classical Rode carrying case. Rode NT 5 The NT 5 represents a condenser microphone designed for reinforcement of practically any musical instrument. Its small size as well as precisely tailored design provide for tight, accurate and varied positioning with respect to the sound source, where small microphones are most useful. Like the NT4, the NT5 model captures the entire audio frequency range, features low noise level and comes complete with mounts and a windscreen packed in a classical Rode carrying case.
Shure VP 88 The VP 88 is a single-point narrow-angle stereo condenser microphone with frontal cardioid and perpendicular bi-side polar patterns containing an internal matrix to create a stereo audio image of the sound source. (Nevertheless, the model is fully mono compatible). The microphone features a realistic timbre and is well suited for stereo reinforcement of live events, studio recording, stereo sampling, video post-production and ENG. The microphone has three settings for different degrees of stereo image separation, four Mid-Side directivity positions and switch-selectable, low-frequency roll-off. It operates on phantom power or a 6V camera battery. Frequency range - 40 to 20000 Hz. Shure SM 81 stereo microphone pair The Shure Model SM 81 are studio condenser microphones that come as a matched stereo pair, representing a convenient tool for stereo sound pick-up and providing for precise minute reproduction of each and every timbre shade. Ideally flat frequency response of the SM 81 may be additionally adjusted with a built-in bass roll-off selector. The model features a 0 dB/10 dB pre-attenuation pad. Frequency range - 20...20000 Hz, polar pattern - unidirectional cardioid; open circuit voltage - -65 dB (0.56 mV); impedance - 150 ohms. The microphone requires phantom power supply. Shure KSM 44 The KSM 44/SL is a condenser microphone designed specifically for studio application. It features a double-sided gold-layered diaphragm. With a dedicated switch it is possible to easily select a desired pickup pattern (from cardioid, omnidirectional or figure-8). A built-in class A, discrete, transformerless preamplifier ensures transparency, extremely fast transient response and no crossover distortion. Frequency range - 20...20000 Hz; additionally, a built-in subsonic filter eliminates rumble from mechanical vibration below 17 Hz. The microphone construction also features an integrated three-stage pop protection grille, internal shock mount and 15 dB attenuation switch. Durable zinc die-cast housing and hardened low carbon steel grille protect the cartridge from accidental drops or misuse. The microphone requires a 48 V phantom power supply. The kit comes supplied complete with a locking aluminum carrying case and elastic-suspension shock mount. Shure SM 94 stereo microphone pair The SM 94 condenser microphone stereo pair is a quite acceptable price/quality combination. Featuring excellent sounding, the model is suitable for both recording and live performance. The microphone may be powered by either phantom power or one AA-size battery. An internal shock mount, wide dynamic range, linear frequency response, frequency range from 40 to 16000 Hz - all this proves that the SM 94 is a very convenient and reliable tool. Shure PG 81 stereo microphone pair The PG 81 condenser microphones are intended for instrumental reinforcement. The model features an extremely high sensitivity and is capable of reproducing the tiniest shades of instrumental timbres. Frequency range - 40...20000 Hz, pickup pattern - cardioid. The microphone requires either phantom or AA battery power supply. It features a durable metal housing and internal shock mount. The housing has a mounted on/off switch. Reporting microphones for on-location outdoor application This type of microphones for outdoor application is typically divided into the so-called shotguns and microphones with omnidirectional polar pattern. The former are intended for selective reinforcement of distant sound sources, when a reporter doesn't have an opportunity to approach them. In this situation, the correctly balanced compromise between the microphone sensitivity that allows "capturing" a sound source located at a long distance and the "shotgun"'s capacity for maximum rejection of off-axis unwanted ambient noise becomes a very important characteristic. The latter microphone class is typically used for mobile interviews, press conferences, interrogations, where effective reinforcement of close sound sources, while rejecting distant ones, comes to the fore. Besides, in some cases, when it's impossible to mount the microphone on a desk or the reporter has to work in tight challenging environments among colleagues, the extended microphone handle length becomes an advantage. Shure VP 64 The VP 64 dynamic microphone is intended for professional application. It features a convenient low-profile design and high efficiency capsule. Frequency range - 50 to 12000 Hz, polar pattern - omnidirectional. Its bass roll-off protects against unpleasant proximity effect, and an upper midrange presence rise adds crispness and clarity to speech. High output level, low noise, excellent acoustic isolation of the capsule from the housing make the microphone extremely popular among professionals. The model comes supplied complete with a highly effective windscreen and reliable mounting system. The capsule features a water-resistant mesh grille that allows the microphone to be used during the most challenging weather conditions. The VP 64 AL version has an extended handle length for comfortable feel during lengthy interviews or other applications of the kind. Microphone dimensions - 19x244, weight - 179 g. Shure SM 63 The SM 63 dynamic microphone is a perfect tool for spot news coverage, electronic news gathering (ENG). The microphone ensures convenient handling thanks to its small size (16.28 cm long) and light weight. Durability and reliability are provided by a patented shock mount system. The model features an omnidirectional polar pattern, frequency range from 50 to 20000 Hz together with a high overload point. The SM 63 is also equipped with a Veraflex durable protective grille to withstand damage from accidental drops. The SM63L is a little bit heavier model due to an extended handle length (23.34 cm). Shure SM 89 The SM 89 highly directional condenser shotgun microphone is designed specifically or film, theater and television production and has, in fact, become the industry standard for this class of equipment. The SM 89 entirely eliminates problems related to off-axis coloration and offers smooth linear frequency response. The housing is made of aircraft-grade aluminium, which makes the microphone lightweight, steady and durable. The A 89 SM special additional mount-assembly effectively suppresses both handling and vibrational noise. The microphone comes with the RK 257 WS windscreen and a carrying case. Frequency range - 60...20000Hz. Mobile (on-camera) microphone wireless system The name of this type of equipment is self explanatory enough, isn't it. These are wireless on-camera portable microphone systems that provide stable continuous prolonged work with simultaneously operating camera during film and/or video shooting. This kind of equipment should be protected from various kinds of RF noise caused by operating electronic equipment/machinery and, as far as possible, be light in weight. Below, we are to give technical specifications of two popular on-camera transmitters from Shure. Shure UP 4
The system features: Noise Squelch Circuitry that analyzes signal quality to evade noise bursts, Microprocessor-controlled Predictive Diversity that switches antennas when necessary for consistent audio and RF reception, Optimized IF (Intermediate Frequency) Filtering and Phase Locked Loop (PLL) Circuitry. It is also equipped with built-in tone key and noise reduction circuitries. The bi-colored LCD display makes operation more convenient. A single 9 V battery provides at least 10 hours of continuous operation; moreover, the battery can be changed without removing the receiver from the camera The receiver has a special protective weather-resistant cover. The model is fitted with SMA antenna connectors. The UP 4 system is fully compatible with both VC and UHF wireless systems. Available supply modifications:
Shure EVP The EVP series wireless systems operate in a bandwidth ranging from 169 to 216 MHz. This equipment has won its wide popularity among television professionals owing to its unique schematic solutions together with expanded functionality. The compact-size portable EVP series VHF receiver means high sound quality in video production. The model features an extremely light weight - 204 g. A single 9 V battery provides at least 7 hours of continuous operation. You may use up to 10 selectable transmission frequencies. The system features: separated pilot-tone and monitor signal controls; headphones socket, balanced microphone input and swivel antenna. It's possible to complete the system with Shure VHF handheld and portable transmitters. The system is available in three modifications:
Stationary wireless systems Stationary wireless systems are professional multi-functional devices allowing to organize your work during the toughest of live performance conditions. They are widely adopted in both stationary and touring sound reinforcement complexes and successfully used in live broadcasting, theaters, educational institutions and video post-production. In this field, Shure proves to be a traditional leader, and the production carrying this logo is well known to thousands of sound engineers all over the world. Shure ULX The ultimate development by Shure in the field of wireless systems - the ULX Standard/Professional models - work in the UHF-band and are built under the "automatic frequency selection" scheme providing pre-scan with consequent straight shot to a clear channel. Both systems offer the operator up to 1400 selectable frequencies ranging from 554 to 865 MHz, divided into groups, which makes the process of installation significantly faster and provides for simultaneous operation of up to 20 systems with fixed frequency and volume. The distance of stable transmission exceeds 90 meters. The ULX 1 compact-size portable transmitter is compatible with any guitars and Shure microphones. The ULX 4 dual-antenna receivers are designed according to diversity technology that increases the signal strength, and come equipped with half-wave antennas and multifunctional LCD-displays. The ULX 1 and ULX 2 transmitters operate at least 9 hours from a single battery. They are equipped with on/off switches, power indicators, 3-segment battery condition indicators, audio clipping indicators, group/channel displays, Mode and set buttons to pre-set and save settings, and provide audio signal level adjustment capability. Both the Standard and Professional series come supplied complete with the ULXS 4 and ULXP 4 receivers respectively, ULX 1 transmitter, the SM58, SM87A, Beta58, Beta87A, Beta87C, WL50 and many other microphone models, or WA 302 instrument cable, which, in the aggregate, gives the customer possibility to choose from over 30 various configurations. The professional series offers dual systems consisting of the ULXP4 dual transmitter and two, either handheld or portable, transmitters (ULX 2 or ULX 1, respectively). Various additional accessories include:
Stephan Scherthan, the Shure representative, says the new ULX wireless system is the product the company takes real pride in. ULX falls into an intermediate price category, yet it features almost the same functionality as the UHF series, except for a PC-based device management system and a headphone amplifier in the transmitter. Moreover, the transmitters now feature displays, and the receivers come with the automatic clear channel scan capability. The Standard series (ULX Standard and ULX Professional) has identical transmitters except for some differences in functionality of the receivers. Besides, the ULX Standard is equipped with a plastic chassis, whereas the ULX Professional - with metal. Comparing Shure ULX system with Sennheiser Evolution 300/500, you may find some differences, for instance, Sennheiser Evolution 300/500 doesn' t feature automatic frequency scan & fix function; Shure ULX provides for simultaneous operation of 20 groups with electronic frequency/Volume fixing (up to 24 compatible frequencies per group to choose from), whereas Sennheiser Evolution 300/500 provides only a single set of preprogrammed frequencies with mechanical fixing; Shure ULX offers an active system of both antenna switching and power distribution (UA 844), low-loss RF-splitter, whereas Sennheiser Evolution 300/500 doesn't provide active antenna junction, furthermore, the ASP 1 is a passive splitter with inherently high losses; Shure ULX utilizes the TA 4 M connector (ULX 1), standard for all Shure portable transmitters, whereas Sennheiser Evolution 300/500 uses a unique (1/8" TRS) connector which is incompatible with other Sennheiser clip-on microphones with Lemo connector. Shure UC
The system features a friendly, easy-to-understand user interface. Sophisticated LED indication of the receiver allows to effectively monitor operation status (Dual RF, Antenna Diversity indicators; Group/Channel display; special battery status LED and, of course, audio level indicators). The 3-segment transmitter battery status indicator allows to accurately monitor the discharge process. The transmitter has dedicated potentiometers to adjust input sensitivity (the portable transmitter has a two-position 0/-20 dB attenuator installed). Power on/off and Mute functions are assigned to one and the same button. Baseband bandwidth of the system ranges from 774 to 862 MHz. Stable transmission distance - 152.4 m (minimum, under normal conditions) or 487.6 m (within the area of direct vision). Audio frequency range - 45...15000 Hz, ±2 dB (depends upon the microphone capsule used). Sensitivity adjustment range -6 to +34 dB (UC 1), -6 to +26 dB (UC 2). Standard RF power output for both UC 1 and UC 2 is 50 mW. Dynamic range of the system exceeds 100 dB (A-weighted). Maximum output level of the receiver is +5 dB (standard unbalanced output) or +14 dB (standard balanced output). RF-sensitivity of the UC4 is - 100 dBm at 12 dB SINAD. The recommended application for each available model is determined by the transmitter/microphone combination it includes. The Models EUC124C/58, EUC124C/87, EUC124C/BETA58 and EUC124C/BETA87 are combined wireless systems with portable transmitters and a microphone. Shure UHF MK II
The UHF series receivers are available in two modifications: U4S (one receiver in a single housing) and U4D (two receivers in a single housing). The transmitter may carry either the U1 (portable) or the U2 (handheld, integrated into the microphone housing) mark. The stable coverage radius under normal conditions is 152.4 m, and 487.6 m - within the area of direct vision. Dynamic range is more than 102 dB, output signal adjustment range - 40 dB (U1) and 26 dB (U2). The U 124 M/Beta 58 vocal-instrumental system consists of the U4D receiver, the U1 and U2 transmitters teamed with the Beta 58 capsule, whereas the U124M/87 utilizes the SM87 capsule. The U24S/Beta 58 vocal system comes supplied complete with the U4S receiver and the U2 transmitter teamed with the Beta 58 capsule, whereas the U24S/Beta 87 comes with the Beta 87 capsule. The U24D/Beta 58 vocal system, unlike the U24S/Beta 58, comes supplied complete with the U4D receiver and two U2 transmitters teamed with the Beta 58 capsule. The U24D/58 and U24D/Beta 87 vocal systems come supplied with two receivers and two microphones, SM 58 and Beta 87 respectively. The UHF MK II is the new modification of the UHF series featuring even higher sound quality. Compared with the previous UHF version, it allows to further increase the number of adjoining channels per frequency by 40%. The U1MK transmitter can now be used for instrumental reinforcement (for instance, with an acoustic guitar). The MK series components utilize frequencies compatible with those of the UHF series, yet these series are not altogether interchangeable. Nevertheless, all accessories belonging to the previous series successfully work with the new one. Shure EUT
When comparing the system with the known T VHF series, it should be noted that even the names of various UT modifications would be familiar to the users of the T series. Let's enumerate available supply variants of the new system:
Baseband bandwidth of the UT system ranges from 596 to 862 MHz. Number of available frequencies - up to eight. Stable reception distance under normal conditions - 100 m. Audio frequency range - 35...15000 Hz, ±3 dB. S/N ratio - 95 dB. UHF wireless systems belonging to the UT series ensure professional sound quality while taking away numerous limitations arising out of utilization of traditional wired microphones. A&T Trade Company. |
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