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is "feedback." This is a harsh, shrill squeal which occurs
when the microphone picks up sound from the loudspeak-
ers, re-amplifies and rebroadcasts it over and over again.
But take heart, you have already taken the best possible
step to defeat feedback by selecting a Shure Unisphere
Microphone. T h e unidirectional (frontal pickup) charac-
teristics of the microphone are valuable in rejecting the
sound from the loudspeakers so that feedback does not
occur.
Another factor to remember in the prevention of feedback
is the position
ot
the loudspeakers in relation to the micro-
phone. Even with a Unisphere Microphone, feedback can
occur if the front (live) end of the microphone picks up
sufficient sound coming
t
rom loudspeakers. Keep the
loudspeakers as far to the sides as possible-and
so they
do
not point toward the front of the microphone.
Wheri-
ever possible, it
i s
good practice to keep the microphone
between the performer and the loiid\peakers.
If you are in a room with hard walls, floor, and ceiling,
the sound from the loudspeakers may bounce back into
the microphone and create feedback. Solve this problem by
turning down the amplifier volume control and working
closer to the microphone.
microphone technique will add to the over-all effectiveness
with which you project yourself to your audience. Keep
owing points in mind when using the microphone:
ntain the proper distance from the microphone.
en you wish to achieve an intimate tonal quality,
get closer to the microphone and lower your voice.
For wide-open "driving" effects, raise your voice and
back away from the microphone so that you d o not
your distance from the micro-
ct the level of sound coming
erdrive your amplifier to distortion.
3. Consider the microphone as a n instrument and prac-
tice your technique to enhance your performance.
USING MORE THAN ONE MIC
It will often be desirable for a group to use a separate
microphone for each individual performer. I n this case,
the following points should he remembered.
1. It is best if the microphones are individually controlled
at the amplifier for volume, or through a separate
microphone mixer.
If
this is not possible,
it
is desirable
that each performer use the saine type and model of
inicrophone
so
that the performance
of
the group as
a
whole w i l l he "balanced."
2. Check the placement of the microphones with relation
to loudspeakers (as mentioned before) so that feed-
back is minimized.
Your Shure Microphone
is
ruggedly built and should give
you years of uninterrupted service; however, remember
that it is a sensitive electronic instrument. Avoid dropping
the unit, or subjecting it to unnecessary rough treatment
Normal usage, of course, will not impair performance of
the unit. Use the protective carrying case t o prevent dam-
age not only when traveling, but also when storing the
microphone.
( ~ I ~ ~ C r ~ - L I S T
IZ
1. Check microphone connector-is
It plugged into the
high impedance input of the mplifier"
2 . Check microphone cable connector\ to niicrophonc
' t n d
to amplifier-are
they tightly plugged i n )
3. Check amplifier.
a. Is it turned on')
b. Is volume control for microphone turned up'
If microphone still does not appear to he operating C hech
microphone on a spare ccible. It microphone
\ t i l l
doe\ not
appear
to
be operating, have unit checked by your Shrrie
Professional Entertainer Products Deder, or writc Service
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