SPECIFICATIONS

Frequency Response (ref 1 kHz)

30 to 20,000 Hz, ±2 dB

Voltage Gain (at 1 kHz)

INPUT

 

OUTPUT

 

 

 

 

 

 

LINE

MICROPHONE

LINK

 

 

 

 

Mic

90 dB

40 dB

70 dB

 

 

 

 

Line

40 dB

-10 dB

20 dB

 

 

 

 

Link

20 dB

-30dB

- -

 

 

 

 

Inputs

INPUT

 

IMPEDANCE (at 1 kHz)

 

INPUT CLIPPING

 

 

 

 

 

 

 

 

 

LEVEL AT 1kHz

 

 

FOR USE WITH

 

ACTUAL

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Mic

150 Ω

 

1 kΩ

 

-62 to -6 dBV*

 

 

 

 

 

 

 

 

 

 

 

Line

less than 10 kΩ

66 kΩ

 

-12 to

+ 44 dBV*

 

 

 

 

 

 

 

 

 

 

Link

more than 5 kΩ

24 kΩ

 

+8 dBV

 

 

 

 

 

 

 

 

 

 

 

*Dependent on input control setting

 

 

 

 

Outputs

 

 

 

 

 

 

 

 

 

 

 

INPUT

 

 

IMPEDANCE (at 1 kHz)

 

 

INPUT CLIPPING

 

 

 

 

 

 

 

 

 

 

LEVEL AT 1kHz

 

 

FOR USE WITH

 

ACTUAL

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Mic

 

150

 

 

2 Ω

 

 

-34 dBV

 

 

 

 

 

 

 

 

 

 

Line

 

600

 

 

185 Ω

 

 

+16 dBV

 

 

 

 

 

 

 

 

Link

 

600

Ω or greater

 

100 Ω or less

 

+16 dBV

 

 

 

 

 

 

 

 

 

 

 

 

Noise

Equivalent Input Noise: -129 dBV (low-impedance microphone, 150 Ohms, 300 to 20,000 Hz) into 600 ohm load at full gain

Equivalent Input Hum and Noise: -127 dBV (low-impedance micro- phone, 150 Ohms, 20 to 20,000 Hz) into 600 ohm load at full gain

Output Noise: -90 dBV maximum (output control full counterclockwise [off]), -65 dBV maximum (output control full clockwise [on]) (input control down, 300 to 20,000 Hz)

Output Hum and Noise: -75 dBV maximum (output control down), - 65 dBV max. (output control up, input control down, 20 to 20,000 Hz)

Distortion

0.4% THD, 30 to 20,000 Hz at +15 dBm output; 0.5% or less IM distor- tion at +15 dBm output

Common Mode Rejection

65 dB minimum with input of - 20 dBV at 100 Hz

Control Interaction

Less than 1 dB with any control combination

Overload and Shorting Protection

Shorting outputs, even for prolonged periods, willcause no damage; mi- crophone input will not be damaged by signals up to 3V

Phase

All outputs in phase with input. Pin 2 is “high” with respect to pin 3; pin 1 is ground. Tips of link input and output phone jacks are in phase with pin 2 of XLR connectors.

Phantom Power

30 VDC nominal, 3.3k series resistance, automatically disabled with in- put switch in Line position

Operating Voltage

AC Operation: 120 or 240 VAC ± 10% (internally selectable), 50/60 Hz, 5.5W

DC Operation: 27 VDC nominal at 16 mA typical no- signal, 22 mA typ- ical at 0 VU (+4 dBm) output; 21.5 VDC minimum; battery life approxi- mately 20 hours with alkaline batteries at +4 dBm output in continuous use; three 9 volt batteries, type NEDA 1604A (Duracell MN1604 or Eveready 522 recommended)

Temperature Range

Operating: -18° to 57°C (0° to 135°F)

Storage: -29° to 71°C (-20° to 160°F)

Dimensions

79.5mm H x 310 mm W x 230 mm D (3-1/8 in, x 12-7/32 in. x 9-1/16 in.)

Weight

Net: 2.75 kg (6 Ib 1 oz.)

Packaged: 3.15 kg (6 Ib 15 oz.)

Certifications

Listed by Underwriters Laboratories. Inc.; listed by Canadian Standards Association as Certified

CONTROLS AND CONNECTORS

OnOff Switch: applies power to the FP16A circuitry

Power LED: Indicates unit is on.

Input Gain Screwdriver Control: adjusts input signal level.

Output 1-6Screwdriver Control: adjusts individual output channel signal levels.

Norm LED: indicates when internal signal level is approxi- mately 25 dB below clipping.

Overload LED: indicates when internal signal level ap- proaches clipping.

Three-Pin XLR 1-6 Output Connectors: provide for connec- tion to either low-impedance microphone or line level inputs of power amplifiers, mixers, or other signal processing equipment.

Mic/Line 1-6Slide Switches: select microphone or line level output signal levels.

Phantom On-OffSlide Switch: applies 27 VDC (nominal) phantom power to pins 2 and 3 of the input connector for use with condenser microphones. IMPORTANT: Make cer- tain any condenser microphone used is compatible with the FP16A phantom circuit, and that the FP16A input Mic/Line switch is in the Mic position. Do not turn the Phantom switch

on when using unbalanced low-impedance microphones; objectionable hum will result. Turn the Phantom switch off when phantom power is not required.

Three-Socket XLR Input connector: provides for connection to microphone or line level input signal sources.

Input Mic/Line Slide Switch: selects microphone or line-lev- el input signals.

Link In, Out Phone Jacks: provide for connecting more dis- tribution amplifiers for additional outputs, or adding external equipment such as equalizers, compressors, or limiters.

When connecting two or more FP16As together for addition- al outputs, connect the Link Out jack of the "master" unit to the Link In jacks of the others. Any number of FP16As can be tied together in this way. The Link In jack is input-only, and has switching contacts to disconnect the input signal amplifier from the output channel volume controls.

Connect an equalizer, limiter or compressor to the FP16A by connecting the FP16A Link Out jack to the external unit's in- put, and the external unit's output to the FP16A Link In jack.

Signals at the Link jacks are typically 10 dB below line level. The Link In input impedance is greater than 20 kand may be considered a bridging impedance.

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Shure FP16A manual Specifications, Controls and Connectors

FP16A specifications

The Shure FP16A is a highly versatile and innovative portable wireless receiver that caters to the needs of filmmakers, videographers, and audio professionals. Its design emphasizes mobility without compromising on performance, making it an essential tool for capturing high-quality audio in dynamic environments.

One of the standout features of the FP16A is its compact and lightweight design. Weighing only a few ounces, it can easily fit into any production bag, allowing audio professionals to stay agile while shooting on location. Its rugged construction ensures durability, which is crucial for outdoor shoots where equipment can be exposed to various elements.

The FP16A operates in the UHF frequency range, which provides a robust signal with minimal interference. This is particularly important in environments with multiple electronic signals competing for bandwidth. The receiver includes a diversity reception feature that utilizes two distinct antennae to ensure a more reliable connection, significantly reducing the chances of signal dropouts.

With an intuitive interface, the FP16A is easy to set up and use. The backlit LCD screen allows users to quickly navigate through settings, monitor battery life, and check audio levels in various lighting conditions. This is especially useful for on-the-go adjustments during a shoot.

The unit supports multiple channels and can work seamlessly with Shure's range of transmitters, including lavalier mics and handheld microphones. This flexibility allows users to choose the right microphone for their specific audio capture needs, further enhancing the quality of recorded sound.

Battery life is another critical characteristic of the FP16A. It is designed to run on standard AA batteries, with an efficient power management system that provides up to 8 hours of continuous operation. This longevity allows audio professionals to focus on their work without the constant worry of changing batteries mid-shoot.

In terms of sound quality, the FP16A offers impressive fidelity and clarity. It utilizes advanced audio processing technologies to ensure that the audio signal remains natural and true to life. This detail in sound reproduction is crucial for film and video projects, where dialogue and ambient sounds play an integral role in storytelling.

Moreover, the FP16A is part of Shure’s FP Wireless System, which provides a scalable solution for larger productions. Users can expand their wireless setup with additional receivers and transmitters, giving them the ability to manage more channels of audio effectively.

In summary, the Shure FP16A stands out with its portability, advanced features, and focus on audio quality. Its robust performance in various shooting conditions makes it a go-to choice for professionals seeking to capture pristine audio in their projects.