Shure Brothers Incorporated
222 Hartrey Avenue
Evanston IL 60202-3696 U.S.A.
Model FP22 User Guide
•
•
•
•
Overall headphone balance control
Overall stereo/mono switch for headphones
LED power indicator
Powered by easily obtainable 9–volt alkaline battery or by external 12
to 24 Vdc power supply (such as Shure Model PS20 or PS20E)
1
•
•
/
4
-inch and 3.5 mm stereo headphone jacks
Effectively shielded for low susceptibility to radio-frequency interfer-
ence (RFI)
SPECIFICATIONS
Frequency Response (ref 1 kHz)
20 Hz to 20 kHz, +1, –3 dB (stereo line input)
50 Hz to 18 kHz, +1,–3 dB (mono XLR input)
Equivalent Input Noise
–125 dBV (maximum gain; source resistance 150 Ω; 20 Hz to
20 kHz)
Voltage Gain (at 1 kHz)
GENERAL
The FP22 is a battery-powered stereo headphone amplifier that
Source
Impedance
Gain
(into 63 Ω)
Gain
(into 8 Ω)
Input
provides headphone feeds from any audio input source. It has the
unique capability of monitoring mono, stereo and mixed mono and
stereo inputs. The FP22 monitors and combines these signals in
XLR
(mic level)
150
600
600
600
Ω
Ω
Ω
Ω
80 ± 5 dB
29 ± 5 dB
26 ± 4 dB
–4 ± 4 dB
74 ± 5 dB
23 ± 5 dB
21 ± 4 dB
–10 ± 4 dB
the headphones without affecting the original signal. Stereo or
1
XLR
(line level)
mono headphone outputs appear on
/
4
-inch phone or mini 3.5 mm
stereo jacks. The FP22 can drive headphones to very loud levels.
It is ideal for anyone in the broadcasting, sound reinforcement or
audio recording fields who needs a flexible, high–quality head-
Stereo line
(pad at 0 dB)
phone monitor
.
Stereo line
The FP22 is excellent for:
Line checking applications
(pad at –30 dB)
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•
•
•
•
•
T
otal Harmonic Distortion
Less than 0.5% measured at –8 dBV into 8 Ω (20 Hz to 20 kHz
stereo line input; 50 to 18 kHz mono XLR input)
Providing multiple headphone feeds
On stage in-ear monitoring
Boosting headphone circuits
Headphone foldback in recording studios
Input Clipping Levels (at 1 kHz)
Mic level
.
. . . . . . . . . . . . . . . . . . . . . . . . . . . 160 mV (–16 dBV)
Line level
.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 V (+34 dBV)
Practicing musical instruments or mixed vocals through headphones
while monitoring a stereo source
Output Level at Clipping
Features:
Headphones FP22 Out- Headphones
Head-
Impedance
put
Sensitivity phones SPL
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•
•
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•
Exceptionally wide frequency response and dynamic range
63
Ω
1.2 V (1.6
dBV)
106 dB at 1
mW
120 dB
High-impedance bridging inputs do not load signal sources
Capable of mixing mono and stereo inputs in headphone outputs
Complete user control of headphone volume
8
Ω
500 mV (–6
dBV)
95 dB at 1
mW
110 dB
1
Loopthrough / -inch stereo phone jacks (can be internally switched to
4
Input Impedance
XLR (mic level) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6.3 kΩ ±10%
XLR (line level) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 kΩ ±10%
Stereo Line (pad at 0) . . . . . . . . . . . . . . . . . . . . . . 50 kΩ ±10%
Stereo Line (pad at 30 dB) . . . . . . . . . . . . . . . . . . 53 kΩ ±10%
become separate left and right inputs)
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•
•
30 dB pad for stereo line input to accommodate a wide range of line level
sources
.
.
Balanced loopthrough XLR connectors switchable from mic to line
level
.
Headphone Output Impedance (at 1 kHz)
Separate XLR volume control on pull-out control knob
10.2 Ω ± 10%
E1997, Shure Brothers Inc.
27A8362 (QE)
Printed in U.S.A.
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1
stereo
in arallel.
2. When internal switch S105 is set for Mono, the FP22 accepts
s
ignal since bot
h
/ -inch Stereo Line jacks a
r
e connected
1. The above Y–cable is placed in-line into the intercom system.
2. Set internal switch S105 to Stereo (factory setting).
Wiring for RTS and ClearCom Systems
4
p
1
individual left and right
/
4
-inch mono connectors to provide a
Pin
2
RTS
ClearCom
stereo signal. Stereo Line jack (1) is the left input; Stereo Line
jack (2) is the right input. No loopthrough capability is available
with S105 set for Mono.
Audio channel 1, 24Vdc
Audio channel 2, 24 Vdc
Reference (ground)
Audio, 18-36 Vdc power
Audio, 12 Vdc call signal
3
TYPICAL MONITORING CONNECTIONS
1
Reference (ground or com
mon)
-
1. One Mono Input. A mono signal connected to an XLR or
phone jack will be monitored as a mono headphone signal.
(When using the Mono XLR connectors, the Line/Mic switch
should be set to match the input.)
2. One Stereo Input. A stereo signal connected to the Stereo
Line jacks can be monitored as a stereo output on stereo head
-
1
2
2
1
phones or as a mono output.
3
3
3. One Stereo Input Plus One Mono Input. A mono signal input
through the Mono XLR connector and a stereo signal input
through the Stereo Line jacks can be monitored as a mixed out
put, with both signals appearing in the stereo headphones.
4. Three Mono Inputs - Stereo Headphone Signal Output.
Three mono signals can be accepted through the mono-XLR
jacks and the stereo line jacks, and mixed and monitored as a
stereo signal in the stereo headphones.
-
TO STEREO LINE
LOOPTHROUGH
CONNECTION ON FP22
TIP
RING
SLEEVE
FIGURE
2
SPECIAL APPLICATIONS
Troubleshooting stage sound systems. The FP22 can be
used to trace a signal line when one or more microphones are not
working on stage. To locate the malfunction, loop the signal
through the FP22 wherever an XLR or phone connector is lo-
cated and monitor the signal.
NOTE: The FP22 can be modified so that all input jacks are in
parallel. This duplicates the Shure FP12 in functionality. This
modification allows monitoring in mono only. Please contact
Shure’s Product Applications Group for details on this modifi
-
cation.
Field monitoring applications can be set up by inserting
FP22 units “in line” without affecting the signals.
INTERCOM CAPABILITY
The FP22 can interface to commercially available intercom
systems, such as RTS, Telex and ClearCom. The diagrams be
-
On stage monitoring. With the FP22, an effective on–stage
in-ear monitor system can be created. From a mixing console a
stereo signal can be looped through to multiple FP22’s, while the
Mono XLR jack can be used for an individual’s microphone or
low show how to interface the FP22 to these systems and what
can be monitored. More information about intercom systems can
be obtained from the intercom manufacturers.
musical instrument. Each performer has control of overall head
phone volume as well as a mix control of their individual voice or
instrument with the stereo signal.
-
Telex Intercom Systems (Figure 1)
Telex uses a standard balanced audio line. No modification
is required to interface the FP22 with Telex intercoms.
Boosting headphone output. The FP22 can be used to
boost the headphone output of existing devices. The stereo
headphone output of an audio device can be connected to the
Stereo Line connectors of the FP22. The FP22 will provide a
high–quality headphone output with the ability to loop through to
another FP22.
1. Use the Mono XLR Loopthrough connections.
2. Mono XLR level switch should be set to the Line position.
3. 24 volts phantom power on the intercom line is passed through
the FP22.
Using the FP22 as a two-stage intercom system. A two-
stage intercom system can be created by connecting two FP22
1
2
AUDIO (+)
AUDIO (–)
+24 VDC
+24 VDC
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units with a single standard microphone cable. Each person con
-
nects a Shure SM12A or other headset microphone’s XLR output
REF
and earphone input connector to their individual FP22. Both mi
-
crophone signals appear at each FP22 headphone output.
FIGURE
1
Practice headphone amplifier for microphones or other
sources, such as electric instruments, synthesizers, etc. Con-
nect the output from any instrument into the FP22 and monitor
the headphones.
RTS and ClearCom Systems (Figure 2)
These two systems use an unbalanced audio line which re-
1
quires use of the
/
4
-inch line connectors of the FP22 for opera-
tion. The Y–cable depicted in Figure 2 is required for RTS and
ClearCom intercom systems.
3
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Mono XLR Connectors
(Balanced) Loopthrough connec-
tors accept both mic and line level
signals. Volume adjusts with pull
out triple–function Volume control
(center detent is nominal volume).
Stereo Line Jacks
(Unbalanced) Dual function jacks.
Factory supplied so that tip, ring,
sleeve stereo signal applied to
one jack can be looped through to
other jack (tip-left, ring-right,
sleeve-ground). Jacks can be in-
ternally switched so that two
mono phone jacks can be input
and monitored in stereo without
LOOP THRU
1
2
loopthrough
(see
Internal
switches).
STEREO LINE
Balance Control
LED Power Indicator
Lights when FP22 is turned on.
(Outer ring of triple function Volume
control.) Overall headphone balance
control with center detent.
POWER
POWER/VOL
BAL
PULL FOR
MONO XLR VOL
Stereo/Mono Headphone Mode
Switch
Changes headphones from stereo
to mono. Especially useful when
monitoring monaural signal con-
STEREO
Triple Function Volume Control
Incorporates On/Off switch, overall
Volume control (master volume), and
Mono XLR Volume (on the pullout).
Center–detented Mono XLR volume
MODE
MONO
nected to stereo line jacks.
0 dB
–30dB
STEREO
LINE
PAD
at nominal level.
Stereo Line Pad
3.5 mm Stereo (3-Circuit) Mini
Headphone Connectors
Reduces gain on Stereo Line sig-
nals by 30 dB. Especially useful
with signal levels of +4 dBm or
greater.
Mono or stereo program monitor
.
A
B
Mono XLR Mic/Line Switch
Selects between microphone and
line level signals coming into XLR
connector (50 dB pad inserted be
fore mic preamp when switch is in
Line position).
1
/ -Inch Stereo (3-Circuit) Head-
4
phone Connectors
Mono or stereo program monitor; us
ing these jacks disables 3.5mm jacks.
-
-
HEADPHONES
12–24 Vdc
IN
+
–
Battery Compartment
Requires one 9 V alkaline battery
External Power Jack
.
Accepts external supply voltage
from 12 to 24 Vdc (such as Shure
PS20 or PS20E Power Supplies).
Tip is positive, sleeve is negative.
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REPLACEMENT
DESCRIPTION
PARTS LIST
REFERENCE
DESIGNATION
SHURE
COMMERCIAL ALTERNATE*
PART NO. AND/OR
BT1
Battery, Alkaline, 9 V
Dual Diode Assembly
Diode
Diode, Schottky
Light–Emitting Diode, Red
Connector, 3–Socket, MONO XLR
Connector, 3–Pin, MONO XLR
Phone Jack, Stereo, STEREO LINE LOOPTHRU
Phone Jack, Stereo Switching, HEADPHONES
Phone Jack, Stereo, HEADPHONES
Connector, Power, 12–24 VDC IN
Ferrite Bead Ring
Duracell MN1604
Shure 22202FT; NEC 1SS123
D101–D107, D113, D115
D108–D110
D111–D112
D114
J101
J102
J103–J104
J105, J107
J106, J1 08
J109
L101–L104
L105–L109
MP1
Shure 22203FT; Toshiba 1SS193
Shure 22204FT; Toshiba U1GWJ44
Shure 22205FT; Toshiba TLR124
Shure 95A8381; ITT Cannon XLM–3–31PCV
Shure 95A8400; ITT Cannon XLM–3–32PCV
Shure 22201FT; Hosiden HLJ0546–01–010
Shure 20202FT; Hosiden HLJ3305–01–3080
Shure 20203FT; Hosiden HSJ0926–01–1010
Shure 30252FT; Hosiden HEC0470–01–630
Shure 80A250; TDK BF30–3.4x6x1
Shure 22801FT; TDK ZBF503S–01
Shure 10209FT
Filter
Battery Door Assembly (with hinge, lockscrew)
Belt Clip (without screws)
Knob, Inner (small)
MP2
MP3
Shure 53A1891
Shure 95A8539
MP4
Knob, Outer (larger ring)
Transistor, NPN
Transistor, PNP
Transistor, PNP
Transistor, NPN
Shure 95B8539
101, Q103
Q102, Q104
Q105
Q106
Q107–Q111
Shure 22603FT; Sanyo 2SD438FMP
Shure 22604FT; Sanyo 2SB560FMP
Shure 22605FT; Toshiba 2SA1015GR
Shure 22606FT; Toshiba 2SC1851GR
Shure 22606FT; Siliconix SST177
Field Effect Transistor
R106/R127/R144/R157/R158 Potentiometer, Ganged, 100k/250k/250k/200k/200k, Shure 22206FT
20%, VOLUME
S101–S102, S106
Switch, Slide, DPDT, MONO XLR LEVEL, STEREO Shure 55A8020; Nikkai AS–22AH
LINE PAD, MONO/STEREO
S103
S104
S105
T1
U101
U102
U103
Part of R106/R127/R144/R157/R158
Switch, DIP, DPST
Switch, Slide, DPDT
Transformer, Input
Integrated Circuit, Dual Op Amp
Integrated Circuit, Quad Op Amp
Integrated Circuit, Voltage Regulator
Shure 22401FT; Fujisoku DSS2–02
Shure 22402FT; Nikkai SS–22SB112
Shure 22501FT
Shure 86A8953; Motorola MC33178P
Shure 22601FT; Motorola MC33179P
Shure 22602FT; Motorola MC7809CT
*Commercial alternates are acceptable equivalents; for optimum performance, only direct replacement parts should be used.
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