Microphone Technique; Introduction; Working Distance And Proximity Effect; Angle Of Incidence - AKG HT 40 PRO Modo De Empleo

HT 40_2007_Hex:Layout 1

4.1 Introduction

4.2 Working Distance
and Proximity Effect

4.3 Angle of Incidence

Fig. 5: Sing across
the microphone's top.

4.4 Feedback

Fig. 6: Never point any
microphone at a monitor!
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4 Microphone Technique

A handheld vocal microphone provides many ways of shaping the sound of your voice as it
is heard over the sound system.
The following sections contain useful hints on how to use your HT 40 Pro or HT 40 FLEXX
handheld transmitter for best results.
Basically, your voice will sound the bigger and mellower, the closer you hold the microphone
to your lips. Moving away from the microphone will produce a more reverberant, more dis-
tant sound as the microphone will pick more of the room's reverberation.
You can use this effect to make your voice sound aggressive, neutral, insinuating, etc. sim-
ply by changing your working distance.
Proximity effect is a more or less dramatic boost of low frequencies that occurs when you
sing into the microphone from less than 2 inches. It gives more "body" to your voice and an
intimate, bass-heavy sound.
a
b
picking up much less of sounds arriving from the sides or rear (from monitor speakers for
instance).
To maximize gain before feedback, place the main ("FOH") speakers in front of the micro-
phones (along the front edge of the stage).
If you use monitor speakers, be sure never to point any microphone directly at the monitors,
or at the FOH speakers.
Feedback may also be triggered by resonances depending on the acoustics of the room or
hall. With resonances at low frequencies, proximity effect may cause feedback. In this case,
it is often enough to move away from the microphone a little to stop the feedback.
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Sing to one side of the microphone or above and across the
microphone's top. This provides a well-balanced, natural
sound.
If you sing directly into the microphone, it will not only pick
up excessive breath noise but also overemphasize "sss",
"sh", "tch", "p", and "t" sounds.
Feedback is the result of part of the sound
projected by a speaker being picked up by a
microphone, fed to the amplifier, and pro-
jected again by the speaker. Above a specific
volume or "system gain" setting called the
feedback threshold, the signal starts being
regenerated indefinitely, making the sound
system howl and the sound engineer des-
perately dive for the master fader to reduce
the volume and stop the howling.
To increase usable gain before feedback, the
microphone elements of the HT 40 FLEXX
and HT 40 PRO handheld transmitters have
a cardioid polar pattern. This means that the
microphone is most sensitive to sounds ar-
riving from in front of it (your voice) while
HT 40 PRO/FLEXX