Filter
Top Products
4 Operating Notes
4.3 Muting the Microphone
Refer to fig. 1.
4.4 Replacing Batteries
Refer to fig. 3.
4.5 Microphone
Technique
4.5.1 Working Distance and
Proximity Effect
Refer to fig. 4.
4.5.2 Angle of Incidence
Refer to fig. 4.
4.5.3 Feedback
Refer to fig. 5.
4.5.4 Backing Vocals
Refer to fig. 6.
• To toggle between LOCK or ACTIVE mode and SILENT mode:
1. Switch power to the transmitter OFF.
2. Hold down the ON/OFF switch for approx. 0.6 seconds to enter LOCK mode OR
hold down the setup switch for approx. two seconds to enter SILENT mode.
1. To mute the microphone, slide the MUTE switch (4) toward the outside of the transmit-
ter. The status LED (1) will change to red.
2. To switch the microphone back ON, slide the MUTE switch (4) toward the inside of the
transmitter. The status LED (1) will change to green.
In LOCK mode, the display constantly indicates the current battery capacity bargraph below
the frequency readout.
• You can check the remaining battery capacity at any time by turning the setup switch
briefly to the left or right one to three times (depending on the currently active screen).
The battery capacity will be displayed in hours and as a bargraph.
• If the "BATT" label starts flashing, a dash appears instead of the bargraph, and the sta-
tus LED changes to red, replace the batteries or charge the BP 4000 battery pack as
soon as possible.
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 4500 handheld transmit-
ter 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 micro phone will pick more of the room’s reverberation.
You can use this effect to make your voice sound aggressive, neutral, insinu at ing, etc. sim-
ply by changing your work ing distance.
Proximity effect is a more or less dramat ic 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.
• Sing to one side of the microphone or above and across the micro phone’s top. This pro-
vides 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 means that part of the sound projected by a speaker is picked up by a micro-
phone, fed to the amplifier, and projected again by the speaker. Above a specific volume or
system gain setting called the feed back threshold, the signal starts being regenerated in def-
initely, making the sound system howl and the sound engineer desperately dive for the mas-
ter fader to reduce the volume and stop the howl ing.
• To increase usable gain before feed back, place the main ("FOH”) speakers in front of the
microphones (along the front edge of the stage).
• If you use monitor speak ers, be sure never to point any microphone directly at the mon-
itors.
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.
1. Never let more than two persons share a microphone.
2. Ask your backing vocalists never to sing more than 35 degrees off the microphone axis.
The microphone is very insensitive to off-axis sounds. If the two vocalists were to sing
into the microphone from a wider angle than 35 degrees, you may end up bringing up
the fader of the micro phone channel far enough to create a feedback prob lem.
33
HT 4500