AKG Acoustics HT 4500 Ter. The status LED 1 will change to red Refer to fig, Microphone, Feedback

4 Operating Notes

•	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-	4.3 Muting the Microphone
	ter. The status LED (1) will change to red.	Refer to fig. 1.
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		4.4 Replacing Batteries
the frequency readout.		Refer to fig. 3.

•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		4.5 Microphone
is heard over the sound system.		Technique
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		4.5.1 Working Distance and
to your lips. Moving away from the microphone will produce a more reverberant, more dis-		Proximity Effect
tant sound as the microphone will pick more of the room’s reverberation.		Refer to fig. 4.
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.
•	Sing to one side of the microphone or above and across the microphone’s top. This pro-	4.5.2 Angle of Incidence
	vides a well-balanced, natural sound.	Refer to fig. 4.
•	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-		4.5.3 Feedback
phone, fed to the amplifier, and projected again by the speaker. Above a specific volume or		Refer to fig. 5.
system gain setting called the feedback threshold, the signal starts being regenerated indef-
initely, making the sound system howl and the sound engineer desperately dive for the mas-
ter fader to reduce the volume and stop the howling.
•	To increase usable gain before feedback, place the main ("FOH”) speakers in front of the
	microphones (along the front edge of the stage).
•	If you use monitor speakers, 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.	4.5.4 Backing Vocals
2.	Ask your backing vocalists never to sing more than 35 degrees off the microphone axis.	Refer to fig. 6.
	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 microphone channel far enough to create a feedback problem.
	HT 4500	33