AKG Acoustics WMS 400 V1.1 firmware version, PV 1.0 Preset version, Muting the Microphone

4 Operating Notes

•INFO The INFO screen lets you call up information about your receiver.

EXTRA X-TRA

>NAME<

X-TRA

>STATUS<	>SQL<	>INFO<	>EXIT<
X-TRA	X-TRA	X-TRA	X-TRA

"V 1.1"

X-TRA

"B 4--.50"

X-TRA

"PV 1.0" X-TRA

EXIT	"V1.1": firmware version
X-TRA	"B 4--.50":frequency band
	"PV 1.0": Preset version

EXTRA

Diagram 14: Calling up informationX-TRAabout the receiver.

4.2HT 400 Handheld 1. Set the ON-MUTE/PRG-OFF switch (19) to "MUTE/PRG" (center position).

Transmitter	• If you switched from "OFF" to "MUTE/PRG":
4.2.1 Muting the Microphone	The transmitter audio and RF sections are OFF and the status LED (20) is dark. The infrared receiv-
Refer to fig. 3 on page iv.	er section is ON. The transmitter is in setup mode and you can program the carrier frequency and
	input gain.
	The display indicates the frequency in MHz - frequency in Preset form - "Prg IR" and changes to
	alternating between the currently selected Preset and "Prg IR".

•If you switched from "ON" to "MUTE/PRG":

The microphone is muted and the status LED (20) will change from green to red. The infrared receiver section is OFF. Since the RF section continues transmitting the carrier frequency, no unwanted noises will become audible form the sound system.

The display alternates between the currently selected Preset and the remaining battery capacity in hours.

2.To switch the microphone back on, set the ON-MUTE/PRG-OFF switch (19) to "ON".

The status LED (20) will change to green. The display will indicate the remaining battery capacity in hours.

4.2.2Microphone 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 400 handheld transmitter for best results.

•Working Distance and Basically, your voice will sound the bigger and mellower, the closer you hold the microphone to your lips. Proximity Effect Moving away from the microphone will produce a more reverberant, more distant sound, as the micro-

Refer to fig. 13 on page vi. phone will pick more of the room’s reverberation.

You can use this effect to make your voice sound aggressive, neutral, insinuating, etc. simply by chang- ing 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.

•Angle of Incidence Sing to one side of the microphone or above and across the microphone’s top. This provides a well-bal- Refer to fig. 13 on page vi. anced, natural sound.

If you sing directly into the microphone, it will not only pick up excessive breath noise but also overem- phasize "sss", "sh", "tch", "p", and "t" sounds.

•Feedback Feedback is the result of part of the sound projected by a speaker being picked up by a microphone, fed Refer to fig. 14 on page vi. to the amplifier, and projected 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 desperately dive for the master 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 monitors.

Feedback may also be triggered by resonances depending on the acoustics of the room or hall. With res- onances 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.

•Backing Choir 1. Never let more than two persons share a microphone.

Refer to fig. 15 on page vi. 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 micro- phone 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.

4.2.3PB 1000 and PPC 1000 The PB 1000 Presence Boost Adapter (installed in the HT 400/C handheld transmitter) boosts the sen- (HT 400/C only) sitivity of the microphone element by approx. 5 dB between 5 kHz and 9 kHz for optimum intelligibility of

speech.

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WMS 400 V 1.10