14
2 Using Your Microphone
2.5 Vocals
(D 77 S, D 88 S)
2.5.1 Working
Distance and
Proximity Effect
2.5.2 Angle of
Incidence
Refer to fig. 16.
2.5.3 Feedback
Refer to fig. 17.
Preventing
feedback
4. Align the microphone with the perimeter of the
top head.
The closer you hold the microphone to your lips,
the louder and darker your voice will sound. As
you move away from the microphone, your voice
will sound quieter and brighter.
If you hold the microphone closer than 2 inches
to your lips, the proximity effect, an inherent
property of any unidirectional microphone, will
sharply boost the low frequencies.
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.
Part of the sound projected by the speakers will
be picked up by the microphone, amplified, and
fed back to the speakers. Above a certain volume
level, this ”vicious circle” causes the sound sys-
tem to howl and whistle.
•
Never point your microphones directly at mon-
itor or PA speakers.
•
Place your monitor speakers where the micro-
phone sensitivity is at a minimum.
With the D 88 S supercardioid microphone,
these areas are behind and to the sides of the
microphone. With the D 77 S cardioid, the
minimum sensitivity area is right behind the
microphone.
•
Be sure to hold the microphone by the shaft
and never cover the sound entries behind the
