3 Setting Up
23
3.11 Replacing the
Handheld Transmitter
Color Code Clip
Refer to fig. 13.
3.12 Before the
Soundcheck
Important:
4.1 HT 40 Handheld
Transmitter
4.1.1 Working
Distance and
Proximity Effect
4. Set the on/off switch (18) to “ON” to switch power to the transmitter
on.
5. Switch power to the receiver and your sound system or amplifier on.
6. Play your instrument and set the levels on your mixer or amplifier
referring to the appropriate instruction manual or by ear.
1. Use a screwdriver to lift the upper end of the color code clip (15).
2. Pull the color code clip (15) off the transmitter case.
3. Slide the supplied black clip onto the transmitter to the point that it
snaps into place with an audible click.
1. Move the transmitter around the area where you will use the system
to check the area for "dead spots", i.e., places where the field
strength seems to drop and reception deteriorates.
If you find any dead spots, try to eliminate them by repositioning the
receiver. If this does not help, avoid the dead spots.
2. If unwanted noise becomes audible, turn the SQUELCH control (12)
on the receiver CW just enough to suppress the noise.
The RF LED (4) will extinguish every time the squelch mutes the
audio output of the receiver.
Never set the squelch threshold higher than absolutely necessary. The
higher the squelch threshold, the lower the sensitivity of the receiver
and thus the usable range between transmitter and receiver.
3. The RF LED (4) on the receiver going out means no signal is being
received or the squelch is active.
Remedies: Switch power to the transmitter ON, move closer to the
receiver, or turn the SQUELCH control (12) CCW to the point that the
RF LED (4) will come back on.
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
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 distant 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. simply 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.
4 Microphone Technique