A 3-pin, male, XLR connector is incorporated in the base of the handle. Weight: g. Included accessories: Supplied with foam-lined rigid plastic carrying case. Optional accessories: The HS plastic clip-on hygiene screen is available for this microphone. It can be washed and reused, or thrown away. This is a lip microphone with press-to-talk 'PTT' switch in the handle, for occasions when a continuous commentary is not required.
The switch contacts are normally closed across pins 2 and 3 of the connector to mute the output. Operating the switch un-mutes the microphone without clicks.
Communications quality, noise-cancelling 'lip' microphone, for applications where broadcast quality is not required. Typically this would include commentary work for telephone services or for PA systems using restricted bandwidth loudspeakers such as re-entrant horns.
It also has applications for intercom and other specialised paging work. Typically this would include commentary work for telephone services or for PA systems using restricted bandwidth loudspeakers such as re-entrant horns. It also has applications for intercom and other specialised paging work. The microphone body has a satin chrome and brown enamel finish, with a brown PVC covered handle. Construction is similar in principle to the , though the design of the microphone head is slightly different.
The lip bar feature is retained. Frequency response is ,Hz, and substantially flat Hz, with a small presence boost at around Hz; other details are as for the Would you like to use Canford's German website? This site uses cookies to store information on your computer. By continuing we assume your permission to store cookies, as detailed in our privacy policy.
Menu www. Search term. There is a character limit Quantity. Every singer at the top of their game has mastered microphone technique. Ella Fitzgerald and Frank Sinatra are two singers who exemplify this. Although using one may seem as simple as merely picking it up and singing into it, there are many fine points to using this device like a pro.
Polar pattern refers to the sensitivity the device has to sound waves coming from specific directions. Cardioid-pattern models are the gold standard for concert settings. Something as subtle as how you hold your mic strongly impacts your sound. In addition to this, it can influence your throat and your breathing.
You should position your hand on its midsection, between the head and the base. This allows the device to do its job, which is making your voice sound as good as possible. It also hinders feedback. This is called cupping, and it changes a unidirectional microphone into an omnidirectional one. This means it will now pick up sound from all directions, which translates into feedback.
The bigger your hand, the more cringeworthy this will be. Rappers often hold the mic right under the ball, close to their mouths. This will prevent it from moving around and producing an inconsistent sound. Always hold it firmly with all of your fingers. If you loosen your grip, the mic will wobble around in your hand, causing excessive noise that will compete with your voice.
And, of course, you may drop it. Hold the device at a degree angle and sing slightly off-axis. This means singing somewhat off the center of its head. In order to sing off-axis, point the microphone at the area between your chin and bottom lip or between your nose and upper lip. You can also point it toward your cheek. Using whatever angle is most comfortable for you will yield the same result.
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