It is with regret that I often see many users holding their wireless handheld microphones in various major stage, TV and concert performances using incorrect techniques. Inappropriate usage of a premium microphone can not only diminish its original superb performance characteristics and sound quality, but can even make it seem no better than an inferior quality microphone.

Many audio engineers and technicans have their own microphone sound preferences and feel that they can obtain the sound they want by simply using a leading brandname of microphone coupled with their own sound adjustments. The importance of mentoring the users in the art of correctly using a microphone is often sadly overlooked. A microphone is simply a part of the complete audio system. A satisfactory sound cannot be achieved, even when using the most expensive microphones, without a thorough understanding of the proper usage and adjustment of the microphone as well as the other related audio components. The same principle applies in driving an expensive sports car. If drivers are not fully aware of a car's unique characteristics and operation, they will be unable to get the maximum performance out of the car.

Below are a few recommendations to enhance the sound of a microphone:

Do Not Grab and Cover the Microphone Grille

Many performers tend to hold the microphone by the grille. Unfortunately, this position seriously degrades both the sound quality and directionality of a microphone. Even the most expensive microphone will have its original sound quality compromised by this method. Grabbing a microphone by the grille will isolate the capsule's acoustic resonance circuit and/or change the capsule resonator's frequency. This results in an inferior performance in both frequency response and the separation of directionality. In addition, a palm's sound-focusing effect will tend to strengthen resonances in certain frequencies and can cause unwanted feedback.

Although a wireless microphone is convenient and safe to use without those tangling cables, users often negate their inherent superior characteristics by the use of improper techniques in holding the microphone. Therefore, to achieve the best sound possible, a microphone user must learn the proper techniques, which fortunately are rather simple. The single most important principal to remember is to always hold the microphone by its housing or body instead of covering the microphone grill.

Do Not Hold Over the Antenna

Traditional design has protruding antenna . Modern design has built-in antenna or external design. If users hold the microphone over or near these areas the transmission range will deteriorate. The transmission range will deteriorate severely if holding it with both hands.

Do Not Hold Two Microphones in One Hand

Holding two different frequency transmitters in close proximity can cause intermodulation interference. This is especially risky in multi-channel system operations where issues such as interference and unstable reception can easily cause the audio quality to deteriorate.

Close proximity causes interference in a microphone's audio frequency phase and directionality, and can destroy a microphone's default characteristics, apart from just RF interference. When both microphones' audio signals are in phase, it adds up to two microphones' audio output and a subsequent sudden increase of the amplifier volume, thus causing feedback. Conversely, if the signals are out of phase, they will offset each other's output and result in insufficient volume.

When two microphones get close to each other, their directionality will interfere with each other and destroy their default directionality. Performance tends to get worse as the distance between two microphones diminishes. Therefore, users should avoid the practice of holding two or more microphones simultaneously in one hand to prevent an undesirable loss in output volume, frequency response, and directionality. If more microphones need to be used simultaneously, then keep one microphone at least 30 cm away from the others to reduce the likelihood of detrimental changes in performance.

Keep a Proper Distance between the wireless Microphone and Mouth

A proper technique is required for using directional microphones because the distance between the microphone and your mouth has a significant impact on sensitivity and performance. There is an inverse relationship between microphone sensitivity and the distance from the mouth to the microphone. Consequently, performers with a "weaker" sound level cannot expect to hold the microphone too far away from their mouth and compensate by turning up the amplifier volume to increase the sound level as this will easily cause feedback. In contrast, performers with a "louder" sound level should not hold the microphone too close as this will easily result in causing the amplifier system to have overload distortion.

Furthermore, a large-diaphragm directional microphone has a very distinct proximity effect. When the microphone is close to the mouth, the bass response is strengthened as the distance gets closer. Therefore, if a performer's sound is insufficient in bass response, they can hold the microphone closer and use the proximity effect to help compensate for the lower bass level. Conversely, if a performer's voice is too heavy in the bass register, increasing the distance between the microphone and their mouth will decrease the proximity effect and reduce the bass response, thus making their voice become clearer.

The distance between the microphone and the mouth also has a significant effect on "popping noises". This is especially severe when you are using a microphone that has high sensitivity and a stronger low-frequency response. To reduce this problem, one must be very careful to adjust the microphone to an optimal operating distance and select a microphone that has excellent "popping" noise prevention. Most premium and professional microphones have a highly effective design to eliminate "popping" noises.

As described above, the sound of two identical microphones will be significantly affected just by how they are being held. Practicing a proper holding technique and learning to use the proximity effect that best suits the performer's voice should guarantee the most desirable volume and tone while avoiding annoying "popping" noises. Therefore, singers that use wireless microphones should strive to get the best performance possible by learning these techniques to make the best use of a microphone's performance characteristics.

Avoid Pointing the Wireless Microphone Directly Towards the Speakers

Most of microphones used in singing applications are directionality capsules. Hence, holding microphone at the side, or the rear of speaker has less possibility of feedback effect. If standing in front of speakers is necessary, one must controls the angle between microphone and speakers under certain degrees to avoid feedback. Holding microphone vertically or horizontally while it has 90 degrees angle towards speaker can minimized occurrence of feedback. When holding cardioid microphone 180 degrees or holding super-cardioid microphone 120~140 degrees towards the front of speaker has minimum feedback. Understanding directionality of your own microphone is crucial and helpful in avoiding loud feedback when nearing or in front of speakers. Therefore, regardless which famous or premium microphone feedback can occur if not properly angled or positioned.