The 897D is not a transmitter that provides the range required to sound fabulous (I have an 857D, which electrically is the same rig, re-packaged), but it can sound okay.
Originally Posted by W9PSK
If you use the right microphone and procedure, you don't need to shut off all noise-generating gear nearby (although that works if you don't use the right kind of microphone).
My Heil PR40 has amazing noise rejection from the rear and the sides: It only picks up audio from the "front," and you must speak directly into it, closely. Using this mike directly ahead of a noisy amplifier with very loud fans, nobody can hear those things because the mike itself has enormous rejection to the rear. I keep the mike gain very low, so I have to close-talk the mike, within one inch or less. If I "back off" to 2 inches, my modulation literally disappears, and there isn't any.
That's usually the way to sound best with almost any kind of microphone, unless you're in a sound-dead studio environment.
BTW the PR40 does "spruce up" the 857D/897D pretty well. It's a low-output mike, so you have to advance the gain via the menu setting to accommodate that.
I bought the MD100 when I got the 897. I like it, but it's my first desk mic, so I don't have anything to compare it against.
Originally Posted by WB2WIK
I bought an MD100 also, for my FT-736R.
Originally Posted by W9PSK
The PR40's better.
But I have no "desk mikes" at all....they take up valuable space, you have to lean over to talk into them, and they can pick up the PTT "click" which is obnoxious.
I use only "boom" mikes and footswitches, which solve all three of these issues.
True. Actually, most people can sound better than they do, if they'd only listen to themselves played back with a cheap tape recorder.
Originally Posted by VE3FMC
Alter your voice until it sounds great to you, and it will to everyone else, also.
And not just on the air, but on the telephone, and in person.
I just want to sound like Lou Rawls. You'll never find..........
Close talking a microphone is one way to produce that "deep-dark-bedroom voice" that so many people seem to desire. At one time, you weren't considered to be an announcer, unless you could sound that way.
However, now days, many announcers are making a lot of bux by using a voice that sounds almost immature in its nature. Listen to the announcers on "The Disney Channel" if you want to hear what I am talking about. They sound like "squeeky voiced teenyboppers" to me.
However, to each his "un". Lou Rawls, huh ? ?
One thing that none of the posts that mention close talking the microphone have mentioned, is the practice of talking "across" the microphone. This means exactly how it sounds. Instead of aiming your voice directly into the mic, you place it so that it is close to the lips, but off to the side of your mouth. This allows all the wind noise, the "P-pops" and other undesireable artifacts to be eliminated, or at least minimised to a great degree.
So if you want that close-lipped sound, try talking ACROSS the mic, and see how it affects your on-the-air sound.
Ham Radio, Amateur Astronomy, and Model Airplanes - what better way to spend some time!
No time is ever wasted that is spent LEARNING something !
That of course, is true. I get compliments on my voice on the radio, and at school we were taught always to talk at an angle to the mic, and close, for the reasons already mentioned.
One thing that none of the posts that mention close talking the microphone have mentioned, is the practice of talking "across" the microphone.
With a hand mic, while pushing the ptt, it almost hurts the writst to have the thing flat to your face, so it is almost natural to talk at an angle...