How does a microphone actually work 
The sole purpose of any microphone is to convert natural sound into electrical energy. This is done primarily through the use of a small device known as a transducer (or element). Most microphones contain a small membrane (diaphragm) which acts similarly to that of a drum head. When a sound wave hits the diaphragm, it vibrates. As this membrane moves back and forth, an electrical current can be created. 
What are the most common types of microphones   

Dynamic Microphones
Dynamic microphones are known for their ruggedness and reliability. They don’t need any external power and require little to no maintenance. You can think of the function of a dynamic microphone like being that of a loudspeaker, but in reverse. They both have a diaphragm (speaker cone) with a voice coil (a long coil of wire attached near the apex) and a magnetic system with the coil in its gap. When the diaphragm moves back and forth in the magnet’s field, an electrical current is generated. 

Condenser Microphones 
Condenser microphones are known for their uniform frequency response and ability to capture transients. Generally speaking, the sound is natural and will have excellent transparency and detail. You can think of the function of a condenser microphone like being that of an electrostatic tweeter, but in reverse. They use a lightweight membrane and a fixed plate (which together are known as a microphone capsule) that acts as opposite sides of a capacitor. Sound pressure against this thin polymer film causes it to move which changes the capacitance of the circuit, creating a varied electrical output. 
Ribbon Microphones  Ribbon microphones are known for their smooth and warm sound but can also be somewhat fragile. They operate by placing a thin strip of aluminum between two magnets. As the aluminum strip (ribbon) moves within the magnetic field, an electrical signal is created. It should be known that passive ribbon microphones can be severely damaged if they come in contact with phantom power and some ribbons can break if hit with too much air pressure.

What is a polar pattern 
A polar pattern is the term used to describe how sensitive a microphone is to picking up sound waves coming at it from different directions. A polar pattern graph shows this variation in sensitivity as you move 360 degrees around the microphone. This can be very important in determining what microphone to use for a specific task and where to place the microphone in relative to an instrument’s output, optimal tone, and ability to reject bleed coming from other sound sources.    What are the most common microphone polar patterns 

Cardioid 
The cardioid polar pattern is the most widely available on modern microphones and can be used for just about any application including live sound and recording. The microphone is most sensitive directly in front of it and least sensitive directly behind it. This is good for rejecting bleed from other instruments and minimizing wall reflections from stage monitors or bad sounding rooms.  
Supercardioid  The supercardioid polar pattern is slightly more directional than Cardioid. It picks up less sound from the sides but is more sensitive directly behind it. This narrow pickup pattern can make it a little less versatile than cardioid in some situations.  
Omni
An omni (or omnidirectional) polar pattern picks up sound equally from all directions. It has a 360 degree pickup pattern in all three dimensions similar to the shape of a sphere. Microphones with this pattern are most useful when recording groups of instruments or people, as room mics, or when capturing an acoustic piano in mono.  
Figure 8
A bidirectional microphone pattern (figure 8) is equally sensitive to sound coming from the front and rear of the mic but is least sensitive to sound coming from the sides. This is the pattern on most ribbon microphones but can also be achieved on condenser microphones equipped with dual capsules that feature multiple pickup patterns. 

What Is Phantom power  

Phantom power is direct current (DC) electric power that is applied equally to both signal wires of a balanced microphone cable. Phantom power supplies are most often built into mixing consoles and microphone preamps. The purpose of Phantom power is to supply 48 volts of current to microphones that have built-in active circuitry over the same cable that is used to send the microphone’s signal back to the mixer or preamp. Since there is no visible power supply unit (like those common with tube microphones) the term Phantom power is used.   

What are microphone preamps 
The electrical signal that is generated by a microphone is actually quite weak. The purpose of a microphone preamplifier (known as a mic preamp) is to boost the signal of a microphone to be within range of the standard operating level of most audio processing equipment. The amount of boost applied to the microphone signal is known as “Gain” and most audio gear operates at what is known as “Line” level. Pretty much every mixing console and audio interface made today has some form of microphone preamplifier already built-in but there are several types of standalone mic preamps also available. Without a mic preamp, a microphone’s signal would be barely audible and could not be effectively processed by a console or sent to a recording device. You can also think of it like this: a good microphone makes the SOURCE sound better (or more realistic) while a good preamp makes the MICROPHONE sound better. The EVNO PS95 preamp, in this case, also provides the correct amount of power to an EVNO microphone.  

  
What is SPL and do I need a mic capable of handling high SPL

SPL is an abbreviation for Sound Pressure Level and it is measured in decibels (dB). In terms of technical specifications, the maximum SPL rating of a microphone determines how loud a source can get before there is audible distortion or breakup from the mic. For reference: the lowest SPL a human can hear is approximately 0dB, normal conversation is 60dB, and a jet engine (from 25 meters away) is 130dB. High SPL microphones are generally used to record acoustic drums or any other loud source. It should be noted that EVNO Microphones high SPL capsule is rated at 150dB which is roughly similar to that of a high powered rifle shot.  

What is the purpose of a microphone shock mount  

The sole purpose of using a shock mount on a microphone is to isolate it from unwanted vibrations. These vibrations can be transmitted through the floor and up a mic stand, by something coming in contact with the stand or mount, excessive movement when the mic is clipped directly on an instrument, or even from the microphone itself if it isn’t decoupled from the mounting device. Any unwanted audio interference can ruin a performance so having some type of shock mount is absolutely necessary on most condenser microphones.

Does the size of a microphone’s diaphragm matter  

It most certainly can! In general, large diaphragm condenser (LDC) microphones have less noise, better low frequency bass response, and make sources like vocals sound bigger than they actually are. On the other hand, small diaphragm condenser (SDC) microphones are more accurate, have a flatter frequency response, and capture transients better. These conceptions aren’t always true but they do allow for a good reference point when choosing which microphone to use on a particular source. It basically comes down to physics. When a given sound wave hits a smaller diaphragm, it will vibrate much faster than a larger one will. 

Where should I point the microphone capsule in order to capture an instrument’s best tone  

There is no definitive answer to this question because no two instruments sound exactly the  same and no two musicians play exactly alike. A good place to start, however, is to think about how your instrument makes sound and where on your instrument you perceive the tone to be best. For instance, if you are miking a horn then a good place to start would be to point the mic toward the bell but angle it slightly away from being perpendicular (off-axis) so that the microphone isn’t picking up too much airflow or moisture. This is also true when miking a vocalist with a condenser or ribbon mic. With certain reed instruments, often times a two microphone technique is preferred. There are several ways to mic an acoustic piano but it depends on what type of piano it is, whether or not you are using multiple microphones, and how much attach from the hammers you require. The bottom line here is that there is no right way to mic an instrument, just use your ears and experiment with different techniques! It should be noted that how you choose to mic an instrument might change if you are playing live as opposed to recording in a controlled environment. Microphone placement for live performance still needs to achieve good tone but must also deal with bleed from surrounding instruments while trying to avoid feedback caused by things like stage monitors. 

What is the best EVNO wireless setup
When selecting the best wireless setup from EVNO Microphone Systems, it's essential to consider your specific needs and performance requirements. EVNO offers three distinct wireless options, each catering to different scenarios while maintaining top-notch sound quality across the board.

W1 True Diversity System
    •    Best for Single Microphone Use: Ideal for solo performers or situations where only one microphone is needed.
    •    Key Features:
    ◦    True Diversity Antenna System: Provides the greatest distance and signal stability, minimizing dropouts.
    ◦    Outputs: Includes both XLR and 1/4-inch outputs for flexible connectivity.
    ◦    Rack Mountable: Can be integrated into professional rack setups, making it a robust choice for fixed installations or touring rigs.
    •    Use Case: Perfect for solo instrumentalists or vocalists who need a reliable and high-quality wireless connection.
W2 Dual System
    •    Best for Multi-Instrument Use: Designed for musicians who require two active microphones simultaneously.
    •    Key Features:
    ◦    Dual Microphone Capability: Allows the use of any two EVNO microphones at the same time, providing versatility for different instrument combinations.
    ◦    Versatility: Suitable for multi-instrumentalists or performers who switch between instruments, such as using a flute and saxophone, or a trumpet and a handheld vocal mic.
    •    Use Case: Ideal for performances where multiple instruments are used, providing seamless transitions and high-quality sound for each instrument.
EVNO Air
    •    Best for Portability: The most portable option, perfect for musicians on the go who need a quick and easy setup.
    •    Key Features:
    ◦    Compact Design: The smallest footprint in the EVNO wireless line, making it extremely portable.
    ◦    Quick Setup: Easy and fast to set up, suitable for spontaneous performances or rehearsals.
    ◦    Standard 1/4-inch Output: Ensures compatibility with a wide range of audio equipment.
    ◦    Battery power - The receiver is power with a standard power supply however also offers a battery powering option if needed.
    •    Use Case: Great for traveling musicians, buskers, or anyone needing a highly portable and hassle-free wireless microphone system.
Summary
    •    Choose the W1 True Diversity System if you need the highest reliability and range for a single microphone.
    •    Choose the W2 Dual System if you need to use two microphones simultaneously for multi-instrument setups.
    •    Choose the EVNO Air if you prioritize portability and ease of setup for quick performances and rehearsals.

Each system offers the same high-quality sound that EVNO is known for, so your choice depends on your specific requirements for microphone usage, portability, and setup complexity. All three receivers are compatible with the A1, A2, A4 and AH transmitters.  

Can I use my Evno microphone with other brands of wireless?
Yes, EVNO microphones are designed to be versatile and compatible with various other popular wireless systems, including those from Shure, Sennheiser, AKG, and McCormick. To ensure seamless integration, you will need the correct adapter cable for each brand. Here are the specifics:
 

Adapter Cables for Compatibility
    1.    Shure Wireless Systems:
    ◦    Cable: EVNO TA4 (3-pin to 4-pin)
    ◦    Details: This is the stock cable included with the PS95 preamp and is fully compatible with Shure wireless systems.
    2.    Sennheiser Wireless Systems:
    ◦    Cable: EVNO 3.5 (3-pin to 1/8-inch / 3.5mm)
    ◦    Details: This cable connects your EVNO microphone to Sennheiser wireless systems with 1/8in inputs, ensuring reliable performance.
    3.    AKG and McCormick Wireless Systems:
    ◦    Cable: EVNO TA3 (3-pin to 3-pin)
    ◦    Details: This adapter allows your EVNO microphone to interface with AKG and McCormick wireless systems.

Summary
By selecting the appropriate cable, you can use your EVNO microphone with a variety of wireless systems from leading brands:
    •    Shure: Use the EVNO TA4 cable.
    •    Sennheiser: Use the EVNO 3.5 cable.
    •    AKG and McCormick: Use the EVNO TA3 cable.

This flexibility ensures that you can integrate EVNO microphones into your existing wireless setups without compromising on sound quality or performance.

How do I attach my A1 belt pack-free transmitter to my Evno microphone
Attaching your A1 belt pack-free transmitter to your EVNO microphone is straightforward, and following the proper method can extend the life of your transmitter clip. Here’s a step-by-step guide to ensure a secure and lasting attachment:

Steps to Attach the A1 Transmitter to the EVNO Microphone
    1.    Prepare the Microphone and Transmitter:
    ◦    Ensure both the EVNO microphone and the A1 transmitter are clean and free from any obstructions such as tape or grime.
    ◦    Identify the hollowed provision on the body of the EVNO microphone, which is designed to accommodate the various clamps EVNO manufactures.
    2.    Position the Transmitter Clip:
    ◦    Locate the custom-designed clip on the A1 transmitter. This clamp is specifically made to fit perfectly on the EVNO microphone's body in most cases above the hollowed clamp provision.  If you’re model doesn’t have the hollowed provision then it would attach between the bottom ta3 mini xlr and the gooseneck.
    ◦    Position the A1 transmitter clip just above the hollowed center on the microphone body. This is the ideal location for balance and stability.
    3.    Attach the Clip Using the Rocking Method:
    ◦    Instead of snapping the clip on directly, gently rock the clip onto the body of the microphone. Start by attaching one edge of the clip to the microphone body and then rock the other edge into place.
    ◦    This method applies less stress to the clip at one time, reducing the risk of damage and prolonging its lifespan.
    4.    Secure the Transmitter:
    ◦    Ensure that the clip is firmly attached and the transmitter is securely in place. The lightweight plastic construction of the clip is designed to minimize weight, so handle it with care.
    ◦    Once the clip is attached, double-check that the transmitter is stable.
    5.    Post-Performance Care:
    ◦    If possible, leave the clip attached to the microphone body after performances. This reduces the wear and tear caused by repeated attachment and detachment.
    ◦    Store the microphone and transmitter in a protective case to prevent damage during transport.

Additional Tips
    •    Handle with Care: Always handle the transmitter and clip gently to avoid unnecessary stress on the components.
By following these steps, you can ensure a secure attachment of your A1 transmitter to your EVNO microphone, maintaining the equipment's integrity and performance over time.