Notice that the bass response does not change with the distance. With the hissing sound, the highs falls off as the microphone moves farther away. This is called air loss and this is why you have to use close microphone techniques to get a breathy, intimate vocal sound. To produce more sounds out of one microphone, use a pop screen in front of the vocalist, to establish a working distance for the proximity effect and to stop the pop sounds that occur when a vocalist moves around. A short shotgun microphone is useful for voice overs, since then you don't have to place the microphone close to the speaker.
Proximity effect disappears with the omnidirectional microphone.
To eliminate undesired sounds from another sound source, such as radio or TV, aim the microphone at this undesired noise until it is loud to you. Now slowly rotate the microphone, so that the rear of the microphone is aimed towards the undesired sound. As you turn the microphone you will notice a timbre difference. If the room is small and reverberant, and the noise has multiple sources, position the microphone to reject the undesired sound. Pickup of unwanted sounds is inevitable.