As self-proclaimed audio experts, it is our duty to learn the ins and outs of how microphone elements work, and how best to use them. Even though we are not Diva or Mister Ego vocalists, we should know how to work the mics. This is especially the case in house of worship (HOW) situations where most of the speakers and singers are not professionals. So let's get on with teaching the teachers.
The Mic Fits The Task In my mic locker, I keep two sets of dynamic vocal mics. One set is the venerable Shure SM58 for those softer music acts and speaking engagements. Yes, these microphones were brand new when the Woodstock festival overtook upstate New York, and even Shure has their Beta series to improve upon this nearly 30-year-old microphone design, but the SM58 mics are very forgiving of bad mic technique with their wide cardioid pattern. For the very loud bands, I break out the Audix OM-5's because of their super/hypercardioid pattern which only captures vocals from straight in. And of course you can pick your favorite modern tight pattern mics that suit your style and tastes.
Speaking Into The Mic
If you have new talent that is just supposed to be doing speech-making or mostly talking, tell the speaker to keep about "one fist away" from the windscreen. Eating the mic does not make sense for conversational work as most newbies can not control their distance to the mic very well, and the fast changes in volume due to distance is more aggravating to you and the audience. More than one fist away from the mic also invites acoustic feedback; as the console operator has diminished vocal intensity, the op has to turn up the volume, and then the speaker leakage has a better chance of winning the battle with the talker's intensity.
Singing Into The Mic
If the new person handling the mic is to sing, tell them to keep their lips partly touching the mic. Most mics are designed to handle this close proximity vocal sound pressure. Now I know this sounds unsanitary, but you have your canister of "Wet Ones" wipes in your mic locker to clean up the windscreens after the performance, right? Some people sing softer than when they speak, or intentionally sing softer as a way of connoting more emotion during parts of a song. And that is just one reason why newbie singers should be eating the mic.
Handling The Mic
If at all possible, strongly encourage new singers or talkers to use a mic stand or podium mic. Most newbies do not have enough experience to carry a tune and try to play entertainer at the same time. The worst offense a singer can do is hold the mic towards the ground when not singing. This can be especially nasty if floor-located stage monitors are employed. So please, break that habit by warning them in advance of what could happen. Keeping the mic on the mic clip when not in use, or holding the mic upright at their chest is the recommended "at rest" location.
The grip of the mic is also extremely important to achieve the best quality of sound. Especially in light of those rappers who are seen cupping the mic's windscreen as a style. Most cardioid pattern mics need a clear area beneath the windscreen so that local sound waves can enter into side ports of the mic capsule for canceling out sound from other than the front part of the mic. Please teach the newbie vocalists to take cues from the mic handgrip design and keep the fingers on the narrowest part of the mic grip. Fight the "cool look" grip with logic and truth, such as "you will sound best with a lower grip".
Diva Grip–The Ice Cream Cone
Some of you may have noticed male and female lead vocalists using the "ice cream cone" mic technique, in which the mic is always held vertical and on the chin so that the camera can pick up that million dollar smile and expressiveness. While a nice way to hold a mic, it has two drawbacks: The first is that not every mic has a wide cardioid pattern to pick up vocal sound pressures without altering the frequency response greatly. The second drawback is that the singer must be a fairly powerful vocalist to have the increased distance from the mouth's pressure zone.
Have Compassion
Finally, please have compassion for your newbie vocalists. They have a ton of things on their mind–from stage fright, to stories and lyrics to remember, the body language training/entertaining and your few words of wisdom on mic technique. Sometimes just a little eye contact and gesture from monitor beach or FOH to hold mic closer is what a new vocalist needs when in the midst of performance. Now you are the teacher…
Got a question or a tip for our tech guru? E-mail Mark at marka@fohonline.com.
