How do you perceive the microphone? Is it your best friend or are you slightly wary of it? In this article we\u2019re thinking about how you can get the most out of the mic. How can you make it work for you and not against you? How can you ensure that it\u2019s an aid to worship and not a distraction? Read on if you want to find out more.
\nIt\u2019s important for us to realize at the outset that, as singers, we\u2019re not really in control of what comes out of the speakers. That is, in large part, down to the person operating the sound desk. What we do can have some effect but it can\u2019t rescue a bad mix with bad EQ. Our job is to give the sound person the best possible raw material with which to work. We should also note here that sound engineers will have varying preferences in terms of how they would like you to handle the microphone \u2013 some of their views can be quite strident and you will need to take these into account. Relationships are important within a worship team and the sound team are an important part of all we do. It\u2019s simply not worth digging your heals in on these issues if that\u2019s going to sour the atmosphere around a rehearsal, sound check or service. Once this is established we can think a little about microphone technique.<\/p>\n
Sing into the mic<\/strong><\/p>\n First and foremost you MUST sing directly into the microphone. Don\u2019t be afraid of it \u2013 you can\u2019t avoid it anyway. Most mics which are used for singing are directional which means they only pick up sound from a certain radius and they\u2019re definitely going to pick up more coming from straight in front of them than they do from the sides. It may look cool to sing across the microphone but its not going to help the sound \u2013 it will also allow other sounds into the front of the mic which could cause balance problems or feedback as your level needs to be pushed higher.<\/p>\n Understand the proximity effect<\/strong><\/p>\n Most of the microphones we use for live vocals are subject to what\u2019s called the proximity effect. Put simply, if you sing or speak from very close to the microphone some of the lower frequencies will be enhanced. This is a sound that we\u2019re used to and a lot of us like the sound of our voices when we have the microphone almost touching our lips. The proximity effect is often quite pleasing for singing but if the sound you\u2019re getting is slightly too boomy you might consider moving a couple of inches away from the mic which should make a big difference.<\/p>\n If you\u2019re a worship leader who speaks or prays between songs it\u2019s also a good idea to move a couple of inches back when you do this as it will make speech more intelligible.<\/p>\n Use the microphone to enhance dynamics and change colour<\/strong><\/p>\n You can achieve some very different sounds by moving relatively small distances forward and backwards from a microphone. This is the point where some sound engineers may quibble so be prepared to compromise!<\/p>\n Singing with your lips almost touching the microphone is a very good technique for the slower, more sensitive vocal. It enables you to sing a little more softly whilst not losing much volume at the mixing desk whilst taking full advantage of the proximity effect. In order to make the most of this you must ensure that \u2018normal\u2019 singing takes place about an inch or two away from the microphone so that there is a contrast.<\/p>\n The opposite of the above is also true. If you\u2019re singing loud, fast songs it can help to back off by an inch or two. Again, as long as you are projecting your voice into the microphone this should keep the basic level similar and having less proximity effect can also make the words a little clearer when they\u2019re faster moving.<\/p>\n You can also use distance from the mic to your advantage when you\u2019re forced to push in order to reach a note. Moving your mouth back by another four inches can help the sound not to \u2018explode\u2019 into the microphone. Having said that, I wouldn\u2019t advise pushing for notes too often as it can damage the vocal chords.<\/p>\n These ideas are worth trying out in rehearsal if you can. You need to be aware that only small movements are required and try to make sure you don\u2019t go over the top. Just because you can do something doesn\u2019t mean that you have to.<\/p>\n Project your voice<\/strong><\/p>\n This is not about singing loudly! When using a microphone it can be easy to aim your voice at the front of the microphone. Whilst this may feel like using the microphone it often means that you don\u2019t use your voice to it\u2019s full potential. In order to sing most naturally and with expression you should still aim your voice at the back of the room. It\u2019s all about imaging where the sound is going in your head but it really does make a huge difference.<\/p>\n <\/p>\n Enjoy<\/strong><\/p>\n Modern music uses the microphone as a feature. We may think that technology is simply there to amplify the sound we\u2019re making but the microphones we use really do colour the sound which is produced. Given that fact it makes sense to make the most of the properties of the mics we use and to enjoy the effects \u2013 as long as we do it tastefully.<\/p>\n <\/p>\n We cover mic technique in detail on our Musicademy Worship Vocals Course.<\/a><\/p>\n <\/p>\n Tim Martin is currently the music minister of a large church in Bristol (UK). He is a graduate of the Theology, Music and Worship course at London School of Theology (LST) and has previously worked as a music teacher. Tim presents the\u00a0Musicademy Worship Keyboards<\/a> course together with our\u00a0Improvisation Skills for Orchestral Instruments DVDs<\/a><\/em><\/p>\n Other posts you might like:<\/strong><\/p>\n Ask the expert – mic recommendations for a choir<\/a><\/p>\n Ask the expert – mic recommendations for groups of singers<\/a><\/p>\n Vocal health \u2013 video tips<\/a><\/p>\n Vocal warm-up exercises explained<\/a><\/p>\n How to become a confident singer<\/a><\/p>\n 50 tips \u2013 lead vocals<\/a><\/p>\n 50 tips- backing vocals<\/a><\/p>\n