Microphone hire A guide to microphone technique PT2
05 August 2009
This is the second peice in our microphone hire technique series, helping you get the most from you microphone hire.
Hire microphones can be used effectively to hide as well as enhance a singers faults. One of the most common techniques used to hide a lack of sustained breath control is to hold the microphone hire away from you when starting a sustained note and bringing it closer to the mouth as the note diminishes. To the audience the note appears to maintain it's volume, although it is important to keep on pitch and not attempt to hold the note for longer than is comfortable!
The distance and placement of the microphone hire also affects the sound and tone of the voice as heard by the listener. Some microphones are designed to pick up sound from any direction, (known as omni-directional) others are designed to pick up sound from a limited area. There are several different microphone hire types, referred to as dynamic, cardoid, supercardoid, condenser.... to learn about these in more depth read the DAT-Heads FAQ and articles listed further down the page.
Information in this article is taken from an article on 'The vocalist' website: www.vocalist.org.uk
Vocal Effects
Using a hire microphone allows the singer to employ various vocal effects to enhance a recording or performance including: Adjusting airflow through the nose, opening the throat to provide more resonance, glottal attack, soft-palate edge (with vibration of the uvula), good enunciation and diaphragmatic pulsation (like a pant).
Avoiding Pop's & Hisses
Certain consonants create sounds that when electrically amplified become abrasive or detract from the intended effect. B's & P's can sound over-exaggerated causing a 'pop', whilst the natural sibilance of C, S & Z can produce a hissing sound. These are problems that can be avoided by using a combination of correct diction and mic hire technique.
When using a hire microphone for the first time, the natural instinct is to place it in right in front of your mouth, but with todays technology, most hire microphones are extremely sensitive and capable of picking up sound from any direction, moving the microphone further from your mouth, angling it to one side or lowering the mic and angling it more towards the ceiling will lessen the sensitivity by just enough to prevent the pops and hisses, the adjustment can be quite fine depending on the EQ & gain settings plus equipment type and quality.
Which Microphone hire?
Everyone has their own personal preferance, but omni-directional hire microphones are pretty common for live work and although they lack the sensitivity of some other hire microphones, they have the advantage of being robust and capable of picking up sound from any direction. There are lead and wireless versions, both of which can be hand-held or placed in a stand. Head-set mic's are useful for dancers or singers who want to have complete freedom of movement but are 'fixed' in front of or to one side of the mouth, this means that the singer is unable to manipulate the microphone.
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