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How hold microphone with singing?

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  • Kevin Lee
    How should the mic be positioned when you re singing into it? Should I sing directly into the top of the mic (when singing a solo, that is)
    Message 1 of 3 , Aug 15, 2009
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      How should the mic be positioned when you're singing into it? Should I sing directly into the top of the mic (when singing a solo, that is)
    • Stephen Saxon
      Kevin, Simple question. Long (yet incomplete) answer. The main thing you need to do is to practice with the mic you’re going to be using in performance,
      Message 2 of 3 , Aug 15, 2009
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        Kevin,



        Simple question. Long (yet incomplete) answer.



        The main thing you need to do is to practice with the mic you’re going to be
        using in performance, preferably with the sound system you’ll be using in
        performance. There’s no substitute for personal familiarity. With that
        already stated as a basic foundation point, here’s some advice on handling a
        mic.



        Most of us use a Shure SM-58 in performance most of the time. The SM-58 is
        the workhorse of live audio. The SM-58 “beta” has a blue band around the
        middle of the windscreen and tends to have more of a mid and high response,
        but it’s basically the same microphone.



        As with many microphones, SM-58’s have a very pronounced proximity effect.
        That means that if you sing quiet and within about ½”, you’ll get a very
        bass-dominated sound. Loud and far (2” – 5”) you’ll get much less of the
        low frequencies, so it’ll tend to be a brighter sound. I often sing bass,
        so I usually have the microphone touching my face to maximize that bass
        response (though I don’t actually use an SM-58 for singing bass very often).
        Any farther than about 6” and you’re really not using the effective range of
        the microphone very much. Sharing an SM-58 between two or more singers is
        pretty pointless. It looks good, but it sounds like crap because you’re
        just not able to get close enough to use the mic effectively.



        For an example of this, watch most stand-up comics from Bill Cosby and
        later. When Cosby used the “voice of God” speaking to Noah, he was holding
        the microphone almost inside his mouth to take full advantage of the
        proximity effect. I’m dating myself with that reference, but most good
        stand-ups are going to use that effect at some point or another.



        SM-58’s also have a bit of insulation in them to minimize the noise of your
        hand on the microphone. This can give you a false sense of technique which
        may be revealed if you’re given a different microphone to perform with. Be
        mindful handling a microphone. It is an amplification device, so tapping it
        or handling it roughly in your hand WILL produce amplified sound and that’s
        not usually going to add to the music (though that rule is bendable, in the
        right hands).



        Oh, and never blow, tap or spit into a microphone. The owner will hate you
        instantly. If you’re doing vocal percussion, invest in a microphone that
        you can abuse without spreading your DNA amongst the nations.



        As for placement, most of us use an off-axis position, where the microphone
        is not front and center, but down and to the right or left of your mouth
        just a bit, and pointing directly at your mouth. Getting off-center like
        this reduces the plosives and other sounds that can be a bother (P’s, B’s,
        K’s, and S’s in particular).



        Adapt the mic position and orientation to what you’re singing and where it
        should be in the mix. If you’re singing bass, for example (why do you think
        I would start with that? <g>), place the mic very close and sing very
        quietly (and promise the sound person that you won’t ever get louder than
        that). I usually park it at the right corner of my mouth, pointing to the
        opening of the mouth for bass lines. I also often park it at the same
        corner and a little higher, but pointing to my right nostril if I’m either
        humming or doing walking bass lines (dmm, dmm, dmm, dmm) because the sound
        is actually coming out of my nose and that’s what I want to amplify – and
        basically touching the microphone. It feels funny at first, but the sound
        is what it’s all about, so adapt.



        If you’re singing backgrounds, you may want to park the mic a little farther
        away from you (3” - 5”) than if you’re singing lead (~1”) and sing at a
        dynamic that balances everyone else appropriately.



        One of the most problematic things for a performing group is when the mics
        are not part of the normal rehearsal experience. I have seen instances
        where the singers place their mics based on their personalities, rather than
        their part in the music. That is, the more dominant or secure personalities
        hold the mic close and end up louder than the folks who are more nervous or
        uncomfortable. It becomes impossible for a sound board technician to do
        anything to make that group sound good, because even if s/he adjusts the
        levels appropriately, the various proximity effects that the singers are
        producing will make the music sound off, anyway.



        And what sound person really knows who should be boosted or toned down?
        Unless s/he has rehearsed with you many times, the channels should be set at
        sound check and left pretty much alone, and the group will be responsible
        for dynamic and prominence adjustments based on their mic technique. The
        ONLY way for that to sound good is for the group to rehearse regularly with
        microphones. Once you learn your notes, get on the mics. Adapting your
        notes to the realities of amplified sound is almost as much work as learning
        the notes themselves. Get used to it. It’s part of your responsibility to
        be able to do that. No excuses. Do the work and don’t complain about “bad
        sound” unless you KNOW that you were adapting appropriately and not
        contributing to the problem by having bad mic technique.



        Think about what you’re doing, what sounds you’re getting, and feel free to
        experiment – in rehearsal, at least. As with anything, you have to put in
        the time and the work. You cannot expect to sound good on a mic if you have
        never practiced with a mic. If that’s your situation, though, just do your
        best and learn as quickly as you can while as you’re doing it. Don’t give
        up on it, either. All of us have been in that spot at some point – adapting
        to something completely unexpected or new in real-time.



        Best of luck,



        Stephen Saxon

        www.saxon.com/allvoices

        www.stephensaxon.com





        From: ba-acappella@yahoogroups.com [mailto:ba-acappella@yahoogroups.com] On
        Behalf Of Kevin Lee
        Sent: Saturday, August 15, 2009 3:20 AM
        To: ba-acappella@yahoogroups.com
        Subject: [ba-acappella] How hold microphone with singing?





        How should the mic be positioned when you're singing into it? Should I sing
        directly into the top of the mic (when singing a solo, that is)





        [Non-text portions of this message have been removed]
      • Kevin Ryan
        Kev The answer given below, for my nickel is one of the best , simple and yet pretty darn complete ones I have read.. I interact with a lot of folks making the
        Message 3 of 3 , Aug 15, 2009
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          Kev

          The answer given below, for my nickel is one of the best , simple and
          yet pretty darn complete ones I have read.. I interact with a lot of
          folks making the transition from pop and rock to mainline jazz,
          standards and older world R and B ( before a lot of effects) - there
          are often a lot of problems and Stephen just about hit them all on the
          nose

          I guess I night street that he knows what he is talking about as
          regards the timbre, the favoring of frequencies, the bass Vs mid range
          and treble issue and how they directly relate to proximity- that is
          gold

          Another is that folks often do not understand what a great instrument
          the mic is but the most important instrument is your voice and they
          are to do different things. Keep the mic close ( in general) your
          volume down nuanced, and yourself very focused on your dynamics and
          blending- let he mic amplify and if need bass , put that puppy just as
          Stephen said. Also as he said for the higher notes, or really thinner
          sound, the mic head should be a little higher up towards the nose area
          and a bit farther away requiring more volume.

          Do not sing stylishly across the top of the mic or around it or under
          it, stick with Stephen on this and take the bass tips to heart, I do
          exactly what he says , especially the positioning of bass
          vocalizations.

          Don’t point the mic at a loudspeaker and always have your monitors as
          directly aimed at the non business end of that mic as much as
          possible. This is because these proximity effect cardioid dynamic
          mics have just that, a hot zone of proximity like a heart in front of
          the head of the mic and they are very linear and unidirectional

          Do not sing without monitors or good luck in a bigger venue

          Hazzah on the sharing of mics comment as well; the sheer physics of
          how the sound is amplified tell you that is never is optimal for
          vocally based or vocally predominant music

          Again Hazzah that you do not hear him saying you need outrageously
          priced equipment. Some types of mic that are for live audience
          generally need to stay in that world and out of the studio and vice
          versa ( for vocally predominant music, especially acapella)

          As Stephen said, there is more, such as trying to understand some of
          the effects that your sound guy can work with starting with simple
          equalization
          ( a preferential passing on or through of certain aspects of the harmonic
          frequencies within a tone . There is much more and yes it makes on heck of a
          difference and depending on the timbre of your voice the differences are
          personal. Namely, one tenors settings, are theirs, not for every tenor
          although tenor settings are more like a tenor than a baritone,
          straightforward but it is wise to get to know that sort of stuff as all
          benefit the more they understand how sound can be shaped, colored and
          delivered to the audience.( e.g. chorus, delay flanging and reverb and so on

          Best of all and thanks Mr. Saxon on this one too, rehearse with the
          exact mic and the other folks using the exact mic and the exact same
          sound folks and as much a possible in the same location as
          possible. You need that to get the magic gestalt of your voice
          blending with the rest. Of course, the gig venue is not where you
          rehearse, if you bring your own gear, great, but then you the room
          issues. If you do not, then for God’s sake, always sound check and not
          just alone but with the whole groups and be sure you hit high and low
          volume sections, heavy vocalizations ( syllabic sections) and some
          bass and tenor passages as no one setting of equipment catches it all.
          Stephen gave you gold on the vowels as well, the off to the side of
          the technique is great, some thought it was just Frank or Vic or Tony
          B being cool, no…they are avoiding hard consonants- you will see
          smart rappers do that as well

          Yeh, I ran on too much sorry, it’s just that it is so darn helpful
          when you do it right and Stephen did such a great job I just had to
          pipe in as I so frequently find folks who really struggle on this

          Another Kev,

          Keep singing


          > From: ba-acappella@yahoogroups.com [mailto:ba-acappella@yahoogroups.com] On
          > Behalf Of Stephen Saxon
          > Sent: Saturday, August 15, 2009 1:45 PM
          > To: 'Kevin Lee'; ba-acappella@yahoogroups.com
          > Subject: RE: [ba-acappella] How hold microphone with singing?
          >
          > Kevin,
          >
          > Simple question. Long (yet incomplete) answer.
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