Using Microphones Effectively

As singers, the way we use our mic can make all the difference in the way we sound, and the way the overall music sounds.  Techniques applied when singing solo can (and most times should) differ from when we are singing in a group.

In most modern, contemporary music ensembles, we frequently see ‘each one on a mic,’ meaning everyone has their own dedicated microphone.  While this is an effective way of controlling volume from a sound-person point of view, it can create some blending issues if the singers are not careful or aware of how they are using the microphone.

In choirs, for instance, the blend of voices is controlled by the conductor.  Strategically placing certain voices next to one another (or behind someone else) can create the proper mix.  This way they can be sure that certain altos aren’t sticking out, or that the bass isn’t being overshadowed by the tenors, or that you can hear the melody that the sopranos are singing. The conductor creates a ‘wall of sound’ that is heard by the audience or assembly.  A couple of mics placed well in front of the entire group pick up the entire mix of voices.

When each singer has their own microphone, that ‘wall of sound’ isn’t as easily achieved without proper mic technique. An overzealous singer can destroy a blend by misusing their microphone. I’m talking about proximity.

‘Proximity’ has to do with how far away you are from your microphone while singing into it. Singing closer to the mic creates a rounder, warmer sound, ideally suited to solo singing. Singing ‘off the mic’ or a little back from it creates a thinner, less bass-y sound more suited for ensemble singing.

Here’s what I mean:

1. Let’s say you will be singing the opening verse of a song by yourself. You are the only one singing…so get ‘on’ the mic. Sing close to it. You are the only voice, so it needs to be warm and round. A close proximity will give the best result.

 

 

 

2. When it comes to the chorus, let's say you will be joined by two more singers on melody. Since there will be three of you, back off of the mic a little. (Maybe, since you are ‘leading’ the song, you could be a little closer than the other two singers.)

3. At the same time, 3 other singers will sing alto, and 3 more will sing tenor. All of these singers need to sing ‘off the mic,’ not right up close to it. Quite simply, it will be ‘too much.’  You will have to experiment a little to find the right blend, but the important thing is to find the right blend!!! Remember, not everyone is singing a solo!



This becomes even more crucial when there are fewer singers. If there is one per part, the melody needs to be out front­– closer to the mic, while the other voices sing back a little.

Really it comes down to listening.  Everyone listening!   Don’t just assume your vocal part is the most important, or has to be heard as loud as the melody or lead singer.  Complement the other voices. Make music!

March 10, 2013 – 4th Sunday of Lent

(These songs are off of my planning notes for this particular Sunday, which means I am strongly considering using them on these days. After each title I’ve added some thoughts to consider.)

(Click on titles for links to their respective pages.)

 

Amazing Grace (My Chains are Gone) by John Newton, Chris Tomlin, and Louie Giglio (worshiptogether.com) - the classic, traditional song with some new text and an added powerful chorus. Be careful to choose a key that's not too high.

Suggested use: Offertory, Second Communion

 

 

Beautiful Things by Michael Gungor (worshiptogether.com) - a powerful song for a communion meditation..."you make beautiful things...you make beautiful things out of us." Find the key that's right for your singer(s). (From the CD Beautiful Things).

Suggested use: Second Communion/Meditation
 

 

Desert Song by Brooke Ligertwood (worshiptogether.com) - great song for Lent. We actually started this on the First Sunday, but I hadn't played it yet, and I didn't want to recommend something I'd never done before.  :-) (Mp3 download).

Suggested use: Second Communion/Meditation

 

 

From the Inside Out by Joel Houston (Hillsong) – "A thousand times I've failed, still your mercy remains..."  Check out this song.

Suggested use: Entrance/Song of Gathering, Offertory, Communion
 

Hosea by Gregory Norbet (OCP) – I love this song. We've done it 'as-written' as well as with a dotted-eighth, dotted-eighth, eighth rhythm on the first three notes in the verse. (each phrase)

Suggested use: Entrance/Song of Gathering, Offertory, Communion

 

Journey for Home by Ed Bolduc (WLP) – "we live and journey...journey for home." Easy to play, easy to sing. (From the CD The Face of God.)

Suggested use: Entrance/Song of Gathering, Offertory, Communion

Return to God by John Angotti (WLP) - another great song from John's Joy Beyond Our Dreams. The verses by Alan Hommerding are beautiful and so appropriate for this season. John added a great refrain and...the whole thing just works well. This song also works well at many places in the liturgy.(From the CD Joy Beyond Our Dreams) This song is also a part of the More Voices As One vol. 1 collection. (see the link on the sidebar)

Suggested use: Entrance/Song of Gathering, Offertory, Communion

 

Taste and See by Steve Angrisano (spiritandsong.com) - another nice setting of this Psalm text.

Suggested use: Responsorial Psalm, Communion

Your Grace Is Enough by Matt Maher (spiritandsong.com) - driving, singable, powerful... (From the CD Empty and Beautiful).

Suggested use: Song of Thanksgiving/Dismissal