Who knew singing into a microphone was a whole 'nother skill?

[woodbox]

Microphone dynamics is a touchy subject...
Lots of opinions based on experience with lots of different microphones.

Some mics work best when you're right up on them (eating the mic), meaning you cannot throw your voice at them from a distance.
While others are more sensitive and work fine if you are backed off 4-6 inches or so away.

May I suggest, play with the mic to determine the sweet spot for your voice with a particular microphone, and practice playing with/varying that sweet spot.

As referenced above by Tbone and Buc, up close and whispering or backed off and belting, can have virtually the same volume to the house, but a whole different effect, depending on what you want.

[Photojeep]

I recently read a book by a recording engineer who said that Frank Sinatra was an artist with a mic. In the studio, he was constantly riding the fader on the vocal mic or even having to do so later in the mix down but with Sinatra he didn't have to do a thing. He noticed about a minute into the first take of the first song he really didn't have to do much of anything but watch the master at work. It seems to me that Sinatra probably just worked at it until it became second nature. Heck, if one of the best ever could do it, so can we!!

Best,
PJ

[StevenL]

Watch a few episodes of 'Daryl's House' and observe how Daryl Hall works a microphone. That fellow knows how to do it right.

[YamahaGuy]

I play and sing with a mic several times a week. For me, I prefer to be "on the mic" or very close to it. Feedback is never pleasant and there is a phenomenon known as dead mic syndrome that occurs with a hot mic not being used. The PA system will throw out sound from the guitar, and the mic picks it up and there is feedback.

Think of a dynamic mic as a speaker cone - it does the same thing just in reverse. So if you're close to it, it will pick up a lot greater- the distance to db rate grows ( decays) exponentially.

As others said, dynamic mics are the way to go, and don't be afraid to try out a few mics if you can afford to. There are several good mics in the under $100 price range that all have different characteristics that may or may not work for you.

[Silly Moustache]

Yes it is!
My club was strictly acoustic until about a year ago when we had to move to a potentially noisier venue.

I compromised by using a single large condenser mic which should make matters easy as it picks up both vocals and instruments up to about two feet away. Many can't handle it.

Singing acoustically requires real singing skills (which rarely "just happen") and using a mic is - seemingly - a mystery to many "famous" live performers whose bad techniques are shown on TV etc.

I'm not a cblues/rock shouter, I want everyone to hear every word, but I've been told a number of times that I should sing into an SM58 touching it with my lips - some people really don't understand the SM58 and other dynamic mics proximity effect bass boost for close up, low volume singing/whispering, and simply distort when bellowed into.

When compelled to use one, I'll balance it for a normal distance of about 4-6 inches and I prefer to sing across rather than into them.

It tickles me to see performers (TV pop stuff mainly) who get all dressed up and made up then cover their faces with a large capsule mic.

[Frankieabbott]

Microphone? Singing? Gotta give you respect mate. I can only play guitar (badly). I attend numerous open mike nights in my locality. Anyone who gets up.....strums a few chords....and sings gets my respect immediately......and the offer of a drink when they're finished.

[Glennwillow]

Hi Jim,

I think the pop filter, that round ball, is essential to a vocal mic, and even then you will probably get pops from plosives, often words starting with the letter, p.

Recording yourself while practicing is extremely helpful to let you hear how you are doing. Using a microphone well is a skill and it takes a fair amount of practice.

I personally don't like to be right up on the ball of the microphone, but a lot of people do it. I like to be back about 6-7". I stretch out my right hand and use the distance from my little finger to my thumb as a "rule of thumb" to set the proper distance from the mic. That distance provides fewer popping noises into the mic and provides slightly less bass boost caused by the proximity effect of cardioid pattern mics.

In the pro world a lot of sound engineers use a lot of compression on vocal mics to help even out the volume coming from a vocal mic. The sound can be rather harsh when too much compression is used, but if there is a lot of stage noise and a large, powerful band, that harshness also helps the vocal cut through the mix.

I rarely use compression on vocals unless it's required to keep from overloading recording amps on a song requiring a very large dynamic range.

I hate to be redundant, but recording yourself while practicing is an invaluable tool. It lets you step outside of yourself to be more objective about how you are doing. It's a huge learning tool.

- Glenn

[muscmp]

if you watch any video of people singing in the studio, you'll see how they round their vocals and use techniques such as moving away from the mic when they sing louder. some even raise or lower the mic to give them a different flavor as well as to move it back more to bring in more of the room and give it some depth.

play music!

[Oldguy64]

You said a cookout.
Pop filter probably a good idea, the wind doesn't cause a problem.

I've hated microphones for years. I have a big singing voice.
It tends to surprise a lot of folks because I speak fairly softly.

I've learned to sing into a mic and change distance as I sing softer and louder.
I'm still learning to sing at a more reasonable volume in order to preserve my voice

Something that may help is checking the internet for pictures that show where a certain type of mic has its most useful place to pick up sound.
For instance, a cardioid mic picks up sound in a heart shape area around the front of the mic.
Knowing the shape that keeps you "in the zone" will help loads using dynamics of the mic to your advantage.

[tgaume]

I have a live setup in my music room where I practice. I pull out the pedal board and the TCH Play acoustic and set everything up the same way I do when I play a gig.

It takes practice to learn to work the mic, operate the pedals and page turner, and play guitar all at the same time. I video record my practice sessions so I can critique myself once I'm done. There's always room for improvement, but it's also a good way to show yourself you improvements.

Cheers, & keep pickin'

[Misifus]

Practice is essential. When you're preparing to perform with a PA and mic, it pays to get a mic and some sort of PA through which you can hear yourself. Then, practice your entire playlist, while listening to yourself. That will help you learn to use the mic effectively.

[Wade Hampton]

I tend to get in close because I like to boost the low end response using the proximity effect, but that works better on some mics than others. My current main vocal mic is an Ear Trumpet Lab, which works best when I'm some distance away, so I can't and don't "eat the mic" on that one.

The best approach is to think of the mic as yet another musical instrument that requires some practice to get facile on. Different mics need somewhat different approaches, so practice, man, practice!

Hope this helps.

Wade Hampton Miller

[Rmz76]

Originally Posted by Kyle76

A friend and I will perform a few songs at a church cookout next month. I borrowed a Fishman Solo 220 for us to use. I've used a mic only a few times, and boy is it harder than one would think to modulate your vocals, keep a consistent distance from the mic AND try to play guitar at the same time. I've got the system set up in my shed, so I'll be sneaking out there regularly to practice coordinating these activities and hopefully be ready for a decent performance. Do you recommend one of those foam ball pop screens? Do you keep your mouth in touching distance of the mic? Any other tips? An inch or so of extra distance from the mic seems to make a big difference in volume.

Pull up some live performances of your favorite singers. If the singer is using a lot of range you'll find they are working the mic. That is, they pull in close when the vocals are soft and the move away when they are belting it out. The foam ball acts as a windscreen, a pop filter (blocking the "p" sounds which can turn into pops) and can play a roll in sanitation. If your dynamic is mostly used by you indoors then I don't recommend spending the money on it.

For others reading, before playing plugged-in you should definitely practice plugged-in. If you don't have an amp, mic, etc.. Sweetwater has this nice little package on sale
https://www.sweetwater.com/store/detail/LoudBoxMiniPK

[Pitar]

I'm a long time SM58 user and know how to get my voice into it, though there isn't any secret. I use it and a Nady wireless MGT-16 for the guitar. Both go into a Fishman SA220. Close-mic'ing is usually my way of it. Vocal modulation is the sport involved that's the fun part.

[Laughingboy68]

Originally Posted by StevenL

Watch a few episodes of 'Daryl's House' and observe how Daryl Hall works a microphone. That fellow knows how to do it right.

I used to watch Live From Daryl's House quite a bit. DH uses an exaggerated mic technique that I find a little too much. Often his high notes aren't clear as he turns his head sideways off axis. When he was a younger singer he did it less. Still one of my favourite singers, DH has lost the uppermost notes of his range as he's gotten a little older.

When I see a singer with exceptional mic technique, I hardly notice that they are doing it. Everything just sounds crisp, clear and even. Like most difficult skills, when done well, it looks easy.