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TIPS and RECOMMENDATIONS ON MICROPHONE USE TECHNIQUES SUPPLIED BY SOUNDCOM WHOLESALE; +27 (0) 11 839-4451 Iss.1; 27/09/2012 GENERAL When using a hand-held microphone whether for speech or vocal applications, employing the correct handling techniques can only improve the resultant transmission quality. Incorrect handling can lower the performance characteristics of any quality microphone to such an extent that intelligence is lost and/or, in the case of a vocal performance, it is an embarrassing failure. To guide users in avoiding the many pitfalls, the basic do’s & don’ts of microphone use are provided below.
Holding a microphone; •
Do not hold the microphone by its’ grille. Doing this a. Changes the reception strength pattern which can increase feed-back susceptibility.
b. Affects the frequency response and sound quality. c. Will seriously disturb the transmission range if the microphone is wireless and its’ antenna is situated at the upper end of the body. •
Do not hold the microphone at the body end. Doing this a. Reduces physical control as generally, the grille is the heavier end. b. Will seriously disturb the transmission range if the microphone is wireless and its’ antenna is situated, either internal or external, at the lower end of the body.
From the above and for best results, always hold a microphone at its’ housing centre.
Mouth to microphone proximity; • Do not have too close together. Doing this a. Can cause amplifier system distortion and overload if the performer has a loud voice. b. Can cause bass response accentuation. A dynamic microphone has a distinct bass response proximity effect, i.e. the closer the mouth is, the more bass tone accentuation. This can be helpful for those who have voices lacking bass tone and sounding ‘thin/weak’ however, for those who have a strong bass tone naturally, it will simply cause the voice to sound ‘thick’ and lose clarity.
c. Can result in explosive ‘POP’ noises. This happens when an excessive air force hits the microphone diaphragm causing it to overload. Specifically, syllables ‘B’ – ‘F’ – ‘P’ – ‘T’ can easily cause this effect however, simply breathing in/out when too close will affect resultant sound quality. •
Do not have too far apart. Doing this a. Will lower the output sound level. Within limits, this will assist in reducing bass proximity effect and improve clarity for those voices having strong and natural bass tone. For weaker voices, the mistake often made is to compensate by increasing amplifier volume which significantly increases the risk of feed-back.
From the above, proper use of these effects that best suit the voice should provide an optimum result in vocal delivery. As a starting point, hold the microphone approx. 100mm (4”) from the mouth and inclined @ 30° – 45° from horizontal, so that speech is being projected over the grille rather than directly into it. After setting output volume level, re-adjust positioning and ‘trim’ to suit. IMPORTANT! Note that after system volume adjustment, changing the original distance between mouth/microphone has the following effect on system output. If original spacing is as above, i.e. 100mm, @ 50mm = 4 x original output power produced. @ 200mm = ¼ x original output power produced. Although this will not be equal to a perceived ‘loudness’ change, singers can put the effect to good use to correct their voice loudness characteristics.
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