It is the small things — those system components that are, by comparison, diminutive of both size and cost — comprising your church’s audio system that can make gargantuan improvements in sonic quality if they are selected with careful consideration and informed direction. Case in point: vocal microphones, while crucial to all amplified performance ensembles, are especially important in the modern Christian church. After all, it is the lyrics of the music that are to be understood and absorbed.
In this feature, three authorities on the subject of microphone selection — product experts from two leading mic manufacturers and a director for a house-of-worship retailer — weigh in with invaluable shopping tips and other factors to consider when upgrading your church’s vocal microphone arsenal.
Finding Vocalist-Matched Microphones
For John L. Lindstedt, division manager of Inspirational Pro A/V — a churchserving division of Woodwind and Brasswind music retail — knowing who is doing the shopping is important. “You must identify who is inquiring or ordering the microphone, the sound technician or the vocalist/musician,” he qualifies. “Each has a different view, perspective, and end-user expectation for the microphone. In either case, the most important exercise is to listen.”
Listening is right, and the microphone is an equally important factor to the vocalist in the quest to find the most appropriate tool. “Shopping for a microphone has as much to do with the characteristics of the microphone itself as it does with the person standing behind it,” insists Robb Blumenreder, product manager, Sennheiser Music Industry Products. “Every voice is unique, everyone’s style is different, and there is no one microphone that will work for every performer. At the end of the day, sound is subjective.”
Blumenreder continues. “It is extremely important to test out microphones in a side-by-side situation whenever possible to determine what compliments your vocal style. It is recommended that you listen to hand-held microphones through a PA system when possible and, when it is not, ask to have the microphone plugged into a mixing console with a pair of headphones to A/B any models you may be looking at.”
Lindstedt suggests noting the litany of needs and circumstances that factor into finding an ideal vocal microphone, including: lead vocal or back-up/harmonies; male, female, or both; performance characteristics/ style of worship; tonal qualities of the vocalist; reverberation and environmental characteristics of the facility; vocalist SPL; vocal style; and microphone positioning. “Equipped with this information, the choices can be narrowed down and then the process for a proper recommendation is on its way,” he explains.
Considering Specs and Features
Once a church determines its needs and circumstances of use, the vocal mic search continues with a review of various models’ specifications and characteristics. “There are typically three bullet points that are mentioned: the type of microphone, the polar pattern, and the frequency response,” explains Blumenreder. “The combination of these specifi- cations is what gives each mic its own special characteristics.”
For live purposes, condensers and dynamics are most frequently used for different purposes: for more accurate and detailed sensitivity or ruggedness and — possibly — cost-related issues, respectively. Condensers can be quite kind to female voices, although they work well on voices of both sexes as can dynamic models.
Selecting a super-cardioid or cardioid microphone will increase the directedness of the vocalist’s pickup area. These mics generally work best in live applications while often emphasizing appealing sonic qualities when used at close range. They do, however, sometimes present challenges when a vocalist, who is often less experienced at singing in amplified settings, roams from a rather tight ‘sweet spot.’ In roaming, dropouts and, through frequent and unrefined movement, mistakenly mic’ed sound sources from other instruments can taint the vocal signal.
The qualities of the most popular mic options sufficiently outweigh any drawbacks. “By far the most popular, best-selling microphones are cardioid dynamics and this can usually be attributed to their durability, price, and performance,” summates Blumenreder.
In considering SPL data, mic size and weight, and wired versus wireless models, suggests Lindstedt, look to the needs of the vocalist. “Will the vocalist hold the microphone, use a stationary stand, or perform from a lectern or pulpit?” he asks. If a vocal mic is to be held, resonance and handling noise should be carefully examined.
Gary Gunn, U.S. Market Development Manager, Installed and Touring Sound for AKG Acoustics suggests that the overall “philosophy of ministry” at any particular church will dictate the choice made between wired and wireless models, and his company finds the demand for wireless models to be increasing. “With more and more wireless being used in houses-of-worship,” he explains, “AKG has taken more of our handheld microphones and made the head available for wireless units.”
Same or Different?
The main advantage of choosing identical or similar vocal microphones when buying several comes down to easing the job of the front-of-house engineer. “He will be intimately familiar with the frequency response and the polar pattern of the mic,” explains Blumenreder. “This will enable an engineer to quickly identify problem frequencies and what to boost or cut to balance the sound of the microphone for the performer. Another advantage of purchasing the same brand and type of microphone is that it will typically offer some savings in cost.”
However, a full-time or very knowledgeable engineer can often control a wider range of variables, thus enabling the microphone search to focus on the needs of more specific vocal types. “They know their performers’ characteristics,” explains Lindstedt. “They are extremely familiar with the acoustical limitation of the environment and a separate set of rules apply. They can use what works the best without compromise.”
Mics for Vocal ‘Specialists’
When a vocal ‘specialist’ — for instance, a bass singer in a Southern Gospel quartet — needs a mic, are any particular selection criteria worth considering more than when a typical vocalist mans the mic? Lindstedt says yes. “The frequency response of the microphone should be tailored to the performance expectation,” he explains while recommending discussing the potential purchase with an expert.
Blumenreder recommends that such vocal specialists carry their own complimentary microphone to their church, just in case an appropriate one isn’t available. “Vocal specialists, like any musician, should expect to invest in their talent,” he insists. “I’ve seen many vocalists that don’t carry their own microphone and, to me, this is like a virtuoso violinist just using the ‘house violin’.”
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Proper microphone technique is important to obtaining the best sound. The microphone should be placed one and a half to two inches from the mouth. |
Placement Tips
While it may seem simple, it is important to note that knowing basic microphone technique and how placement affects performance can dramatically affect ampli- fied vocal sound. “Generally, you want to keep the microphone around an inch and a half to two inches away from your lips, and, depending on the polar pattern, you can typically get away with 45 degrees off the center of the microphone,” details Blumenreder. “Move the microphone so you can have proper posture when singing into it. Many people hold microphones improperly and this results in very poor audio quality, and, sometimes, feedback when the sound engineer has to increase volume to pick up the performer.”
Mics for Speech and More
“Articulation and voice inflection are critical in house-of-worship speech presentation,” tells Lindstedt on the subject of dual-purpose microphone shopping — finding a mic that shines on singing and speech alike. “There are microphones that offer multiple and selectable presentation patterns in a single microphone and frequency responses.”
Going To Your Head
To Blumenreder, a vocalist who both speaks and sings should consider a high-quality headworn model. This would be for “a singing, preaching pastor,” he details.
While Lindstedt suggests that most applications will require a handheld, Blumenreder recommends headworn for those singers constantly on the move. “You may want to try a comfortable, high-quality headworn wireless mic instead of a handheld or a lavalier microphone.” Lavaliers are particularly useful in speech-only situations.
Churches Are Unique
While most any knowledgeable audio engineer can successfully “shoot out” various microphones for the needs of particular vocalists, a church-based engineer or vocalist recognizes the unique aspect of amplified singing in a church environment. “It’s important to do as much research and talk to as many resources as you can,” explains Blumenreder. “When making an investment in audio, remember that you are investing in the quality of the message your congregation will hear. This is one of the most important and crucial elements of an enjoyable, fulfilling service.”
