Selecting and placing microphones for best effect is both an exacting science and a subtle art. True, the rules of physics cannot be broken. At the same time, we must make allowances for aesthetic tastes, and for varying budgets. Remember, all microphone types and models will sound-if only ever so slightly-different. And there are thousands of them.
Not surprisingly, complete books have been written on the subject, as well as lengthy chapters in guidebooks on church sound. So here we'll focus narrowly on some basics for the most common worship applications.
Define Your Terms: We'll start with a review of terms to be used throughout.
• Omnidirectional - Sound is picked up from all directions equally.
• Unidirectional - Sound is picked up from one side only. Most common types are cardioid and hypercardioid: cardioid rejects most sound from the rear, but picks up more from the side; hypercardioid picks up more from the rear, but has a narrower "cone" of pickup toward the front.
• Bidirectional - Also called "figure 8," these pick up sound from two opposite directions, but reject sounds 90 degrees off axis.
Finally, most microphones use one of three transducer types. No room here to detail the technology behind each, but we'll note key application differences. First, I'll introduce an acronym: IGAARAEE. It stands for, "in general, as a rule, all else equal." In other words, there will be exceptions.
• Dynamic - Sizes range from large to small. Most pickup patterns are cardioid or hypercardioid. IGAARAEE, dynamic microphones are the least expensive type, and are the most durable. But they are also the least sensitive, and exhibit the most restricted and least consistent frequency response, particularly in higher frequencies.
• Condenser - Sizes range from large to micro. Pickup patterns can be any, though bidirectional models are expensive. Again IGAARAEE, condensers tend to be more expensive than dynamics, are more sensitive to shock damage and moisture, and wired models require phantom power. But they can be very sensitive, with extended and very flat frequency response.
•Ribbon - Until recently, ribbons were considered too fragile for live sound, but recent models are more robust. Sizes are large to medium, and although inherently bidirectional, ribbons can be configured as directional. IGAARAEE ribbons are the most expensive type, but they are prized for a flat, smooth, "mellow" sound.
Regardless Of The Mic Or Application, Observe These Three Rules.
1. Place the microphone as close as possible to the sound source while still keeping all desired sounds inside the pickup pattern and not overloading the mic.
2. Observe the "3-to-1 rule." When using multiple microphones, make sure the distance between microphones is at least three times the distance from the microphone to the sound source. This avoids destructive comb filtering that results from the same sound hitting different mics at different times.
3. Keep microphones away from highly reflective surfaces-hard walls, table tops, windows. This can also cause comb filtering, as well as raise the potential for feedback.
Spoken Word
If the speaker is willing to stand at a pulpit or lectern, it's hard to beat a premium quality, gooseneck-mounted mini condenser, either cardioid or hypercardioid. As long as correctly aimed-pointed at the mouth and not the sternum or hairdo (good luck)-you will enjoy excellent intelligibility, a natural voice timbre, and good gain before feedback. Budget $200 to $500 and up for satisfactory quality.
But if your teachers and preachers want to go wireless, your next best choice is a headworn mini or micro condenser. Dollar for dollar, voice quality will suffer slightly, but with the advantage that (unless they mess with the adjustable boom) the microphone will stay put within an inch or so of the mouth. Both omni and cardioid/hypercardioid models are available. Omni is preferred unless you have extreme feedback problems; with directional models the boom placement relative to the mouth is far more critical and can be problematic. Quality units are $300-$800, and be sure to get the right connector for your wireless beltpack. (Why can't manufacturers standardize? Grumble, grumble.)
If folks don't like wearing earpieces, or if budget is a big factor, you'll have to go with a mini lavalier (lapel) mic. In some cases the lav capsule will be the same as the headworn version, but it's further from the mouth, it can get misplaced or tangled in clothing, and it will suffer from variations in head movement if not properly clipped. Best placement is dead center, from top of breastbone to collarbone notch. Any lower invites feedback, and off to one side will produce audible level changes with extreme head movements. Avoid placing on liturgical stoles, as they are prone to slippage.
Finally, you can use a good handheld dynamic vocal mic, wired or wireless. This is fine as long as the speaker will maintain a proper and consistent distance (6-12 inches to avoid excess bass from proximity effect) and use an orientation straight toward the mouth. Failing that discipline, the above options are preferred. And that leads us into ...
Vocals
Soloists And Small Groups
In most cases, you'll do fine with a good-quality dynamic vocal microphone, the kind with the familiar ball- or barrel-shaped pop filter. These will offer built-in shock mounts to limit handling noise, and most will have a shaped frequency response to emphasize the upper vocal range. All will be directional, either cardioid or hypercardioid. Some budget models are offered at $50 and under, but beware and compare carefully with a known quality model on several different voices. Figure around $100 per mic for long-term happiness.
For your worship leader or featured soloists, you might want to step up to a condenser handheld, either cardioid or hypercardioid. Although they look the same on the outside, the condenser versions will have a flatter response and greater sensitivity for resolving subtle details. However, costs are higher-from $200-$700 or more-and the higher sensitivity can make them more prone to feedback in the upper frequency ranges. They also will pick up more ambient sounds from behind-drums in particular. Place singers and aim mics accordingly.
Handheld ribbon vocal mics are rare and relatively expensive at this point, but are worth considering. Expect to see more as the "ribbon explosion" gains steam.
Whether using cardioid or hypercardioid mics, it's important that singers understand the importance of staying properly oriented to the mic and maintaining proper distance. All directional microphones exhibit off-axis coloration, which means they won't sound the same 60 degrees off to the side as they do right in front. You can help by making sure stands are properly adjusted, and then just pray that the singers do their part.
Choirs
For most choir-micing applications, IGAARAEE, your best choice is a directional (usually cardioid) small or mini condenser. When possible, use the hanging variety equipped with adjustable aiming brackets, placed above and slightly in front. If architecture doesn't allow hanging, use the same capsule type on a long, slender boom with gooseneck. Be well aware of the 3-to-1 rule stated earlier; only very large choirs will need more than two or three mics. If your entire PA is set up stereo, you can use a stereo mic in the center (or coincident pair) for smaller choirs; for larger choirs, add single mics panned left and right on each end.
Note that mics hanging under HVAC ducts may need windscreens. If HVAC noise is extreme, or if there are problems with other ambient noises, you may want to try one of the newer, large-diaphragm dynamic mics, which reportedly work well in this role.
Acoustic Guitar
Acoustic guitars are the most problematic instrument commonly used in worship. A premium quality pickup is the easy way out, but even fairly good ones can sound "flat" and "twangy" compared to a good mic.
For better sound quality, use a small diaphragm ("stick") cardioid condenser microphone ($250-$500). Keep it just far enough away so the player won't accidentally hit it, but other than that the rule is-experiment. Closer to, or pointing into, the sound hole gives more body; closer to the neck gives more string attack. At least two makers supply a small or mini condenser on a bracket that attaches to the guitar to maintain a consistent distance and angle.
If your budget allows ($1,000 up), you can get a sweeter, fuller sound with the same transparency using a "stick" ribbon mic. Most will be figure 8, and again, experiment with placement-particularly as some ribbons will have a slightly different response (brighter vs. mellower) on one side or the other.
Piano
If you have the budget-that being $1,500 minimum-go for matched pairs of small to mini cardioid condensers on special mounts that fit inside the piano. You will get superb, balanced sound and excellent isolation whether the lid is closed, full open, or half-stick.
Of course you can do much the same thing with cardioid condensers on stands poking under the lid. Be scrupulously aware of the 3-to-1 rule here. In fact, if your system isn't stereo, or you don't need stereo piano, you might be safer using only one mic, located closer to the top strings. If you don't have condensers, a good quality dynamic instrument mic ($100 and up) can also yield satisfactory results. If you absolutely must close the lid, one industry veteran reports surprisingly decent results wrapping a high quality dynamic mic in foam rubber (capsule exposed) and stuffing it into the harp sound hole nearest the heel.
Drums
The first rule here is don't amplify what is already loud enough. If the drums are already plenty loud, but you need control to balance them, first isolate the drums with baffles or an enclosure.
If drums are isolated, or you have a large room with "dead" stage, then it often helps to have mics on most or all of the drums. For that, your best bet-particularly in bang for the buck-is a full kit from one maker. These include rim mounts that place the mics close to the drum heads, critical for observing the 3-to-1 rule. If you have plenty of cymbal sound already, you can get kits with four small dynamics (snare, toms, kick) starting under $200. The high-end sets, which are all condenser, can top $5,000. Most in between options will have small to medium dynamics for the drums and condensers for the cymbals.
If you want to go a la carte, again just listen for what needs help and find a suitable mic to bring it up. Larger diaphragm dynamics are suited to kick, small to medium dynamics for the drums, usually small diaphragm condensers for hi-hat and overheads. For a natural, jazz-style stereo spread, use only two overhead condensers, plus perhaps a dynamic for kick.
Quick Takes
Whew, running out of room. Strings? Usually condensers, with mini omnis mounted between the bridge and tailpiece on individual instruments, or cardioid condensers overhead on ensembles. Horns? A good ribbon preserves transparency but without the edge of some condensers. Guitar cabinets? A good dynamic stick, aimed at an angle into the speaker, is the tried-and-true standby; however, the newer and more rugged ribbons are highly touted-by those who can afford them.
Yes, there's still more. But I hope that, whatever your church size, budget or worship style, this at least gives you a good start.
