I have a bit of an obsession with microphones. I am fascinated by how different products, using essentially the same technology and techniques, can sound so different. It is amazing how we can go from weak, uninspired sound to great, clear and engaging audio simply by swapping microphones.
Such was the case for us a few months ago, in fact. During our VBS week, our student band was leading on our main stage. For the first day, I went with my standard go-to vocal mic for the worship leader. It's a terrific mic and almost always makes everyone sound great. However, no one was happy with the sound. I EQ'd, compressed and smashed, but we couldn't get it sounding right. The next day, I swapped it for another capsule from the same manufacturer and the results were instant and stunning. I dialed back almost all the EQ and lightened up on the other processing, and it sounded fantastic.
I share that tale to set the stage for this article, and to debunk a myth; specifically, there is no “best” vocal microphone. In fact, once you get into the class of what we would all consider “professional-grade” microphones, you stop talking about best and worst in absolute terms and start considering what is the best mic for the voice in question. Often, people try to equate cost with sound quality, and they are just as often disappointed.
Another personal example: I bought a new, fairly expensive capsule from a respected manufacturer for our worship leader's wireless. We tried it for several weeks and never got it sounding good. I replaced it with a mic that cost half as much from another manufacturer and we are all pleased with the result. Again, it's not about price, but about the best match for the voice.
If you're still not convinced, consider that Bono, a singer who could certainly afford any mic he wants, typically sings into a [Shure] SM58 that costs about $100. And that seems to be going OK for him.
AN ARRAY OF CHOICES
When considering the purchase of vocal mics for your church, you have a lot of options. Some sound engineers want to standardize on one model for every singer on the stage, but I think a little variety will help you get a better overall sound. Unless you have a sweet endorsement deal from a mic manufacturer, I recommend buying (or at least trying) mics from several manufactures. This gives you options to try out on your vocalists. Once you find the best mic for a particular singer, stick with it (until you find something better). On any given weekend, you're likely to see two or three different capsules on our stage, all chosen specifically for the vocalist. Don't be afraid to mix it up until you find what works.
Not all dealers let you “try before you buy,” but some have rental stock you can use to evaluate the options. Failing that, try to buy from a dealer who will let you return a mic in the first 30 days or so if you're really not happy. Or, if you can afford to, just keep it. It's possible a vocalist will join the team that will sound great on a mic you previously rejected. Asking your dealer or fellow audio guys what they've had success with will help narrow the field but, ultimately, it's about what works in your room with your singers, your style and your PA. There are no hard and fast rules; if it sounds good, it is good.
Many people debate the dynamic vs. condenser issue, and while I have a tendency to use one over the other, I've had good experiences with both types. Just know that condensers tend to be a little more susceptible to picking up stage bleed. This isn't a deal-breaker, but your vocalists need to have good technique so the vocal mic doesn't become a drum mic.
When selecting mics, don't overlook the polar pattern. Most vocal mics are cardioid, super-cardioid or hyper-cardioid, and while they tend to do a good job rejecting sound from the sides, super- and hyper-cardioid mics will pick up sound directly behind them—which makes monitor placement critical (i.e., don't put the monitor directly in front of the singer). Keep in mind that the narrower the pickup pattern, the more important good technique is. If your vocalist does a good job of gluing the mic to their lips, the tighter pattern will work well for you. However, if your vocalist likes to bob and weave like they're in a prizefight, go with a more open, cardioid pattern.
TIPS ON TECHNIQUE
This leads to a quick word on technique; your vocalists need to keep the mic close to their mouths for th ebest sound. Some singers are concerned that if they hold the mic too close they'll be too loud in the house or monitors. If this is the case, turn them down in the house or monitors. It's much easier to make it sound great when they are right up close to the windscreen. They should sing pretty much right into the top of the grill for best results. If you're doing video and need to see a little more of the face, at least keep the mic on the chin.
The inverse-square law dictates that doubling the distance from the sound source to the mic drops the level by 6 dB. The farther away, the more gain must be added at the console, which leads to more noise, more drums in the vocal and, eventually, feedback. To demonstrate, hold the mic close then move it away without changing the gain. It's pretty clear what happens.
There are a lot of options in vocal mics today, and here we've taken a look at some offerings from various manufacturers.
