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Proper Microphone Techniques for Karaoke

Many performers believe that the only part of a performance you can control is your voice and that any unwanted pops or squeaks in the sound output are a result of poor audio setup. Although this may be the true in some cases, most professional KJ’s will spend hours setting up their equipment for optimal sound quality to ensure each and every performance is a great one. What most singers do not understand is that a poor performance can usually be blamed on the improper microphone handling techniques of the performer. This week I will discuss the basic function of a Karaoke microphone and some simple techniques anyone can use to avoid sound disturbances.

Dynamic Microphone - The Singers Choice

The most popular microphone for live voice performance is called a Dynamic Mic. This type of microphone is particularly favored because of its rugged construction, ability to handle high sound levels and relatively inexpensive cost. It has three basic parts: the diaphragm, coil and magnet. The diaphragm is a cone shaped object that has a coil of wires attached to the end of it. The coil is placed around a magnetic so a magnetic field is produced. As sound waves hit the diaphragm, the coil moves over the magnet and a small electrical charge is created then sent to the amplifier.

One feature of the typical dynamic microphone is the "cardioid" type pickup pattern. This pattern picks up sound better from in front of the microphone than from the rear and sides. This is particularly useful in a live sound environment. One side effect of this type of pattern though is something called a "proximity effect". This means that the closer the microphone is to the sound source, the louder the bass end will be.

Holding the microphone

When using a hand held dynamic microphone, two things should be considered:

The above figure demonstrates proper microphone technique because the microphone is pointing toward the source on an off-axis and the distance is neither too far, nor too close.

Changing the distance

Even though there is a proximity effect when the microphone is close to the source, the optimum distance of the microphone can change from one musical phrase to the next. Sometimes a song will require parts sung that are as low as a whisper or at times high notes would be belted out as loud as the performer could. To properly capture these dynamic changes, the microphone distance should change accordingly. When singing softly, the microphone can be moved in closer. On the other hand, just before hitting a loud high note, pull the microphone away from you and slowly bring it back towards your mouth as the volume of the sound begins to diminish.

Developing good microphone technique is critical if we want our karaoke performances to come across well but it takes practice. Experiment with different microphone distances and angles to see which works best for you with the microphone you have.

Pop’s and sibilance

One drawback of using a microphone close up is the tendency to exaggerate the explosive sound of b’s and p’s. Technically we call these sounds "pops". An easy way to reduce this type of problem is use a pop filter on your microphone. This is simply a foam ball that fits onto the microphone and helps diffuse the air. Another technique you can experiment with is holding the microphone farther away from the mouth and pointing it more on an angle.

Sibilance, which is the over-emphasis of consonants such "s", "sh", "ch", is another problem while using a microphone close up. As with the pops, a pop screen will help as well as changing the microphone distance and position.

Although it is easier to blame the KJ, correctly capturing your karaoke performance is your responsibility. Practice makes perfect and any serious performer should include microphone handling as part of their practice routine. For more information on inexpensive practice microphones and microphone accessories check out this weeks featured products.

Until next time, get up and SING!

Dr. Karaoke