Shure Notes® readers are dedicated knowledge seekers. We know this because every year when you respond to our Reader Survey, you tell us that you want to learn more about microphones (a subject we know well) and hear what the experts have to say.

Since we’ve had the good fortune to work with a number of leading sound engineers, artists and pro audio educators over the years, we decided to ask them for their tips on a pretty broad range of questions relating to another interest of yours – how to mike live vocals.

Do the experts always agree? Is the takeaway “it depends”? Read on!




JOE CANTAFFA:
“When you have limited financial resources, as many bands do, and little time to EQ and sound check before a show, our best bet is working with the singers regularly, to improve their vocal skills and mic technique to improve quality/intelligibility. If singers can truly listen to the sound of the a room, and what the support system is giving them on a given day, and then listen equally well to themselves and the other performers, they can adjust vowel shaping, breath support, and articulation to compensate for some sound challenges. Those adjustments might sound strange ‘unplugged’ but if no true audio adjustments can be made to provide further support, sometimes the improvement can be found in the performance.”

JOHN CHEVALIER:
“Know your vocalist and know your microphones. Be familiar with the pickup patterns and sensitivity of each mic. Once you know that, you’ll need to instruct the music director and/or the vocalist on how to hold a mic. If you have each vocal team member holding the mic correctly and the proper distance from their mouth, you will be able to mix more effectively.

ALEX DEL ZOPPO:
“Generally, singers should try backing away from the mic, for one thing. Use EQ to make the most of the singer’s range for another.

Everyone’s voice is a little different from everyone else’s. When you show up on stage, your voice will sound different than the one on before you or after you. Certain mics fit the vocal timbre and range (as well as style) of most singers better than a one-size-fits-all mic does. It would behoove all of your singers to try out several vocal mics to find which one is the most compatible with their voices. Once they do, most venues will allow them to plug their ‘personal’ mic into the house system, making their chances of sounding the way they want to sound much better.”

TONY HUERTA:
“Try increasing the specific frequencies of 3.0 Khz and 10.0 Khz while reducing the frequencies of 250 Hz and everything below 90 Hz with a roll off (HPF - High Pass Filter).”

HUGH JOHNSON:
“It depends entirely on the singer, but generally, increasing the high-mids and/or highs on the channel strip usually helps with intelligibility. Sometimes removing some low frequencies or low-mids works well, it all depends on the vocalist.”

PARIS LAHR:
“Singing lessons. The notion of ‘garbage in, garbage out’ applies. If the singer is not singing loud enough to cover the stage volume of their band, there is almost nothing you can do. Soundboards are not cauldrons, and engineers are not are wizards.

It all starts with a good source. If you have a good singer, on a good mic, and all the gear is working right, and you’re still having trouble, you are probably using the wrong mic.”

KAREN KANE:
“Reduce in the low mid-bass frequencies. A small boost in the 2-3K region also helps.”






JOE CANTAFFA:
“Not always. In a professional environment, there should be mutual respect here. As it pertains to The RockNRoll Chorus, the performers are very aware of how important FOH is to our show and are quick to take suggestions and advice from engineers.

So far, most of the engineers we’ve had the pleasure to work with (especially the professionals) seem to find our project interesting and exciting. Therefore they seem to enjoy the challenge of working with the singers to truly help create that rock feel using only voices and ‘bad-ass’ energy, all the while being aware that singers need to sing properly and safely in order to protect their chops. It’s all wrapped up in a high-energy, visual show so everyone is aware of the mic techniques being laid into 15 mics at a time with a full array of ‘instrument’ sounds. The engineer is crucial, and we know it. Since the beginning we’ve been taken seriously so there always seems to be that two-way street of respect.”

JOHN CHEVALIER:
“I have extensive experience as both an audio engineer and a music director so I’ve been on both sides of the fence. The key here is ALWAYS about building solid relationships. The audio team and the music team “together” make up the overall performance of the morning. It is vital that this is addressed. This is not about “getting people to listen”; it’s about trust and knowing that everyone on the team has everyone’s overall success in mind.

Once this is in place you have to make sure that all team members understand the relationship, and that new team member’s are taught the same thing. When a “friend” or someone who has your best interest in mind asks you to make changes, it’s a lot different than someone that you don’t trust. It normally falls to the music director to make this happen. Audio guys also need to do their absolute best to know their craft even as a volunteer. Striving for excellent on both sides goes a long way in building trust, as well.”

ALEX DEL ZOPPO:
“Yes, there is often a battle of wills, usually because the performers think they are hearing what the audience is hearing.

The way to bridge that gap is to have each of the singers go out front into the audience area using a wireless mic system during sound check, and hear for themselves. Of course an empty house will still be different than one filled with bodies, but again, a decent sound engineer would already have the proper mix in mind to compensate for when the house is full. Because competition is so fierce these days, acts need to be absolutely at the top of their game at each and every event they perform at. I recommend owning a wireless system if only for the purpose mentioned above. When an act has a solid sound check, they will be more self-assured during the actual performance, ensuring a better show in every respect.”

TONY HUERTA:
“This is the most important topic for a sound engineer. Listen to the artist and do what they ask for. Remember, you are working for them. Respect is key and it must be mutual. As a performer, there is nothing worse than showing up for a gig and having an engineer with a bad attitude and a closed mind. If the engineer is too bold, argumentative, or just has a bad mood, the artist will lose trust in their engineering abilities, taking focus and energy from the show. The artist should have nothing to worry about onstage except their own performance!

It’s simple but essential; greet the artist with a smile and respect. Handling an intense situation like a concert will only get worse if you show your emotions. Hide behind a smile and good attitude. Have a “whatever you want attitude”. They are the hired artists and they were hired for a reason. Not because their sound engineer is great, but because they generally know what they are doing in creating their own music. Listen to the artist and do what they ask for. Don’t argue. Just work with them and do what they want. Of course, if the artists are new to the business, they will most likely look up to you for suggestions. Even then, don’t step on their toes. Offer suggestions, not demands. Don’t be late, be early. Don’t smell bad, shower and chew gum. Keep your mouth closed more than open. Be efficient and yet courteous under stress. And most important, be patient. You’re not running the show, you are just in charge of being invisible once the show starts.”

HUGH JOHNSON:
“Any performer worth their salt knows the sound engineer is the conduit to the audience and should always listen. However, the right attitude, proper knowledge and a pleasing delivery from the engineer are the best ways to communicate with the performers. It is very important that the performers have confidence in their engineers, and it is up to the engineer to instill that confidence.”

PARIS LAHR:
“We could flip the whole music industry on its head, and have the crews hire the bands.

There is a battle of wills only if you’ve allowed yourself to be in that situation. Remember: it’s the performer’s art and you work for them, so they will prevail. When an artist really understands that the reason you were hired is to help them put on the best performance they can, it’s a lot easier to get them to listen.

In the end it’s about trust. Do they trust you? Do they know that you’re there to assist them and that your opinion is valuable? If so, there aren’t any battles.

They’ll tell you what sound they are trying to achieve and you’ll offer suggestions for achieving it in a simple and cost effective way. Compromise, testing and the right approach will keep the adversarial relationships to a minimum.

KAREN KANE:
“I never seem to have this problem. However, when a performer has a strong will, I will always defer to them (unless it’s something that will create a huge problem).”

NATHAN MILLER:
“One word – trust. There isn’t always a battle of wills. But it takes time to build trust – and that’s essential.”





ALEX DEL ZOPPO:
“Practice various mic angles and distances repeatedly for each song you are going to sing. You’ll note that most professional singers vary the distances and angles of their mics depending on how loud, quiet, or intimate they wish to be throughout a set. They do this so that it all sounds fairly even, without distorting their vocal or blowing out the audience’s eardrums, while allowing every nuance in a performance to be heard.

If you practice this in front of a mirror, you’ll get the benefit of the best sound while also avoiding angles which block your face.

Even when professional singers speak to the audience, they will hold their mics somewhat differently, usually much closer. Keep in mind that a spoken voice and a singing voice are treated differently. Again, not all mics are created equal, so I recommend trying out as many as possible, and choosing the one(s) that make your voice shine. And, of course then: practice, practice, practice.”

TONY HUERTA:
“It depends on what you’re mixing the voice for. If you are mixing an a cappella performance, check out Shure Notes #32 . If you are mixing vocals for a band, start out with these specific frequencies: Increase the frequencies of 3.0 Khz and 10.0 Khz by about 3-4 db. The Q: should be set around 2.0. Then I increase the frequencies of 250 Hz - 600 Hz, depending on the voice, to bring out the “meat” of their voice and give it power. If it’s a bass singer, I don’t use a high pass filter. If it’s a lead vocalist or backup singer, I roll off everything below 90 Hz with a HPF - High Pass Filter.

I also use a compressor on vocals. My starting setting would be 3:1 on the ratio with an attack of 80ms and a release of 20 ms. Then, I dial the threshold down until the vocal at medium volume hits the compressor and their gain is reduced by about 2-3 db. If the singer has a thin breathy voice, I will set the threshold lower to gain reduce them by about 5-6 db and then increase the gain output by 5-6 db to compensate. That will allow a voice like that to cut through a band mix and be full-sounding. One tip: Always insert the compressor and then EQ the channel. Every compressor will have EQ characteristics.

And finally, close your eyes and turn the knobs until it sounds good. Do not worry about the values of the knobs you are turning. The audience will never know that you had to boost the lead singer by 8 db at 3.5 Khz to get her to cut through the band. If it sounds good, that’s all that matters.”

HUGH JOHNSON:
“EQ’ing a vocal always depends on the individual. There is no set formula. Every voice is different. If a vocal has too much low frequency, take some out. If too much high frequency, take some out. The most important thing is to make the vocal intelligible. The same goes for the processors, there are no standards, but a good compressor almost always helps a vocal.”

PARIS LAHR:
“Flat. No tricks. No gimmicks. No ‘double bussing’. No vocal processors.

Patch the vocal mic, through the channel, straight to the main L-R bus, with as little EQ on it as possible, and only a high pass filter on the channel. I use compressors more like limiters. They’re there to keep the vocal from getting too loud, not to color the sound. Add effects as needed.

If you can’t get the vocal loud enough, without feedback, something is wrong:

• You’re using the wrong mic.
• The monitors are not EQ’d right.
• The monitors are in the wrong location.
• The PA is not focused right.
• The in fills are too loud.
• Or any one of a number of other reasons

Make the vocals loud and clear, and as close to flat on the channel as possible. EQ the room and the monitors to the vocal mic, and to a slightly lesser extent, to the kick drum.

If the lead vocal is up in the house flat, at nominal, (sounding good), and the kick drum is up in the house, with absolute minimal EQ, hitting the chest hard with every kick, and little to no gating, (sounding good), then the PA is tuned. Fill in all other channels as needed.

If you have to resort to “tricks” to make a lead vocal sound good, you need to start at the source, and work a little more with the artist about improving the signal you’re getting from them. That might mean changing the microphones or even the way they sing or handle the mic.

KAREN KANE:
“Just like rooms, every voice is different. In general, I like to cut in the low range (but not enough to make it too thin) and if there’s room to EQ in the high range (meaning it won’t create feedback), I usually boost a small amount at 4-5k or 8K.”




JOE CANTAFFA:
“Know the singers. Do your homework and be prepared for what’s coming in that day. The ideal situation is that you have the diplomatic skills and can find the right opportunities to provide suggestions that will improve the signal. Of course some artists don’t want input and it’s important, obviously, to know the difference. The best way to handle this type of challenge is to use your patience and experience (while minding the day’s production schedule), to make the artist as comfortable as possible in trying to achieve the best possible solutions.”

JOHN CHEVALIER:
“Teach everyone to hold the microphone the same way. It’s a tool and needs to be used properly. After that, it’s a matter of taking the time to know the singers (i.e. Who sings loud and who sings quietly, the tone of their voice, etc.) and treating them as individuals first. Take the time to listen to each vocalist and make him or her sound the best that they can as individuals. After you’ve got that down, it’s a matter of blending, which is always easier when you start with good individual sound.”

ALEX DEL ZOPPO:
“Practice various mic angles and distances repeatedly for each song you are going to sing. You’ll note that most professional singers vary the distances and angles of their mics depending on how loud, quiet, or intimate they wish to be throughout a set. They do this so that it all sounds fairly even, without distorting their vocal or blowing out the audience’s eardrums, while allowing every nuance in a performance to be heard.

Even when professional singers speak to the audience, they will hold their mics somewhat differently, usually much closer. Keep in mind that a spoken voice and a singing voice are treated differently. Remember: practice, practice, practice.”

TONY HUERTA:
“All vocalists should hold the microphone as close as possible to give the engineer the best signal. Trust your engineer to make the necessary volume adjustments. From there, good singers will use the microphone as their own way of controlling volume. Watch a YouTube video of Christina Aguilera. She has great microphone technique to help her engineer create an even and powerful signal. As she increases her volume, she slightly pulls the microphone away to keep from over driving the system. When she sings a ballad at lower volume, she puts the microphone directly on her lips. I’m sure there is lipstick all over her microphones.”

HUGH JOHNSON:
“Try to pick the right microphone for your singer. This is almost always a hunt-and-peck process, but let your experience lead the way. Most singers develop habits with microphones, some good, and some bad. If your singer is older and more experienced, chances are you are not going to be able to get them to change bad habits: one example being “cupping” the capsule end of the mic. A younger singer however, is usually more apt to accept advice. Mic technique is a very personal thing for a singer, and I think most great singers learn to turn their head or back up from the mic when singing harder than softer to try to balance out what they are hearing in their monitor. “

PARIS LAHR:
“Every microphone has a signature. Base your vocal mic selection on the style of your singer as well as how loud the band behind them is.

For a female singer/songwriter sitting at a piano for an entire performance, using a single monitor wedge, you’d probably want a very sensitive, large diaphragm condenser mic. (like a KSM9)

But that same singer, with a live drum kit, and three guitar stacks behind her, using in-ears, you might use a cardioid dynamic, (like an SM 58®) for small rooms, or a cardioid condenser (like a Beta 87C) for larger rooms.

Again, that same singer with a jazz band behind her, and on wedges, might use a hypercardiod dynamic (like a Beta 58A®)

Singing style is a huge factor as well. If the singer tends to pull away from the mic, you will be forced to use a mic that doesn't have as much rejection. This means you will need more gain, and will ultimately get more bleed, and more potential for feedback.

The condensers tend to work better for singers that pull away from the mic, as the frequency response stays a bit more level at greater distances, but this also means it’s picking up a lot of high-frequency bleed from cymbals, the snare and guitars.

In the ideal situation, you have a strong, consistent singer who only varies her distance from the mic slightly and holds it without “cupping” the diaphragm. All efforts should be focused on achieving something as close to this as possible even if it almost never happens. By teaching artists good habits, and discouraging bad ones, you can help them improve as musicians, make your life easier and enhance the performance.

Put the right mic in the right place, and you don’t need EQ, compressors, gates, and processing.”

KAREN KANE:
“Not only are not all singers created equal, there are differences of how they sound between the sound check and the show. You just have to ‘wing it’ adjusting volume and EQ.”

NATHAN MILLER:
“When your singers understand that what you’re really trying to do is achieve the best possible sound, show them mic handling techniques, for instance. Just don’t be rude about it.”




JOE CANTAFFA:
“Sometimes. It depends a lot on the space, of course. But where that starts to interfere with the true quality of the sonority is where you need to start looking for other solutions. I wouldn’t go there at all unless there was a feedback problem, not caught by any feedback eliminators, before I started dealing with EQ. Only adjust EQ without feedback if it will truly bring out a specific quality of the voice to achieve a desired result.”

JOHN CHEVALIER:
“Well, that works if you’re dealing with high frequency feedback. Not all feedback is in the high range. Learn the difference between high, midrange, and low-end feedback. Once you know that it’s easier to identify which bands on the EQ you’re going after. Also, a good thing to learn is that when dealing with feedback you should always head for the EQ first and not the volume. It’s natural, especially for new soundboard operators to drop the volume first. If you do this, it’s actually harder to fix the real problem. Go there if you have to, but in most cases always start with the EQ.”

ALEX DEL ZOPPO:
“Yes, usually. Depending on the room, that’s the place to start, but reflections also come into play with feedback. The higher frequencies tend to find their way back into a mic, creating a nasty loop that feeds upon itself and eventually produces ear-piercing squeals. However, anything can feed back. Low feedback such as when an acoustic/electric guitarist forgets to turn down the volume on his guitar, and it begins to slowly emanate a low, but increasingly room-filling sound can quickly ruin a performance, too.

Mics are now available that tend to minimize and nearly eliminate that sort of aggravation. If I owned a club or room, I’d look into eliminating the possibility of any feedback, as that is always a sign of cheesiness.”

TONY HUERTA:
“ Yes. But, don’t do it! If you do, you will be taking away all intelligibility of the vocal also. Feedback should be taken out of the mix with a 31-band graphic EQ inserted on the mains, and also another one on every monitor mix you run. Before your artist arrives, set up all of your microphones where they will be on stage. Pull each one up in the monitor mix until frequencies start to feed back. Turn down the feedback frequency on the graphic EQ to make the feed back stop. If you don’t know what frequency it is, turn each one down until the feedback stops. Then continue to turn up the microphone until another frequency feeds back. Do the same EQ process. Repeat the process until you have each microphone up as loud as you need without feedback.”

HUGH JOHNSON:
“Not always. It depends on a lot of things, but normally you would take out only the frequencies that are feeding back, and that is not always a high frequency. Vocals can feedback at any frequency in the range of the microphone or whatever speaker system is being used, based on the situation. Removing the very highest frequencies on the vocal (above the vocal range) can have a positive effect though, by removing the potential for unwanted leakage from the stage, helping to control the amount of cymbals and snare drum coming through the vocal mic, for example.”

PARIS LAHR:
“Potentially. It’s a fine line to walk. Some of the nicer desks have a low pass filter on them; others are set up to turn the uppermost EQ band into a low pass filter.

While cutting 16-18-20K probably won’t hurt (the average human ear can’t really hear those frequencies anyway), checking for things like a radical EQ in the monitor crossover might be the right solution. Cutting the high end out of the vocal will make it harder to distinguish in the mix, so the artist will ask for more level. As the level rises, you have more potential for feedback at lower frequencies. Sure, you can raise the high pass filter on the mic some more, but when there are no frequencies left to cut, what do you do? Every situation is different.

• Does the mic stay on the stand, untouched for 99% of the show?


• Does the singer wrap the cable around her arm, and drool all over the mic, while climbing the PA, jumping into the crowd and or wandering out to FOH?


• Does the artist sing very quietly, then point the mic into the monitors?

Lots of questions.

Mics that don't move are easier to get loud and “crisp” and if the floor monitor is always in the rejection side of the pattern, you will be able to make the mic louder with much less potential for feedback.

Artists that climb all over the monitors and drop the mic into horn, are going to not only require more prep time for EQ, but certain sacrifices in clarity will need to be made in order to keep the mic from constantly feeding back.”



So there you have it. A spectrum of solutions, a range of opinions – and a few tricks you can apply in your own live sound applications, whether you’re FOH for a singer/songwriter in a coffeehouse or a metal band on a national tour. One thing they all agree on: it’s about trust and trusting your own ears.

Many thanks to our panel of experts and two others who helped to shape this article: Zack Mishur and Bill Gibson. Stay tuned, too, for Part II in our December issue when our panel weighs in on live sound challenges.