4 Tips 4 Live Vocalists
Our artist development articles are geared towards people involved in their local music scenes looking for tips, guidance, or advice that help set them apart from their peers. The tips in this specific article are more focused on the technical/scientific aspects of performing live that may not be common sense knowledge. This article was written by Simon Sed who has been a performing artist since 2009 and an event curator since 2012 having performed on stages from coast to coast!
1. Mic Technique
TLDR: Keep the mic in a consistent position, keep it close to your source (mouth), and project at a consistent volume directly into the capsule of the mic.
For most handheld microphones the capsule is facing the “top” of the microphone. Most open mics, events, and venues use the same types of live dynamic mics, like the classic Shure SM58, sE V7, or something similar. These mics typically have a cardioid or supercardioid polar pattern. While you do not need to understand the science of microphones to be a great performer, what you should know is that these types of microphones are less sensitive to input at certain locations. For cardioid mics, and even more so for supercardioid mics, the mic is going to be most receptive to your voice/instrument directly in front of the capsule of the mic and any input from the sides of the mic will be significantly reduced. That is why it is important to make sure you are consistently projecting into the “sweet spot” of the mic. Don’t shy away from the mic unless you are belting out powerful vocals. Get. Up. In. That. Thing. When you learn to control and project your voice, you learn to control a crowd. In a live environment sound is experienced as pressure. If you have ever been in the market for PA speakers or microphones, you will notice a common specification listed for those products is SPL (sound pressure level). It always helped me to think of this when performing. Am I applying the right amount of “pressure” with my voice? Is the audience feeling that pressure? Also, while I do not advocate for “cupping” the mic (can cause feedback and coloration), supercadioid microphones will be less sensitive to coloration from cupping because they are already attenuating the signal from the sides so if cupping helps you keep the mic in the right position, it may be worth the trade off.
2. Preventing Feedback
TLDR: Do not cross or step in front of the front of house (main) speakers, project your voice without yelling, and minimize microphone movement.
Nobody likes to hear that sharp ear-piercing noise disrupting the vibe. Feedback for a vocalist typically occurs when your microphone is picking up additional frequencies that are already being amplified. The most common culprit of this is crossing in front of the main speakers so your mic is now picking up the amplified sound of your voice (amongst other noises), as well as your voice directly, creating an audio feedback loop. Steering clear of the main speakers is the easiest way to avoid this. If you jumping into the audience is a big part of what you do, try to prioritize a soundcheck to see if that particular live sound setup can have you cross the mains without feedback. Big venues usually use array speakers that disperse sound evenly and those set ups tend to be less susceptible to feedback. If you are on a busy or tight stage (like squeezing a 7 piece band into a coffee shop) you are going to be much more susceptible to feedback because your mic will be picking up additional inputs like the overzealous drummer or the guitarist blaring his own amp behind you. In these scenarios, make sure you are staying close to the mic, not moving around too erratically, and projecting your voice through the mix. You can play your with your stage position to see where you sound best without feedback, but once you find a sweet spot, try not to deviate from it too much. Some of these tips trickle down from the mic technique section, like projecting your voice consistently into the same part of the microphone. Projecting your voice is not the same as yelling or simply being louder. Learning to properly project comes with rehearsal, time, and experience. The danger of not projecting is that the sound guy is going to have to crank the gain/volume on your mic to get your voice in the mix, but the more gain you feed a microphone the more likely it is to feedback.
Finally, while I hate to beat a dead horse, it is unfortunately relevant to this topic to try not perform over studio vocals. Not only can it take away from your performance, hamper you from learning to project properly, and make the sound person’s job harder to find out how to get your vocal to cut through the mix, it can also be a source of feedback.
3. Wired vs Wireless
TLDR: Only request wireless if you are confident the venue has a nice wireless system. If you are a venue/promoter, don’t try to cut cost on wireless systems,
Yes, wired mics can be annoying and restrictive, but their benefit is that they are reliable. However, budget wireless microphones can be very spotty and prone to signal drops that can really throw off your performance. With the rise in data devouring devices and the expectation that blistering fast Wi-Fi be offered in every establishment, there has never been more disruptive wireless signals bouncing around every room you’re performing in. That does not mean that budget solutions can’t or won’t come through in the clutch for you, but it does mean that it is now more likely than ever that they won’t. Wireless systems that rely on VHF/2.4ghz or even some 5ghz solutions can be very sensitive to competing signals. If you are only playing at large venues with big budgets, this really is not a problem you need to be worried about and you probably aren’t reading this anyway.
4. Protect Your Neck
TLDR: Take care of your voice/vocal anatomy, especially leading up to big performances or tours. Use home remedies and plan rehearsals.
This is the most self-explanatory, but your vocal chords and muscles that contribute to your ability to perform experience wear and tear. Overuse can lead to losing your voice, your voice cracking, or plain vocal exhaustion. This is why so many artists on tour do not engage with fans/crowds until after their set. They do not want to engage in a bunch of conversations right before they need their voice at their best night after night. Don’t try to rehearse your entire set the same day as your show. Make sure you get your rehearsal in AT LEAST a full day in advance. Conversely, under use of those muscle groups and structures can also be responsible for your voice going out mid-show. This is why regularly scheduled rehearsal time is important. Stay ready so you do not have to get ready. If it has been a minute since you’ve taken on a full set and you just try to jump right in, you may find your voice loses steam towards the end of your performance. There are tons of products you can use to help with vocal wear and tear. I do not necessarily endorse or stand by any of them, but I also do not have issues with any particular products either. I’ve always found hot water with lemon and a bit of honey to be the best. Be conscious of how often, or how infrequently you are using your voice!
Final and Miscellaneous Thoughts:
If a soundcheck is offered, be there. If you do not know if one is being offered, ask whoever booked you if there is one. Introduce yourself to whoever is running sound and be nice to that person. Rehearse your music with a mic in hand using proper techniques so you train multiple parts of your performance at once.