I recently led a microphone technique workshop for a choir of enthusiastic adults who LOVE to sing jazz. The musical backgrounds of these avocational singers is mostly classical choral music so using mics is a pretty big adjustment. This group is off to a great start though – they have a mixer and speaker, and each chorister has their own mic and cable.
Here’s a recap of my half-day workshop with The Jazz Project, a community choir in Toronto, Canada.
Overview of Microphone Basics
How mics work
We discussed our cardoid (uni-directional) mics, and how different microphone models paired with different singers’ voices will result in different sound qualities. We took note of the location of the speaker, and addressed our auditory expectations – mics WILL amplify our voices, and it’s nothing to be afraid of.
Holding the mic
We practiced holding the microphone consistently about 1-2 inches from our mouths, and we explored the changes in sound as we allowed the mic placement to wander. We sang exercises off-mic, then on-mic to get accustomed to the amplified sound.
I emphasized the importance of singing the sounds the way we want, and letting the microphone carry that sound through the speakers. Again, singing exercises off-mic and on-mic we heard the exciting tonal variations the group is capable of.
The mic as an enhancement tool
When the vocal tones we produce aren’t transferring clearly through the microphone, it’s time to start adjusting the mic placement. We dutifully listened to the results of too-loud and too-soft tones, and learned that a very slight adjustment – generally 1 inch – solved problems of distortion or inaudibility.
Applying Microphone Technique to a Song
Throughout the workshop, we applied the techniques to song excerpts. We began by planning the auditory goal of the music, which I broke down into three categories:
- Everyone evenly balanced
- Lead prominent
- Complicated balance (tone production challenges)
This plan helped each singer understand their role in the musical phrase. After working through all the earlier exercises, everyone was better prepared to begin with good mic placement, listen to the results, and make adjustments if needed.
Sing and listen, then sing and listen again
The exercises and song excerpts were the most important parts of this workshop. We can talk about singing all we like, but we really learn when we spend the time actually doing it. My goal as an instructor is to “sing more, talk less”.
“Imagine the mic as an elephant’s trunk synchronized with your mouth. Trunk (mic), mouth, move as one.” This image alone immediately improved how I should be holding my mic. As a group we practised positionality, how close or far the mic should be from one’s mouth, tonal and vowel production, blending, listening to each other while on mic and so much more. If you have a chance to do a mic workshop or any other musical offering with Mim grab it. You’ll come away all the better for it.
Louise P.
The Jazz Project, Toronto
If you want a one word rating on this workshop, I would say “Outstanding” or 5 stars out of 5. I will definitely integrate what I learned from this session into my daily practice until it becomes habitual. When Mim starts speaking I find that all professional instincts are instantly engaged. She has the background to be sure of what she is teaching and the energy to make it exciting.
Richard J.
The Jazz Project, Toronto
MORE Material for a Full-Day Workshop
In this half-day workshop, we focused solely on the singers’ comfort holding the microphone, singing into it, and hearing the results. Some further topics I would have loved to cover include:
- How to set up the PA
- How EQ affects sound quality
Would you like to book a microphone technique workshop for your group? Contact me!