Microphones: Praise & Worship Techniques

Worship styles, regardless of denomination, demand a lot from the sound system. In praise and worship, the vocal microphones are very important. If the vocals can't be heard, the congregation has difficulty following the worship service. So how can the vocal quality be maximized? The microphone selection and placement work together to maximize vocal quality.


Microphone Selection

It's a good idea to know the microphone's characteristics before you select the vocal microphones.

Most microphones can be sorted into two generalized categories: close-proximity and distant-use (ensemble) microphones.

Figure 1
Close-Proximity Microphones are usually distinguished by the ball-shaped grille (see Figure 2). They are usually designed with a low-frequency roll-off to compensate for proximity effect (as shown in Figure 1). When most directional microphones are used within 12" of the sound source, the bass is louder.

One special-use, close-proximity microphone, is the headset. These microphones provide clean, natural sound without having to hold a microphone. They are comfortable and can be worn with most hairstyles.

Figure 2
Distant Use (Ensemble) Microphones usually have a small grille. And, the handle or barrel is narrow. Again, see Figure 2. Why is it important to know what type of microphone to select? If you place a Close-Proximity microphone 2 or 3 feet from a vocalist, the sound will lack bass frequencies. The ensemble microphone will sound much better at a distance, because it has a more even flat bass response.

Microphone Placement Methods

Close-Proximity
It is best to use one close-proximity microphone per vocalist. However, it isn't always realistic for a church to have that many microphones on-hand all the time - not to mention, the number of inputs your mixer has. Also, to achieve the most similar output characteristics, it is wise to use the same model of microphone for every vocalist.

Figure 3
You can also use a close-proximity microphone for every two vocalists by following these suggestions:

Mount the microphone on a stand. Two vocalists can easily center themselves side-by-side when the microphone is on a stand (see Figure 3). Vocalists have a tendency to hold the microphone closer to themselves if they hold it in their hand.
Position the two vocalists so they are cross-focused (again, see Figure 3). This will keep the vocalists from moving out of the microphone's pick-up pattern and will maintain a uniform level from each.
If possible, have two similar voices on one microphone, such as two sopranos or altos.
The lead vocalist should still have their own microphone.
Distant-Use (Ensemble)

If it's necessary to use one microphone for three or more vocalists, use a Distant-Use microphone.

Position the vocalists far enough from the microphone so they are within the pick-up pattern.

Figure 4
To help picture a microphone's pick-up pattern, imagine a flashlight with an adjustable beam. "But I can see the flashlight beam. How can I hear the microphone's pattern?" Here's a simple trick. While listening through headphones, have someone sing (and hold) a single note. At the same time rotate the microphone from center (on-axis) to left or right (see Figure 4). Make sure the distance between the microphone grille and vocalist doesn't change. You will notice the level drop. This will enable you to HEAR the pattern of the microphone.

Figure 5
A cardiod directional vocal microphone will have an approximate 130 degree cone-like coverage pattern (see Figure 5).

A Final Note

As the sound operator, you are part of the worship team. You have the power to make or break a long rehearsed worship song. With that power comes responsibility - it needs to be taken seriously.

Travis Ludwig