You have to be VERY careful about removing one in ear while singing live. As an Audio Engineer I personally know vocalists and musicians who have lifelong hearing damage due to removing one in ear on a noisy stage. Also, moving the mic doesn't just change the volume, but also changes how your voice sounds. Moving the mic away will make your voice sound thinner.
Moving too much the mic on stage can catch too much leak, I would advice get in point with your dynamics. It’s actually the studio technique that can teach you that the best. It Takes less air than people expect to reach a high note or belt, just need to control relaxation and airflow, plus you can move more on stage, which helps mark the rhythm (vocally) Without blasting volume everywhere in your topline (in my opinion).
Started doing live music before in-ear monitors were even a thing... 75% hearing loss in my left ear and 50% loss in my right ear. And, very correct, concerning the proximity effect with a cardioid mic is definitely a thing many singers don't understand. I have a very bassy voice (77Hz average; singing down to E1 is easy), so when I sing on-mic, I use the proximity effect to my advantage and thin out my voice when needed.
I'm a sound guy...and I LOVE that you mentioned "mic panning". I'd much rather you do it than me. YOU know how you sound; I generally don't. Go for it. You make my job easier and then decrease my margin of error if I don't see your "money note" coming. You know. Help me out. Help US out. ;)
Sound guy side of me agrees on the "money note" but can we talk about how the average vocalist wants a typical (let's say SM58) mic so far from their mouth, and then holds it as if it's an ice cream cone where they don't want the ice cream to fall off? As a vocalist, I'm also a guitarist so my mic is on a stand, and I would probably be in trouble for being WAY closer to the mic than 3 fingers. In ears are the most brutal, mean thing to use, but they improve your singing so quickly. The best thing to avoid the naughty 1 ear out, is to get a room/ambient mic, and run a stereo mix.
@@slugsgomoo The ice cream cone method is good for dialog but not for singing. When people decide to eat the mic, we increase the compression on you which you may or may not like.
@@Nostaljack it can work for dialog, except that it requires a much hotter mic, and in a loud venue it always feels like a balancing act between hearing the speaker and feedback- inevitably it's held down at sternum level, and with a soft spoken person to boot. I tend to always run some compression on vocalists, since even with varying mic position, IMO most vocalists still need some amount of compression or riding the fader- on my own vocals I tend to want some reverb and a bit of compression just to smooth some things off.
Please talk about chest heavy mix how we control the ratio of mix and now the different it will be so useful and you said in one vido you gonna talk about it
Can you do a video on how to do live performance without wrecking your voice because you just want to sing out. Does that make sense? I tend to sing live a lot and always leave with my throat hurting and feeling like I’m pushing myself more in live then I would when I’m singing in the studio. Thanks!
I just want to say THANK YOU SO MUCH for doing these videos. Every time I apply your advice, and practice over & over, my voice gets better and better. 💚💚💚
As a sound guy, we know there's nothing we can do about singers doing their thing. As a singer, I know that the sound guy can't do anything about me doing my thing.
Would have loved to hear you talk about distortion. There is a limit to a condenser mic and if the sound peaks there’s no fixing that in post-prod. Other than that loved this video! Thank you!💛
I know there is a huge variety of types of microphones, and presumably any live venue should be using the correct type of mic for the job -- i.e., an individual singer with their "own" mic. But is there still some variation even in those mics, so that the singer might need more (or maybe even less) space between their mouth and the mic for the big notes?
It was very timely indeed. I am going into the studio on the 8th of January to record 10 songs. I would also like to know, if recording that amount of songs could put a strain on the voice, seeing that I have to do one song twice, which would actually make it 20
Thank you for this video! Very interesting and helpful! Kinda unrelated, but can you pleaseeee react to Pentatonix’s Can You Feel The Love Tonight? I really want to see your reaction to Mitch’s A5 Another one you might want to consider is Ring of Fire by Home a free and Avi Kaplan. Avi drops like 2.5 octaves in one beat!
+tarasimonstudio *Thanks for explaining the technicals of vocal reproduction in terms the public can get.* As the most experienced with audio equipment at OMS Japanese Christian Church, the Services, in the opinion of the congregants, sounded best with me at the controls, at least prior to March 2020; I treat _every_ Service as a recording session. Up front, being the natural powerhouse of the song corps, I required only a fraction of the mic gain for every other duty singer, even at the drumkit. One problem for live sound is selection of the microphones themselves for the audio environment; I's after audio-technica® M8000's (dynamic hypercardioids) for specific positions due to the SHURE® SM58-LCs' (dynamic cardioids) gain limitations with the front-of-house speakers at the flanks. As of March 2020 - I don't know whether corrected since - Shinoda Hall was short monitor amplifiers, so I couldn't provide more than one monitor field and the Hall needs at least two.
Tara, I know the Christmas season is over but would you please react to David Phelps singing "O Holy Night" at the Birmingham Theater in Birmingham, Alabama in 2000 ?...I think that you will like it a lot...Thank you so much...
If you could react to O wie will ich triumphieren by Mozart sung by Günter Wewel I would be much appreciated. There seems to be a lack of basses on this channel!
