8. FAQ

One of the most common mistakes with regards to holding a microphone on stage is the two handed technique. As mentioned above, this tends to cover up the ports on cardioid mics, making them more prone to feedback, as sound from the rear is no longer being rejected. The microphone is best held with one hand, with the lips almost touching the metal windscreen, or at least at a distance of no more than 6 inches, and directly ‘on axis’ to the front of the microphone. As compression is not often used in live situations, a singer with good mic technique will hold the microphone further away when they hit high notes that might otherwise come out much too loud.

No, generally speaking any handheld dynamic microphone would be suitable, although look out for one with a good built-in windscreen which will guard against plosive sounds (‘P’s and ‘B’s) ‘popping’.

An on/off switch can be useful where the is no-one to attend to the mixing at a gig, or with wine bar venues for instance where a number of sets are being played, and the mic can be turned off during the breaks. Otherwise, switches are best avoided, as they might be accidentally engaged or disengaged during the performance.

No, unless it is an old ribbon microphone (which is not recommended for live use!), then nothing untoward should happen.

The simplest way to do this would be to take a stereo feed from the main mixing console to a stereo digital recorder or dedicated audio CD burner. For best results though, you may want to use a multi-way mic splitter and record to a multitrack via a separate desk – you can then mix the results in your own time in the studio, and with the benefit of a lot more equipment. Consider setting up a pair of crowd mics to enable you to add back some of the atmosphere of the gig.

Today's top-of-the-range wireless systems sound very good and can hardly be distinguished from a wired mic. Everything you need to consider (legal requirements, among other things) is explained in our Wireless Mic Online Guide.