This article will describe several common microphone applications and their associated problems. Then, you'll learn solutions to overcome those problems.
Podium
Scenario: With a creak, the talker overcomes low volume by pulling the gooseneck microphone forward. While this may increase the volume temporarily, being so close to the microphone actually makes the volume vary greatly.
Problem: From such a close distance, about one inch, any movement causes a dramatic change in volume. The general rule is, "for every doubling of distance, the sound level drops by six dB."
Solution: Move the talker eight to twelve inches from the microphone. This will allow the talker more freedom to move without sacrificing sound quality.
P-Pop
Scenario: A talker gets up to recite a common poem, "Peter Piper picked a peck of...," and with each puff of a "p" sound, there's an explosive pop over the system.
Problem: P-pop is most noticeable when the talker is one to three inches from the microphone.
Solution: Moving the talker at least six inches from the microphone will decrease P-pop. Also, tilting the microphone up a bit and speaking over it will also reduce the p-pop problem. To determine an acceptable position, you can recite the same "Peter Piper" poem.
Figure 1
Announcer
Scenario: The game is exciting and the crowd is wild. The announcer cannot be heard.
Problem: The announcer has an impossible job to be heard clearly over a large crowd in a reverberant room. Many times the announcer will try to increase the volume by moving closer to the microphone. However, that can cause the voice to sound very bassy or muddy.
Solution: Use a microphone with the least amount of proximity effect or a bass roll-off switch to reduce bass response. This will minimize the "muddy" sound.
Another very effective technique would be to use a headset microphone. The headset microphone is designed to be placed at the corner of the announcer's mouth.
Figure 2
Screeching Soprano
Scenario: An enthusiastic soprano nervously clenches the microphone and pulls it in just as she attempts to hit that high C. Ouch.
Problem: Again, the problem is the microphone is too close to the mouth.
Solution: Train vocalists to overcome the tendency to pull the microphone closer. If the microphone will be held, the elbow and forearm should form a 45° angle. Spread the other hand out from the mouth as shown in Figure 3. Then, move the microphone in front of you to about where your little finger ends.
Figure 3
Theatre
Scenario: The costumes for the drama have hats and beards. And there's lots of movement on the stage.
Problem: Wearing a lavalier creates noise with each movement. Holding a microphone makes it awkward to move.
Solution: Probably the best solution is to switch from a lavalier or handheld microphone to a headworn microphone. It will minimize both problems listed above. But, sometimes a lavalier is the only choice. To minimize the movement-noise, use the following tips: 1. Center the lavalier (left to right). 2. Position the lavalier at least one hand-spread from the mouth. 3. Put a gentle bend in the cable (as shown in Figure 4).
Figure 4
