[Callers] Microphones and/or technique for a deep voice.

[Jack Mitchell via Callers]

I run sound and am also a caller. I have definitely had folks for whom the
proximity effect emphasizes particular frequencies in their voice and makes
it much more difficult to eq from the sound board. As both a sound operator
and caller, I definitely value intelligibility over strict reproduction of
the voice -- I would much rather intelligibly not sound like myself, rather
than to sound just like my normal voice but not cut through the crowd and
band sound. Proximity effect (the emphasizing of lower frequencies when
holding the mic extremely close to your mouth) causes more trouble with
some voices than with others. I have had a few callers who when they are
right on top of the mic become almost unintelligible, but if they back off
just an inch or so, are improved markedly and get a much more consistent
sound.  Because it is more consistent, it is also easier for the sound tech
to eq your voice.

Using a monitor can also be a big help because it gives you a better idea
for how your voice is coming through the system.

Jack

Be aware of how quickly you're talking. Record yourself (and listen to it,
even when it's painful). Can you understand yourself clearly?

On Thu, May 19, 2016 at 4:03 PM James Saxe via Callers <
callers at lists.sharedweight.net> wrote:

> Darwin,
>
> Here are a few thoughts:
>
> Besides working on mic technique, pay attention to enunciation.
>
> Somecallerstendtoruntheirwordstogetheranditmakesthemimeanthecallerswellactuallyboththewordsandthcallerswhosaythosewordshardtounderstand.
> I'm not saying that you should hyper-enunciate to the point of
> sounding stilted, but if you want to be understood in spite of
> room reverberation and competing sounds (crowd noise, music,
> electric fans) a little hyper-enunciation can help.
>
> One way to check yourself on enunciation (and more) is to make
> a recording from the back of the hall and force yourself to
> listen to it.
>
> If you're a guest caller at someone else's dance, politely let
> the sound tech know that your voice may be different from the
> main caller's, and ask for whatever help (s)he can give to make
> sure you're intelligible.
>
> Try to arrive early at the gig so that you and the sound tech
> can have a few minutes to experiment with what equalization
> and what mic position work best for you (e.g., what's not too
> close, but not too far), at a time when dancers aren't waiting
> for a walk-thru to start.
>
> If you don't 100% trust the sound tech to give ample priority
> to caller intelligibility--and maybe even if you do--enlist a
> trusted friend who can offer feedback during your sound check
> and who can call problems to your attention while there's time
> to do something about them, instead of after the dance is over.
>
> I agree with those who have recommended speaking along the axis
> of the mic.  While there are people who have learned to get good
> results with the ice-cream-cone style of mic hold, it's easier
> for most of us if we point our mouth at the mic and point the
> mic at our mouth.  Keep the mic fairly close, but not to the
> point of "eating" it.
>
> As for overpowering the mic, I doubt that you would actually
> be speaking loudly enough to force the mic element to the
> extremes of its travel.  It is possible that the first stage of
> amplification (usually controlled, on analog mixers, by a knob
> at the top of your mic channel labeled "sensitivity", "gain",
> or "trim") could be set too high, resulting in clipping, which
> could make you sound loud, horrible, and unintelligible all at
> once.  A competent sound tech will know how to set the gain
> structure to avoid this.  If the sound tech is a turf-conscious
> clown, then you have a problem, but you won't solve it by trying
> to offer advice based on stuff you read on an internet mailing
> list while you yourself are inexpert.
>
> You wrote:
>
> > ... the sound guy was sitting there and I'm sure would have done
> something ...
>
> If the sound board is near the stage, the sound tech can easily
> be unaware of a problem until (s)he stands up and walks to the
> middle or the back of the hall.  Assuming the sound tech isn't
> a turf-conscious clown, a request to "please check that I'm
> intelligible in the back of the hall" can be part of the same
> kind of polite conversation as "my voice may be different from
> the main caller ...".
>
> Good luck.
>
> --Jim
>
>
> > On May 18, 2016, at 7:09 PM, Darwin Gregory via Callers <
> callers at lists.sharedweight.net> wrote:
> >
> > I am a new caller, and I have called two dances.  The first, I
> completely blew the microphone part. Since then, I practiced holding the
> mic close to my mouth like was suggested to me.
> >
> > The second dnce, I was told that my voice was too deep for the
> microphone, and I was overpowering it.  It was suggested that I hold the
> microphone further away and project, which I tried, but again, not
> something I practiced.
> >
> > Someone afterwards suggested that it could have been dealt with by the
> sound board.  Although, the sound guy was sitting there and I'm sure would
> have done something if it would have helped.
> >
> > So, any advice?  Is there a particular mic or mic type that is good for
> deep voices?  Any techniques to practice?  Sound guy/gal need to be on the
> ball?
> >
> > Any advice welcome.
> >
> > ... Darwin
> >
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-- 
Jack Mitchell
Durham, NC
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