On 2016-05-18 1909, Darwin Gregory via Callers 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
Hullo Darwin,
Congratulations. Getting out there is the difficult bit. Then it's kind
of, "let the learning begin."
Deep voice is generally a description of frequency. It does not equate
with volume.
Pitching, as mentioned, is working in another frequency range, typically
up or higher. This is quite different from projecting as it appears
someone at the dance has suggested. Projecting is generally about volume.
Unless they're a caller or singer with lots of experience, or a sound
person or equivalent, be cautious of taking all feedback as something
one must deal with. Not all feedback is a useful "truth".
Both volume (gain) and frequency may be controlled by those in charge of
the sound board. Often the Too Loud or Too Quiet (clarity) issues are
dealt with through equalisation, the adjustment of frequencies.
On arrival at a gig I tell those doing sound that I'm a baritone and
without a monitor I'll leave it with them to let me sound both
human/normal/like me and to clearly get some useful upper frequencies
through the mix/balance. This is where much of the information content
is in western languages.
Feedback about sound, like everything else, may be tough to deal with
socially. Callers are so often at the focus of feedback, requests,
information holders, etc. Add a desire to help and we can try to do too
much. If one can't (re)direct suggestions from the audience to the sound
folks, take them a bit of it. However let it go too.
I generally agree with Jeff, Don and Aahz. Steady distance, steady
volume range, good orientation of the mic (speaking at it along the
longitudinal axis, not the "ice cream cone" hold) will set one up for a
state the sound folks can work with.
Folks with low voices sometimes get used to rumbling along. We can do a
bit to help out the situation. Like any dance caller good word choice
and pace help. One may be able to find another frequency range, however
one needn't over-compensate. That can hurt! However a bit of practise
using an upper register can make it more interesting, add some colour.
(Stories: 1. A crappy "shortwave" radio on a ship I worked in required
one pitch one's voice up an octave to get any attention at the receiving
station. 2. A regional calling colleague found himself in the range of a
musical instrument and seemed to be getting lost in the mix. He's tried
adjusting where he speaks to get away or separate himself from it.)
--
If you wish to talk gear and technique (either mic or sound board) ask
the friendly folks on the Contra Sound Forum.
https://groups.yahoo.com/neo/groups/contrasf/info
--
A fine sound resource is a book by Bob Mills, called All Mixed Up. It's
available in paper form via CDSS and is also on-line.
It's on-line now at http://bobmills.org/amu/
see http://bobmills.org/amu/microphones.shtml
"A Guide to Sound Production for Folk and Dance Music
Basics for Beginners - Exotica for the Experienced"
--
Colin has a good bit on his site:
http://colinhume.com/callers.htm#Microphone
--
In general there are quite a few bits of useful advice one may find from
a search on the topic(s) using one's favourite search engine.
Cheers, John
--
J.D. Erskine
Victoria, BC
