Control and Project: 7 Tips for Singing With a Microphone

“Most obviously, microphones are used so a performer can be heard above a band, orchestra, or other accompaniment when acoustic projection would be unsafe or insufficient,” says Michael Vickers, head of singing and deputy head of musical theatre and dance at Woking-based drama school Italia Conti.

“Microphones have become an integral part of the modern musical landscape for more than just audibility” by opening up possibilities for “a wider palette of vocal qualities, textures, and effects,” says Vickers, who is also a vocal rehabilitation coach.

If you’re keen to become a singer and you’ve been practising some basic singing technique, perhaps it’s time to take things up a notch by learning about professional microphone singing. Here are some tips to get you started.

1. Get a grip (literally).

First things first: You’re probably wondering how to hold a mic when singing. 

With a handheld mic, make sure you grip the handle “firmly but gently, as if you’re shaking hands – no tight squeezing,” advises Backstage. Once you’ve found a comfortable grip, you should learn to do it with either hand so one hand doesn’t get too tired, suggests School of Rock.

2. Consider the type of mic.

According to Vickers, microphone technique depends on the type of microphone being used. Hand-held mics are common in contemporary music, but they are by no means the only type of mic you may find onstage. 

Microphones vary between being dynamic – which are “tough and robust and can be swung around,” according to Careers in Music – and condenser, which are more sensitive and more likely to be found in a studio than on a stage. Microphones could also be handheld or lavalier (often placed in the hairline), or come as part of a headset or an earset, Vickers says. 

“In theatre, headset or lavalier microphones maintain a fixed distance from the performer’s mouth, which simplifies things somewhat for the singer. In these cases, the focus shifts more toward the underlying vocal approach rather than active mic handling,” he says. 

3. Think about distance, angle, and volume.

Now let’s think about how to sing into a microphone. When using a handheld microphone, “true mic technique becomes critical,” Vickers says.

It’s important to consider the distance of the microphone from your mouth. “Distance affects both volume and tone,” he says. “Moving closer can increase warmth and intimacy, while pulling back helps prevent distortion during louder moments.” 

He says a dynamic handheld microphone is often held less than 15 centimetres from the mouth, “although this varies hugely depending on style and can be highly personal,” with many experienced performers working much closer than that. Vickers usually advises beginners to start with a distance of a couple of fingers from the lips. 

You may be wondering how loud you have to sing into a microphone. That can vary, but vocal coach O’Neil Gerald advises considering three things to assess if you are singing at the right volume: 

• Is the sound you are making appealing to an audience? 
• Is it sustainable over a long period of time without causing discomfort or injury? 
• Is it functional, meaning “can this singer actually create the sound in whatever space that they were singing without a microphone, and, more specifically, can this singer project this sound healthily.” 

4. Practise your transition from rehearsal to performance.

Rehearsal practices can vary widely. Vickers says it’s common in musical theatre for most rehearsals to take place without microphones. By contrast, it is unusual to rehearse without a microphone in most band or gigging environments. 

“Musical theatre performers often rehearse acoustically, projecting to fill the room over the piano and often alongside an ensemble of other performers,” he says. “Without adjustment, this can carry into performance and lead to unnecessary levels of effort across an eight-show week.”

He says performers familiar with amplification can let the microphone do more of the work, and prepare by keeping that in mind during their acoustic rehearsals so they don’t overexert themselves when amplified. 

You may be wondering if it is easier to sing with a microphone. In some ways, yes, since less exertion may be required. But it is important to still supply energy and emotional intention. “Amplification increases volume, not intention,” Vickers says.

5. Get comfortable with the equipment.

“A subtle but important issue is general unfamiliarity with the equipment. The microphone should feel like an extension of the performer, not an alien artefact,” Vickers says, noting that “audiences quickly sense discomfort.” Therefore, singers new to amplification can benefit from regular practice with a microphone and time to experiment with distances and angles.

6. Experiment with vocal qualities.

With the above steps under your belt, Vickers advises thinking about whether you are aiming for a more natural sound with the microphone or one that is “part of the creative palette” of your song.

In many modern styles of singing, “the microphone becomes an active performance tool rather than just an amplification device,” he says.

“Breathier qualities, intimate textures, and contemporary vocal effects often originate from studio or close-mic environments,” he says. “These sounds simply do not carry acoustically, even when produced by technically strong singers.”

Start experimenting with some sound qualities that may not be possible to perform unamplified. 

But beware of sounds that may create distortions on the mic. “Articulation that works well acoustically, particularly strong plosives [explosive consonant sounds such as P or B] can cause unwanted pops or distortion when amplified,” Vickers warns. 

7. Work with the sound team.

Clear communication with the sound team is key, since “they are working to amplify not just the voice, but the artistic intention behind it,” Vickers says. Help the sound team do their job by doing yours.

“Inconsistent mic use, such as sudden changes in distance or unpredictable dynamics, can also make it difficult for a sound engineer to maintain a balanced mix,” he says. “Good microphone technique includes a degree of consistency, allowing the engineer to support the performance effectively.” 

Ultimately, singing with a microphone is a “partnership between performer, equipment, and technician.” Vickers concludes that “it does not replace good vocal technique, but it does change how that technique is applied, opening up new expressive possibilities while introducing its own set of challenges.”