Practice Makes Perfect
Tip number three: to be really effective during sound check, vocalists should sing into the mic consistently, even if they can’t hear themselves. I still have major issues with singers approaching the mic during sound check, saying check one, two, and because they don’t hear anything, stepping away and waiting.
While I rarely ask singers to step up to the mic without having at least some level ready for them, in situations where there are time constraints and we’re trying to move as quickly as possible, it’s not always an option. Plus, the behavior is usually the same even if there is already some signal coming from the monitors or the PA system.
So, singers, if you want to help your engineer during sound check, just step up to the mic and start singing when you’re asked to check your mic. Keep singing with the same loudness, attack and attitude that you will use doing your performance.
Having the same content during the sound check allows us to correctly set the input gain, dynamic processing, EQ, and also your monitoring level. We can’t do that efficiently if we don’t have the proper input. I suggest choosing a song beforehand, singing it as you would during a show, and don’t get scared even if you can’t hear anything. Keep singing until I ask you to stop.
Here’s an added tip: When you hear yourself from either the PA system or the monitors, raise your hand, letting me know that you need more of yourself in the monitors. I will start raising the levels until you give me the OK sign. That will cut down sound check time even more.
Situational Awareness
The next bit of advice is more advanced. Experienced live vocalists figure out potential feedback situations and try to avoid them. I’ve already mentioned that mics tend to be directional, meaning that they pick up sound most prominently from the front. Pointing the front of the mic away from any elements of the monitor and PA system can greatly reduce the possibility of feedback.
This usually doesn’t happen intentionally. Maybe you simply lower your mic-holding hand between songs or go meet a fan in the front row and step directly in the path of a front fill loudspeaker. Note: the same rule applies to any loudspeaker. Just take a moment during sound check to look around and determine where potential feedback sources might be located. By being aware of them and moving either yourself and/or the mic away from them can help ensure there won’t be any feedback issues during the show.
Bonus tip: in-ear monitors that you have taken out of your ear can also be a potential feedback source. Try to prevent them from getting too close to the mic.
Finally, train yourselves to perform with lower stage monitoring levels. Reducing stage volume is something that helps mix engineers immensely when shaping the sound of a live performance.
I suggest starting with the lowest possible monitoring level where you can still discern all the timing and pitch information you need. This helps engineers attain a more detailed sound with less bleed from the monitors, lessening the chances of feedback and adding more punch since your signal is not being masked by a lot of ambient sound.
Deliberately starting sound check and the performance with lower monitoring levels gives us a better starting point for a better overall sound. Keep repeating that mental exercise and see how much you can actually reduce your monitoring levels while still feeling comfortable and confident on stage.
An engineer’s job is to make the artist sound as good as possible in a given situation, but we can only do so much. When singers apply these strategies on stage, it makes for a much better sonic experience for the audience, which is always our common goal.