Live Performance

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  Rugged and less sensitive than studio mics, dynamic mics are best for most live performances.Stockbyte/Stockbyte/Getty Images
  
  For most live performances you want to choose a quality dynamic microphone. Dynamic mics are rugged and less sensitive than many studio condenser mics, making them less prone to feedback at high volumes. The best live mics also will have overload, or "pop," filters built in, usually a combination of wire mesh and foam, to help control some of the common problems of amplification, such as those caused by plosives.
  
  
• 2). Be aware of plosives. These are the letter sounds that cause air blasts, like "p" and "b," which can momentarily overload a mic with loud "pops". An effective singer will direct the plosive syllable away from a direct axis with the mic. Aiming a hand-held mic at your chin for a moment is an example of proper technique. Check with the sound engineer to see that your mic channel has its low-frequency cut filter engaged. This will reduce some of the problem frequencies without affecting the timbre of your voice.
  
  
• 3). Control volume modulation by moving the microphone. When you sing louder, move away, and when singing softer, move closer. Sound follows the inverse-square law, so doubling the distance from the mic cuts the sound energy it detects by 75 percent. Note also that microphones exhibit two tendencies that affect the tone of your voice: The first, "proximity effect," is an increase in bass response as you get closer to the mic capsule. Conversely, you will sound thinner as you move away. Second, the "off-axis response" changes for most mics as you move away from the "head-on" position. This effect changes from mic to mic, but usually it sounds less bright than "on-axis".
  
  

Studio Performance

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  Large diaphragm condenser mics usually have an elaborate shock mount to reduce noise.Stockbyte/Stockbyte/Getty Images
  
  Prepare to use a large diaphragm condenser (LDC) mic for recording in a studio. While not universal, LDCs are the overwhelming choice for lead vocals. Compared to dynamic mics, LDCs are more sensitive and more delicate. They are usually more expensive as well, so if you're in doubt, leave any contact with the mic to the engineer and follow his instructions as to how to use the mic. Different techniques can produce a variety of results with the same microphone.
  
  
• 2). Use the basic techniques that govern live performance for controlling plosives and dynamics, but be aware that the studio engineer has an arsenal of tools and techniques of his own to address these concerns. Studio pop filters are more effective than those built into live mics. You may not need to re-aim plosives.
  
  
• 3). Consider that the engineer will address off-axis response and proximity effect with his instructions to you. If a pop filter is used, the engineer may set it where he wants your mouth to be, or he may give you a direction like a "hand width" away. The increased sensitivity of LDCs means that fluctuations in volume and tone are more pronounced. A good engineer will consider the fact that a singer needs to get emotionally into a performance and will try not to put undue restrictions on you unless quality is compromised.