Microphone Technique (PDF) by ScribdDoc

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									Title:
Microphone Technique

Word Count:
1088

Summary:
How to use a microphone and develop
 a microphone technique of your own


Keywords:



Article Body:
Although it sounds strange to you,
to hear your own voice over the P.A
, in fact it doesn’t sound any diff
erent to the audience than if you w
ere talking to them in normal conve
rsation.

The trick here is to be Yourself, i
f you haven’t got the skill to proj
ect a warm friendly personality at
the functions where ice breaking is
 required then being an entertainer
 isn’t for you. The trick is to fin
d a balance, most people would simp
ly hire the gear - saving around 50
% of a D.J’s booking fee and throw
a NOW Cd on - if human input and pe
rsonality wasn’t important to them.
 At some functions, if they pay for
 an entertainer and get a human juk
ebox who doesn’t own a mic and just
 sits there playing music then they
 occasionally feel cheated!.

I can’t stress the “BE YOURSELF”, a
dvice enough, don’t put on a radio
style zany DJ voice - that will sou
nd false and doesn’t fool anybody.
If you are lucky enough to have a D
.J training you, or are a young per
son helping an older mentor D.J the
n DON’T be tempted to become a clon
e of him or her. Adopt your own mic
 style (not a false voice), use you
r own tag lines but don’t rely on t
he same cliche’s 20 or 30 times a n
ight - this becomes boring and pred
ictable.

Don’t rely on “that was”, “This is”
 introductions all night. At some f
unctions going out with a Radio Mic
 and creating banter with your audi
ence is a great way to break the ic
e at the beginning of difficult, no
n formal functions - and a good way
 of enouraging them onto the dancef
loor early on. You can relax the mi
c work and the frquency of them - o
nce the dancefloor is filling.

Of course there are always going to
 be functions where you need more m
ic work than the last, and other fu
nctions where it is going to be lit
tle mic use, but the key is to deve
lop a style and strength and confid
ence in your mic working ability an
d not to rely on non stop music alo
ne to do the work for you.

Just be yourself, and talk normally
 into the microphone. The thing to
work on is to speak confidentally a
nd clearly and try to pace yourself
. Speaking too fast will make what
you are saying sound garbled, speak
ing too slow will make you sound li
ke you are addressing a bunch of vi
llage idiots . Pretty soon, with a
little time and practice you’ll dev
elop your own individual skill and
style and that is the most importan
t aspect, don’t try to copy anybody
 else or put on a different voice,
it will sound false and make learni
ng and maintaining the technique a
lot more difficult.

If being a comedian is not you, the
n avoid the jokes unless you are go
od at this sort of thing , forced c
omedy can sound false and you may f
ind yourself laughing alone, after
all the Client has booked a Mobile
Disco and not a stand up comedian!.
 One of the best pieces of advice I
 was given my the D.J who trained m
e, was to “Stick at doing what you
are good at and have been booked fo
r, and if in any doubt then leave i
t out”.

Spontaneous one liners are another
matter, if something amusing happen
s, then share it - use the mic to g
et requests, make a fuss over other
 people celebrating birthdays / ann
iversaries - people like to have th
eir 30 seconds of glory and hearing
 their name mentioned, over the mic

My advice to those nervous about pu
blic speaking for the first time, i
s not to be frightened of the mic o
r avoid using one - its your closes
t and most useful ally, at all func
tions. Don’t talk all over the trac
k, learn to pace yourself over the
outro of the previous track and any
 intro of the next track - don’t ga
bble - talk clearly into the microp
hone as if you were talking to a fr
iend. With time you should be able
to familiarise yourself with how th
emore popular tracks end and finish
, this way you can talk upto the vo
cal, similar to how they do on the
radio - stopping your banter at the
 moment the vocal on the next track
 starts. Don’t rush to perfect this
 or gabble to do so, it all comes w
ith time and practice. Keep it simp
le to start off with.

Start with the easy stuff first, ju
st introducing tracks, and buffet a
nnouncements. Once you’ve built up
a bit of confidence, you’ll move on
 from the ‘That was….. this is….’ r
outine. Try and include your audien
ce, invite requests, make them feel
 welcome. Even if you are having a
difficult gig don’t take it out on
the audience and try and look like
you are enjoying yourself, even if
it’s not going to plan. Don’t worry
 about making mistakes on the Mic,
we all do from time to time, but do
n’t draw attention to   it, or dwell
on it it’ll just make   it worse - be
sides making mistakes   shows that yo
u are human and not a   pre-programme
d jukebox

Keep key information on the gig, su
ch as the Bride & Grooms’ names, Be
st Man Name etc on a piece of paper
 on the mixer, so that you can casu
ally glance down if you have a sudd
en memory blank, but don’t write yo
ur links down as a speech, otherwis
e it will sound like you are readin
g from a script and less natural.

Remember that once the dancefloor i
s full, you can ease off the mic a
little, but keep doing the requests
 and don’t forget that it exists. L
earn to find the balance, too much
talking can bore the pants of your
audience, too little mic work can m
ake people think that you aren’t ea
rning your keep!. There are functio
ns where you have a full Dancefloor
 and it would be obtrusive to chat
all over the music when people want
 to dance, equally there are more f
ormal functions where there isn’t t
he room or inclination to dance, an
d so a bit of light hearted banter
to break the ice and the empathsis
on the entertainment side of being
a DJ is required rather than just c
ontinuous music

All of this will take some time, do
n’t expect to develop a mic techniq
ue overnight just take it one gig a
t a time.

								
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