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Hand Held Mic Test ProjectFrequently Asked Questions (FAQ) Find at
Harmony Marketplace Essentials inContest and Judging SystemEssentials
inContest and Judging SystemBHS Contest RulesBHS Contest and Judging
HandbookDefinition of the Barbershop StyleEnter a chorus contestEnter
a quartet contestYou are here: Compete > Contest and Judging System >
Hand Held Mic Test Project Frequently Asked Questions (FAQ)Updated:
7/25/2005 10:07:47 AMMany questions have been posed since the
announcement of the Society Contest & Judging Committee’s
(SCJC) formation of a Team to study and test the feasibility of
offering the optional use of handheld microphones in quartet contests.
The Team wi http://www.chinese-microphone.com/Ha...crophones.html
ll be putting up a web page in the near future, but in the meantime
Team Leader Richard “Trep” Treptow has provided the
following FAQ, which hopefully will answer many of the questions that
have been asked. The answers are the best we have at this early stage
in the project. Further FAQ and answers will be published on the web
page as the Study progresses. The SCJC and the Team continue to
solicit opinions and ideas regarding this project. Please address your
comments and questions to HandHeldMicTest@aol.com. General Questions
Q1: Why just handheld mics? Why not consider other types of
microphones? A. Actually, the Team will evaluate many microphone
alternatives, not just handhelds. Although “handhelds”
seems to be the term most commonly used, “individual mics”
is more descriptive of the scope of the Study. Q2: Will all quartets
be required to use handheld mics in contests? A: No. Handheld mics
would be optional for each quartet. In a single contest, one quartet
may use handhelds while the next quartet may use center mics. The key
is that quartets would have a choice instead of being forced to use a
center mic. Q3: Is the handheld mic concept only for quartets that
compete? A: No. All quartets that use amplification will benefit from
learning how to use handheld microphones. There is a shortage of
quartet training within the Society about how to use any type of
microphone. For example, in show environments quartets often encounter
center mics that are improperly set. Many quartets do not know what
actions are possible to correct such situations. Q4: How will this
test benefit Society members that don’t enter competitions? A:
From the training that flows from this project quartets may learn how
to use both handheld and center microphones. When they sing on a show
where amplification is present their training may help them sound
better to their audiences. Quartets also may achieve greater
flexibility to control their sound, permitting them to enhance the
barbershop art form and to make it more appealing to audiences and
prospective members. Q5: Won’t just the top quartets benefit
from this project? A: No. Training in the use of handhelds will permit
any of our quartets to produce a creditable performance. Barbershop
harmony is one of the last art forms to use condenser mics positioned
at arms length. Ironically, the “standard” amplification
systems provided by outside sound vendors today are set for handhelds,
because that has become the norm for singers. For example, when our
quartets sing at outdoor venues, such as county fairs, park band
shells, etc. barbershop performers face a special challenge, because
sound vendors will often set up handheld mics

.. When quartets sing into such mics at arms length, the crowd often
clamors for more volume and untrained singers do not know what to do.
Effective training will help them overcome this and other such
problems. Q6: What education program is envisioned for all our
registered quartets? A: We hope that all quartets will take advantage
of training that is made available on the use of center mics and
handheld mics. Harmony College, district HEP schools, and special
schools are expected venues for training. Q7: How will local quartets
get experience using handheld mics? A: Because of this project,
quartets may have microphone training opportunities for the first
time. They may gain experience using both center mics and handheld
mics without the pressure of being in a real performance. This should
lead to more intelligent use of all kinds of mics in every venue.
Trained quartets will know what to ask and how better to deal with
mics at casual performance sites. Q8: Is it envisioned that in the
future every chapter-level quartet will have to buy a mic system and
take it to local singing gigs? A: No. Currently, most quartets do not
own microphones of any kind. They perform at local gigs singing into
whatever sound system is available. It is rare to encounter condenser
mics similar t http://www.chinese-microphone.com/Ha...crophones.html
o what we use at our contests and shows. More often performers are
forced to use a dynamic type, handheld mic or two. Learning about
microphones can help quartets to ask intelligent questions about what
kinds of mics and stands will be available at an upcoming performance.
But if a quartet chooses to bring its own system -- whether it
includes four dynamic handheld mics, and/or two condenser mics - it
can gain greater control over the quality of its sound production and
its entertainment potential. Q9: Shouldn’t the four singers use
their own ears to work on tuning and blending? A: Singing with
handheld mics will continue to require the singers to use listening
skills to work on pitch and blending of voices. Quartets who choose to
take advantage of the increased freedom and mobility offered by
handheld mics will have to learn how to use the monitors to ensure
blend, balance, and intonation. Q10: Won’t adding new microphone
techniques distract from other work needed such as singing in tune,
balancing chords, and presenting effectively? A: Our quartets also
need to learn the basic skills of identifying the various types of
microphones, their pickup patterns, how close to stand to each, how to
use monitors, how to avoid feedback, etc. These skills are needed to
deliver our art form in an entertaining way to any audience - whether
at a show or at a contest. Those who focus only on chord balance may
find their efforts lost on an audience that hears them exclusively
through an amplified sound system. For example, a quartet that crowds
the center mic may seem to be in balance to someone six feet away; but
the larger audience may hear mainly the middle two voices because the
outside voices are missing the main pickup pattern of that particular
type of microphone. This project will provide much needed training on
all types of microphones. But like all barbershop skills, learning to
sing with four mics is optional. It will be a quartet’s choice -
not a requirement. Q11: Doesn’t using handheld mics change the
image of barbershop? A: Handheld mics may not seem to fit our
“classic” image, because they’ve not been used in
contests before. The “look” of barbershop also has changed
from the straw hat, cane, and striped shirt days to more modern attire
used by some of our performers. It also changed when barbershop went
from the unamplified sound of the quartet in the local barbershop and
family parlor to large venues such as our contests. But the real
question relates to whether the Barbershop Harmony Society should take
advantage of prevalent microphone technologies. And, what benefits
might such technologies offer to make our art form better and more
appealing to our various audiences. Equipment questions: Q12: Will you
be compiling recommended techniques for different types of
microphones? A. Yes. Q13: Will the Handheld Mics Test evaluate ear
pods, head-worn, and other types of individual microphones? A: Yes,
the Technical Resource Committee will explore a variety of equipment
options for individual mics. Considerations will include relative
effectiveness, reliability, quality, cost, availability, and hygiene
issues associated with shared use of equipment. Q14: Will there be
equipment specifications derived for various venues? A: Currently we
have only recommendations - not specifications or requirements -- for
the use of center microphones. The same will apply to handheld mics.
We do not envision establishing requirements for any specific
equipment unless participants demand uniformity. Q15: Who will furnish
the equipment? A: Districts may choose to rent or purchase equipment,
as is the current basis for center mics. Q16: How will sound
technicians be trained? A: Our Technical Resource Committee is
designing a plan for special training schools such as HEP Schools. Q17

: Will we need a school to certify sound technicians? A: Currently
Districts are responsible for having people already trained for sound
reinforcement and for lighting at contests. Fortunately sound
technicians usually have some training to know the differences between
condenser mics (center) and dynamic mics (handhelds). And they also
know the requirements for setting monitors and for overcoming
feedback, etc. We do not currently certify sound technicians, but a
formal “certification” of our sound operators is a good
idea whether or not we go forward with handheld mics. Q18: Will each
quartet be expected to buy its own sound system to practice with and
perform on sing-outs? A: No. Today many quartets practice without any
mics, then perform using whatever microphones they encounter at the
venue. For them nothing will change. Quartets can elect to purchase
their own mics (either center condenser mics or dynamic handhelds, or
both) to handle unfavorable performance situations. For example, at
many informal performance sites, quartets are forced to sing around a
single, handheld type of mic. Worse yet, at times the mic is attached
to the speaker’s podium! Q19: Will chapters be expected to buy
sound systems for their quartets? A: No. But many chapters have
discovered that having their own mic system for their annual shows and
performances is highly advantageous to enhance their entertainment
value and audience satisfaction. Testing Questions Q20: How will the
handheld Mics Test Team measure out http://www.chinese-microphone.com/Ha...crophones.html
comes? A: We will do our best to conduct objective trials for the
Society. Tests are being designed employing scientific methodologies
to control as many variables as possible. Statistics will be gathered
and used to determine which results are significant. Q21: Will we
still hear ringing chords if quartets use handheld mics? A: This will
be one of the more interesting aspects of testing our Team will
conduct. We want to gain better insights into what happens to the
barbershop sound when amplified by various means, including double
center mics, stereo mics, and handheld mics. There are competing
theories about what happens to expanded sound and overtones that are
created “pre-microphone” vs. “post-
microphone.” We want to learn more about this subject. Contest
Application Questions Q22: Will handheld mics require different
monitor settings? A: Tests may suggest different monitor levels. If
so, competing quartets will be allowed to declare in advance the mic
and monitor set up they wish to use. Q23: Will judges be judging
through headsets? A: We don’t have answers yet as to how the
judges will receive amplified sound. Our tests will provide those
answers. Options include headsets; or a separate speaker for the
judging area; or repositioned house speakers; or a repositioned
judging area; and other possibilities. Q24: Will pre-contest stage
time be required for quartets to check out the sound system? A: The
experience of other a cappella contest venues suggests that pre-
contest stage time will be beneficial -- especially since handheld
mics are new to our contestants. In years past, stage time for
competitors was scheduled prior to each of our contests. But as
quartets became familiar with the contest environment, the practice
became optional and is now rarely used. Q25: What’s the
advantage of offering a quartet a different type of mic system in
contest? A: Handheld mics offer the quartet a choice. The new
capability may lead to better and more entertaining contest
performances. This could result in higher scores for some
performances. Q26: Don’t the contest judges sit immediately in
front of the stage specifically so their perception will not be
influenced by any electronic augmentation? A: Yes, to an extent. But
the current use of monitors (a successfully tested experiment from the
previous decade) has resulted in judging panels now hearing a blend of
natural and amplified sound. But the handheld mic concept will require
a further shift, in that judges would basically judge the same sound
that is heard by the audience. This “paradigm shift”
revolves around a key (and controversial) concept. Some members are of
the opinion that judges should hear the same sound that the audience
experiences, since we are trying to adjudicate our quartets’
ability to deliver a quality performance to an audience. Others assert
that the judges should hear only natural, unamplified sound, and the
ability to use microphone techniques to enhance a quartet’s
sound should

not be considered in judging. This in part becomes a policy issue. Our
Society leaders will consider this issue along with results of the
testing that will be done. Q27: Will our contest sound system
operators be able to support this effort? A: Although training for
operators will be available, many districts will continue to hire
outside sound engineers who do not attend our schools. Fortunately,
outside sound engineers are more comfortable with setting up handheld
mics than they are with our current, center-mic configuration. Q28:
Aren’t there enough problems currently associated with setting
up sound systems without adding another layer of complexity? A:
http://www.chinese-microphone.com/Ha...crophones.html Our
current contests require use of condenser mics at arms length together
with the use of monitors. This often produces sound system problems.
We will test wired and wireless mics to determine how such issues may
be overcome. Actually, for many sound engineers, handhelds are easier
to set up because they allow better monitor control and less feedback.
Q29: If a quartet uses handheld mics, won’t the blend of the
four voices be controlled by the sound engineer instead of the
singers? A: No. Since our first contest in 1939, the Society has used
amplified sound systems and sound engineers. Prior to each competition
a sound technician presets the equalization relating to treble and
bass balancing. Using handheld mics will not change this aspect. Each
mic will be to set to the same equalization (treble/bass) and volume
level so the balance among the parts will continue to be the
responsibility of the performers. They will have to listen to one
another both on stage and through the monitors to ensure they are in
proper balance. The master volume control affecting all four mics
(simultaneously) will be controlled by the sound engineer, so the
audience is comfortable, just as it currently is for center mics. Q30:
Since one of the performers’ hands will hold a mic and not be
free, how will the judging system be revised for quartets that use
handheld mics? A: Assuming the “individual mics” used are
“handhelds,” this is a Presentation Category question. The
Presentation Category Specialist provides the following insight:
“In any microphone configuration, the use and misuse of hands
would be considered a part of the overall entertainment value. Two
hands are not always necessary to adequately convey emotions. At other
times, two hands would be helpful. As always, it will be the
performers choice. Also, if both hands need to be free for some
reason, quartet members might leave or put the handhelds on their
stands, or, they could elect to use the center mics.”
“Regarding use of the stage, the impact may well depend on the
song and the presentation concept the quartet chooses. Some songs
might imply an intimacy suggesting the quartet stand together in close
proximity. Another song may suggest reaching out to the audience with
a freedom that would make standing close together seem odd. Still
other songs may offer an opportunity for greater entertainment variety
by splitting the quartet 3-1 or 2-2 to better enhance the performance
for a portion of the song. The key is that the introduction of
handheld mics offers performers more choices to enhance the audience
entertainment.” Other Questions Q31: Is this effort driven by
the Society’s membership issues? A: No. The primary motivation
is to determine if the barbershop art form can be improved using
handheld mics. The job of our Team is to test the feasibility of the
individual quartet mic option and to measure its impact on the various
audiences that experience barbershop harmony. If the use of handheld
mics ultimately results in more members, that would be only an
indirect benefit of this project. Save a PDF Save originalEmail
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