How to Make a Small Choir Sound Big - inSync (2024)

Whether you feature a traditional or modern church choir or they represent the congregation on the platform during worship, you have the potential to enhance the church’s musical expression significantly. But creating a big sound is challenging — especially for a small choir.

Miking a choir involves fighting many obstacles, including room noise, feedback, and competing instruments. The assortment of mics to choose from is vast — and sometimes confusing. If singing with amplified live accompaniment or a recorded loop, then music foldback monitoring for the choir adds to the complexity.

This article will help clarify your options and help you achieve your mighty choir sound.

• Start at the Source: The Singers
  • Good but Small
  • Position the Singers for Maximum Sonic Impact
• Incorporate the Microphone
  • The Mic Magnifies Everything It Hears in the Room
  • What Microphone Features Are Needed?
  • How Many Mics Are Needed? Where Should They Be Positioned?
  • What Microphones Work Best?
• Maximize the Choir Sound with the Mixing Console
• A Note on Monitoring
• But What If You Still Need More?
  • Double with Live Individual Mics
  • Double Live Electronically
  • Double with a Recorded Track
  • Double Weak Spots with Other Instruments

Start at the Source: The Singers

Good but Small

In a good choir, the singers know their parts, sing confidently with appropriate technique, are comfortable with the risers and mics, and blend their voices. This article won’t address “making bad choirs sound good.” But if you provide your choir with regular instruction about proper support, breathing, projection, vibrato, tone, and enunciation and rehearse regularly, emphasizing consistent dynamics, timing, clarity, and tonal balance, then you’re well on your way to maintaining a consistently pleasing sound and helping your vocalists to enjoy singing energetically and effectively. While these techniques can help even a poor-sounding choir sound better, a small ensemble of people singing effectively can accomplish a dynamically massive sound.

Position the Singers for Maximum Sonic Impact

The location where the singers stand can make a huge difference. If acoustic drums or other loud instruments are being used, then you may need to relocate the choir to utilize the mic’s rejection pattern to minimize leakage into the choir mics. For the softest choir elements to be heard, the choir’s level must be louder than any other sound reaching the microphone.

Typically, placing the singers in tightly packed wedge or rectangle formations on multiple riser rows so that the singers’ mouths are equidistant from the microphone will work well. You want to get as many voices as possible within the microphone’s sweet spot. A long single or double line of singers positions most voices too far from the mic to be effective. A critical-mass grouping enables the choir mic to rise above competing room noises. Of course, the individual choir singers must project.

Pro Tip:Fine-tune the choir’s blend by adjusting the location where each singer stands so that the voices combine to create a natural balance for the microphone to capture.

Incorporate the Microphone

Once the singers create a solid, balanced signal, it’s time to consider appropriate microphone placement and selection.

The Mic Magnifies Everything It Hears in the Room

A significant part of creating a big choir sound is accomplishing a high gain before feedback (GBF) ratio. If the room has untamed resonant frequencies or loud competing instruments that bleed into choir microphones, then you will have little headroom to increase choir volume before getting feedback. An acoustically treated room and a silent stage will significantly increase your GBF. While microphones and sound console techniques can improve your choir sound, unaddressed acoustic issues and noise bleed will limit overall success. Your knowledgeable Sweetwater Sales Engineer will gladly discuss creating a silent stage or addressing acoustical issues.

What Microphone Features Are Needed?

Here’s a list of things to consider when choosing microphone features for your application:

• The number of people in the mic’s sweet spot
• The distance between each singer and the microphone
• The frequencies you need the mic to capture
• The sounds you need to reject
• Specific frequencies bumped up by the mic that overlap with resonant room frequencies
• The aesthetics of the microphone, sightlines, stands, and cables

How Many Mics Are Needed? Where Should They Be Positioned?

For choir mics, the rule of thumb is that you get more with less. A single cardioid microphone can cover a group of 15 to 20 singers if the choir performs without accompaniment. The average church choir size in the US is 16 singers, so this configuration will work nicely with manya cappellachoirs. The mic could be suspended from the ceiling or placed on a tall boom pointed toward the group’s center, equidistant from the tallest member on the rear riser to the shortest member in the front row. Place the mic as close to the group’s center as possible; this allows the sweet spot to cover the entire group. You can check the sweet spot’s range by having an assistant use a dog clicker at mouth height and move side to side on each riser. (Think of the sweet spot like the beam of a flashlight: The closer the flashlight is to a wall, the smaller and stronger the ring of light it produces becomes. As you pull the flashlight back from the wall, the circumference of the bright sweet spot expands, and the beam dims.) Adjust your choir blocking to balance the blend.

Pro Tip:Keep in mind that every time you double the distance between the singers and the mic, the gain drops by 6dB, which means that the audio technician must increase the signal, including the self-noise of the mic and everything not being rejected by the mic’s pickup pattern.

If your group has more than 20 singers, if the room is very reverberant, or if you are using other instruments or a backing loop/track, then consider placing multiple mics closer to the singers. For many choirs, this means one mic for each vocal section block. The number of microphones will be determined by how close you must be to the singers to capture a signal that exceeds competing room noise. The microphone pattern you need will be determined by the size of the sweet spot that you want to cover. For positioning a mic further from the singers, a tighter pattern will help eliminate unwanted sound — a cardioid mic has the widest pattern, a supercardioid is narrower, and a hypercardioid is narrower still. If you use multiple mics, then follow the 3:1 rule and position them three feet apart for every foot the mics are from the singers’ mouths. For example, if one mic is two feet from the singers’ mouths, then the next closest choir mic should be six feet away from the first. Each of the two mics placed two feet from the singers can effectively cover a block of nine singers in a tightly packed 3-row configuration of 18 singers. Moving the mic farther from the voices will increase the coverage area, decrease the GBF, and require more space between mics. Because each singer in a block needs to be positioned so their mouths are equidistant from the mic, place a mic on a boom stand in front of each section and aim at the center of the voices. Suppose you arrange your singers into blocks by vocal part. In that case, the sound engineer can adjust the microphones with lowpass/highpass EQ and downward expanders to focus each mic on the specific vocal part and minimize the other voices in nearby blocks. This way, the sound tech can enhance a weak section so that it balances better with the rest of the choir.

Remember that you will hear fewer low frequencies as a voice gets farther away from the mic. You can compensate for this with EQ.

If the mics are moved during the service, then use tape to mark the mic stand’s exact location. Position matters.

Pro Tip:If your boom does not allow enough height for the mic to be equidistant from the voices, then aim the mic’s sweet spot at the back row singers instead of the center mass and position the closer singers more toward the outer edge of the sweet spot for some attenuation.

What Microphones Work Best?

Different microphones have advantages and disadvantages when considered for choir:

• Cardioid condenser mics offer a nice balance of noise rejection and a wider pickup area that works well for choirs. Cardioid is the polar pattern of choice for live choir music in most situations.
• Supercardioid and hypercardioid condenser mics provide excellent noise rejection from speakers, instruments, and room noise. Their narrow-pickup sweet spot means that they will capture fewer singers than a cardioid from the same distance. However, if the mic is placed farther from the voices, then the sweet spot will pick up more singers while rejecting significant unwanted noise.
• Dynamic mics work well on individual voices for close-miking but are prone to feedback when moved farther away, as in a typical choir-miking scenario.
• Omnidirectional mics capture signals from all sides of the mic equally, making them an excellent choice for studio choirs and situations when room noise, amplification, and instrumentation are not factors. However, you will wrestle with significant feedback and noise-bleed issues for live sound.
• Boundary mics have been used for decades in theaters and for kick drums and acoustic pianos. These floor- or wall-mounted pressure zone microphones (PZMs) pick up the source, as well as the reflections and vibrations of the source, from the mic’s flat base. In addition to the possibility of being trampled, they are placed at a distance from the singers and tend to pick up significant room noise and feedback. Instead of a boundary mic, consider a condenser microphone that’s suspended or on a stand closer to the singers — you’ll get a stronger signal with greater low frequencies and reduced feedback.
• Boom mics are easy to set up, discreet, and allow you to position the mic above the choir for an easily adjusted, targeted sweet spot. The Earthworks FlexWand 730 integrates its mic’s cable with its 7-foot boom stand. It captures exceptionally accurate detail with a wide pickup pattern, a 30Hz–30kHz frequency response, low self-noise, and 32dB of rear rejection. (It’s also available with a hypercardioid capsule for a tighter pickup pattern.) The Audix MicroBoom MB5050 is a low-profile cardioid mini condenser boom microphone system with an 80Hz–20kHz frequency response, and its 50-inch boom attaches to any standard microphone stand for extended-height positioning. The Acacia LIZ-Choir bundle comes with three mic capsules (omnidirectional, cardioid, and hypercardioid) plus a 50-inch carbon fiber boom and mic stand. It also has a 50Hz–18kHz pickup pattern for a versatile value option.

• For a permanently installed hanging mic, the Shure MX202B/C Microflex overhead cardioid microphone is designed for discreet suspension above the choir with its 30-foot cable. It has a flexible 4-inch gooseneck for positioning and a stand-mount adapter for portable applications. It offers a 50Hz–17kHz frequency response. To minimize radio frequency (RF) interference, consider the Shure CVO-W/C installed sound overhead microphone with its 70Hz–16kHz frequency response. The Audio-Technica PRO 45 cardioid condenser hanging microphone is a highly rated value mic with a 25-foot cable and a 70Hz–16kHz frequency range.

• Consider these popular options if you prefer the versatility of small-diaphragm pencil mics or stereo pairs. The Shure SM81 small-diaphragm condenser microphone combines low RF susceptibility with a 3-position highpass switch, locking -10dB pad, 20Hz–20kHz frequency response, and low self-noise. The affordable, all-metal AKG P170 small-diaphragm condenser microphone has a 20Hz–20kHz frequency range, low self-noise, and a switchable -20dB pad. For an affordable matched stereo pair, consider the RODE NT5, with a 20Hz–20kHz frequency range and low self-noise, or the sE Electronics sE8 small-diaphragm condenser microphones, which feature a switchable 80Hz and 160Hz highpass filter, 10dB and 20dB pads, and the lowest self-noise of any of the mics on this list.

• Consider a closely positioned mic if you’re miking individuals in the choir to supplement vocal parts or double with some of the techniques listed below. The groundbreaking Earthworks SR117 supercardioid condenser vocal microphone provides incredibly accurate in-the-room presence, excellent noise/feedback rejection, and an extremely flat 20Hz–20kHz frequency response. The Sennheiser MD 435 cardioid dynamic handheld microphone offers a tight pickup pattern, hum-compensation coil, 40Hz–20kHz frequency response, spring-mounted capsule for low noise, and forgiving EQ curve.

For sound samples and a shootout of some of these mics, check out the article below!

Maximize the Choir Sound with the Mixing Console

Once you have a good vocal signal coming to the mixing console, your sound engineer has several techniques to bring out the best that your choir is providing. While most digital mixing consoles have these capabilities, you can accomplish the same on analog mixing consoles using external equalizers, gates, and compressors. To view top digital consoles that cost under $5,000, check out the video below!

• Ring out the individual mics before the rehearsal/service to maximize GBF. Focus on notching out the three most troublesome fundamentals and checking the choir bus for the same.
• Remove unwanted mic/room frequencies with lowpass/highpass filters and a soft gate.
• Narrow each choir mic’s pickup field to focus on a single vocal part with lowpass/highpass filters and a downward expander.
• Compress modern choirs for a smooth, uniform sound with fewer dynamics than a traditional choir.
• Pan choir channels for a wide stereo image (if running stereo or LCR/mid-side), but keep in mind the resulting impact upon listeners seated in the right and left wings of the general seating area.
• Duck -2dB in the choir’s 1–3kHz sweet-spot frequency on the overall instrument bus with a sidechained compressor or an EQ triggered by the choir bus.
• Reduce or eliminate competing instruments at critical moments so the choir can shine.
• Sidechain a multiband compressor triggered by the lead vocal (or part leaders) to duck choir transients when the choir sings simultaneously with a soloist so that the choir can be louder in the mix without covering up the soloist.
• Gently narrow the choir bus pan width before a key moment and then widen it back out at the peak to give the impression of getting bigger without increasing the choir volume level.

A Note on Monitoring

If you’re using floor wedges for monitors, then including the choir channel in the monitor significantly limits the amount of choir signal you can add to the room before feedback.

Even when singing a cappella, a miked choir may request some form of monitoring to address timing and pitch issues. If you use a floor wedge containing accompaniment, then keep the choir’s sound to an absolute minimum. Place the monitors to the front right and left of the choir mics rather than directly in front to minimize mic lobe feedback. (Check the mic specifications of your exact mic model for details, or experiment to identify the best placement.)

A dry signal without reverb works best for floor monitoring. If you’re using in-ear monitors (IEMs), then some choir members tend not to sing as strongly when they hear the choir too loud in the overall mix. However, members’ signals must be distinct enough for them to blend and sing dynamically. IEMs also allow singers to hear accompaniment loops, congregational mic(s), cue tracks, and verbal instructions from the director.

But What If You Still Need More?

One common way to make a choir sound bigger is to underscore the choir bus with doubled real or simulated voices. Pre-recorded choir parts are feedback-safe. The choir should not hear pre-recorded parts in the monitor mix.

Double with Live Individual Mics

Have a selected vocalist in each choir section sing into a dynamic mic. Mix this part underneath the overall choir level to add depth, articulation, and tone.

Double Live Electronically

Pass the individual mics or a secondary signal path of the choir bus through plug-ins or outboard gear to multiply the number of voices and add wet effects, wideners, or saturation. You may need to compress, add additional highpass and lowpass filters, or de-ess the channel. Mixing this underneath the choir bus will add texture and tone, while the original choir bus provides articulation and clarity. Check whether your digital sound console can use third-party plug-ins, like the Antares CHOIR Evo vocal multiplier. Alternately, you can use external hardware, like the stereo TC-Helicon VoiceLive Play vocal harmony and effects processor, the mono TC-Helicon Perform-V vocal effects processor, or the mono BOSS VE-2 Vocal Harmonist effects processor.

Double with a Recorded Track

If the choir sings to a click or loop track, then borrow this common studio technique. Record the choir while rehearsing and then layer and pan those takes in your DAW to create a stem (pre-recorded track) you can include in the loop. Blend this underneath the live choir sound. Adding compression, delay, or reverb to the stem will help it sit behind the live choir channel. Have the choir sing darkly and with wider vibrato on one take, sing lighter on another, sing nasally on another, and so on to further expand the palate of tone and add some fun to the project. Additionally, tighten up heads and tails by sidechaining a gate to the choir bus. You can also edit the recorded parts to address timing issues.

Double Weak Spots with Other Instruments

Fill in spots where the choir is weaker by doubling with other instruments. Washy, mid-frequency sounds work best. Layer these instruments underneath the level of the choir bus so that the choir provides the articulation and clarity while the additional instruments provide the tone and width. This part can also be pre-recorded and added to the loop.

Pro Tip:When using recorded voices, be prepared to mute the recorded choir channel immediately if there is a trainwreck. Alternately, gate the recorded choir channel by sidechaining it to the choir channel.

We’re Here to Help!

Contact your Sweetwater Sales Engineer at (800) 222-4700 to answer your questions about what options may help you best maximize your choir sound. Expert advice is just a phone call away!

What are the numbers?

The median church size in the US is 75 people, the average is 184, and the pre-pandemic percentage of churches numbering under 100 people has increased from 45% to 65% since 2000. 90% of US churches have 350 people or less, but most attend large churches. Congregational response and expressiveness (clapping, raising hands, “Amens”) have increased between 5% and 12%. Small and medium churches (especially) are getting smaller (-12%), micro and large churches are maintaining size, and megachurches are growing (6%). Between 20% to 50% of churches in all size categories are growing.

More than 43 million American adults and 11 million children sing in civic, educational, and religious choirs. This number has increased from 14% to 17% since 2008. The number of traditional church choir programs has declined 20% over the past 20 years — particularly in evangelical churches — with weekly choir inclusion in services decreasing from 14% to 10%. The average church choir includes 16 singers at an average age of 44-1/2 years, 36.7% of whom are male and 63.3% of whom are female. The choir-to-congregation singer ratio ranges from 1:7 to 1:10 in small churches and 1:10 to 1:12 in larger churches.

What does this mean for church choirs?

If your church is growing, then that trend is likely to increase. If you’re shrinking, then that trend will likely continue unless a change can shift momentum. To remain in step with increasingly modern worship trends, church choirs need to have technical support that is compatible with modern worship instrumentation. Congregants gravitate toward service elements inviting them to engage by singing and responding. Impactful church choirs have significant potential to recruit new participants and to maintain and promote church growth. An increasing population out there wants to sing — but in growing and successful choirs. A big choir sound matters.

Sources include “American Congregations at the Beginning of the 21st Century” by Mark Chaves, Shawna Anderson, and Jason Byassee, “The Changing Complexion of American Congregations” by Kevin D. Dougherty and Michael O. Emerson, “Changing American Congregations: Findings from the Third Wave of the National Congregations Study” by Mark Chaves and Shawna L. Anderson, “Changing Worship Practices in American Congregations” by Joseph Roso, Anna Holleman, and Mark Chaves, and “Twenty Years of Congregational Change: The 2020 Faith Communities Today Overview” by Scott Thumma.