Microphone, in-ear aonitoring and audio management at Sanremo: how to optimize vocal performance on live TV

A great voice alone is not enough: on the Ariston stage, the final result also depends on the microphone, monitoring system, sound quality, the relationship with the sound engineer, and in-ear management. A singer who masters these aspects steps on stage more confident, more stable, and delivers a technically flawless performance.

For this reason, audio management is a fundamental part of professional preparation.

1. Choosing the Microphone: Why It Makes a Difference

Every voice responds differently to microphones. At Sanremo, very high-level models are used, but the choice must respect:

• natural timbre

• amount of air in the emission

• song dynamics

• vocal style (pop, rock, soul, lyrical, spoken)

An unsuitable microphone can emphasize sibilance, harshness in the high register or a lack of body in the low notes.

Tip

If possible, test two or three different microphones during rehearsals: this allows the sound engineer to shape the ideal sound.

2. In-Ear Monitor (IEM) management: the balance between control and comfort

In-ear monitors are now essential, but they require preparation. The most common issues are:

• mix that is too “clean” → creates a sense of isolation

• too much of one’s own voice → leads to pushing less (and losing energy)

• too little voice → leads to pushing more (risk of vocal strain)

• disturbing latency → destabilizes intonation

Golden rule

The mix should feel natural, similar to what the singer hears in the studio: clear voice, balanced backing track, and a few key instruments for orientation.

A well-managed in-ear system reduces vocal fatigue, stabilizes pitch and allows for a freer emotional performance.

3. Microphone skills: how to “play” the microphone

Knowing how to use the microphone is a technical skill, not an aesthetic detail. Cameras are close, audio is ultra-defined, and the margin for error is minimal.

Fundamental techniques

• Distance

  • 3–5 cm for softer passages

  • 8–12 cm in louder sections to avoid saturation

• Natural panning: Small lateral movements help avoid excessive pressure on plosives (“P”, “B”).

• Angle: Holding the microphone slightly off-axis (10–15°) softens sibilance and harshness.

• Dynamic management: Move closer on low notes to maintain body, move away during climaxes.

4. Dialogue with the sound engineer: a decisive relationship

The stage sound engineer and front-of-house engineer are allies of the singer. To achieve the ideal mix, it is essential to:

• communicate beforehand what you want

• explain how you want to perceive voice and instruments

• point out any critical moments in the song (peaks, whispers, spoken parts, sudden high notes)

• immediately report any issues during rehearsals

The best artists prepare a technical memo to share with the audio team.

5. Mental preparation for live audio

Interference, incorrect volume or an unusual monitor return can destabilize even experienced singers. For this reason, it is important to train:

• resilience

• the ability to sing even with an imperfect mix

• speed of adaptation

• focus on the body rather than only on the ear

Useful strategy

Rehearse the song in the studio with different volumes, “imperfect” mixes, slight delays or variations: this helps maintain control in non-ideal situations.

6. Integration with vocal technique and posture

Optimal audio management enhances:

• laryngeal stability

• respiratory efficiency

• pitch accuracy

• emotional control

• interpretative freedom

Good audio allows the singer to “forget about technique” and fully dedicate themselves to the performance.

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Valentina Carlile - Osteopath specializing in Osteopathy for Voice and Speech Disorders since 2002. For information and bookings, visit the Contact page.

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