Sound quality plays a vital role in theatre production. Great actors and outstanding plays can’t engage the audience if the audio falls short.
1) Wireless Microphone
A wireless microphone system sends the performer’s signal by radio to a receiver instead of running an audio cable from the performer to the mixer. The transmitter is embedded in the handheld mic or a bodypack connected to a lavalier or headset mic. While many claimed to invent it since 1945, Raymond A. Litke, an American electrical engineer, first applied for a patent in 1957. Approved in 1964, U.S. patent 3134074 covered television, radio, and classroom use. Handheld and lavalier mics became commercially available in 1959.
At a Glance: Theatre Microphones
- Wireless Microphones: Ideal for theater due to hands-free operation and sound clarity, even with actors moving freely.
- Lavalier Microphones: Small, clip-on mics that are usually hidden but ensure clear audio; costs can add up for larger casts.
- Headset Microphones: Lightweight and positioned near the mouth for direct sound capture, reducing background noise.
- Overhead Microphones: Positioned above the stage to pick up sounds from multiple actors, cost-effective but may require precise placement.
- Boundary Microphones: Mounted on the floor or scenery, these mics capture sound from various distances, minimizing the need for multiple units.
In the 1960s, American theatrical director Joseph Papp first used a cordless mic during Shakespeare in the Park. The musical “Funny Girl,” in March 1964, was the first Broadway show to use body mics. Actors need to perform freely without restrictions, so body mics or headset mics are much more convenient for theatre use.
However, wireless mics faced controversy and problems, especially in theatre. Critics said they depersonalized musical theatre and made performers lazy in projecting their voices. They felt lines sounded unnatural through mics. Other issues included discomfort while wearing them, feedback, and other technical glitches. Despite these challenges, solutions exist.
Adapting to change is tough, but using wireless mics has significantly enhanced actors’ performances. They can now focus more on their roles, knowing they’re heard clearly, even by those farthest from the stage. Lavalier or headset mics, positioned close to the mouth, ensure superb sound quality. These mics let artists move freely while speaking or singing. Wireless mics also allow for casting actors with softer voices.
Lavalier Microphone
The lavalier mic, or lav mic, is a small microphone clipped to clothing for hands-free use. It’s connected by a cord to a frequency transmitter on a belt or pocket, or directly to a recorder or mixer. Other names include personal mic, body mic, lapel mic, neck mic, collar mic, or clip mic. The term “lavalier” originally described jewelry worn around the neck with a pendant and was used for neck-hung mics in the 1930s.
Most of the time the mic is tucked into a wig or the hair, though occasionally you can spot it resting on the forehead. It may feel a little distracting on first glance, but the audience tends to stop noticing once the play gets going. Another option is to place the lapel mic on the chest, about a hand span below the mouth, and conceal the cord by gluing, taping, or stitching it into the costume. Outfitting a full cast with lav mics adds up quickly, since each performer needs their own unit.
Headset Microphone
The headset mic, also called a headworn mic, is a head-worn microphone on a lightweight frame. It features a lightweight and comfortable design. The mic sits close to the mouth, capturing sound directly and reducing background noise.
2) Overhead Microphone
An overhead microphone hangs above a defined performance area and can cover several actors when they remain near that area. It avoids body-worn transmitters, but distance also brings in more room sound and reduces the level available before feedback. Placement and loudspeaker position matter; an overhead does not automatically cover every position on a large stage.
3) Boundary Microphone
A boundary microphone is a low-profile mic placed on a large surface, often near the front edge of the stage or within scenery. It can cover a defined area without being worn by a performer, but it also picks up footsteps, scenery noise and more room sound as the actor moves away. Its pickup pattern and position should suit the scene; one mic cannot reliably cover every part of a stage.
How to optimize the use of theatre mics to get the best sound
Read the instruction manual for the best use of each microphone type and brand. Know the problems or limitations of microphones in theatre to address them and prevent issues that could ruin an actor’s performance and the audience’s experience. Follow proper maintenance and storage to ensure longevity and reliable performance.
For wireless Lavalier & Headset Microphones:
Fasten the microphone and cable securely enough to survive movement, then check the fit with the performer. A loose capsule or cable can be audible and distracting, so wardrobe and sound teams should agree on placement before the show.
Make sure the mic isn’t catching any rustle from fabric brushing against itself. When a lavalier is taped to the face, makeup does a good job of hiding it. A headset mic, meanwhile, needs to sit snugly and feel comfortable, so getting the fit right really matters. Inspect each mic as soon as the actor steps offstage, particularly for performers who sweat heavily. And because wireless mics depend on battery power, check battery status and follow the transmitter’s battery plan before each performance.
For overhead Microphones:
Position overhead mics over the action they need to capture, aimed toward performers rather than automatically upward. Keep loudspeakers out of their pickup area where practical, listen for feedback and phase problems, and mute unused channels. Rehearse blocking changes because a performer moving away from the mic will sound quieter.
For Boundary Microphones:
Place a boundary mic flat on the surface as its design requires, with its pickup area facing the action. Keep it out of foot traffic and listen for stage vibration and scenery noise during rehearsal. Adjust position, mounting or low-frequency EQ if those sounds compete with dialogue.