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 is a battery-powered mic without a cable connecting it to the amplifier. 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.
The mic is often hidden in the hair or wig but can sometimes be seen on the forehead. You might find it distracting at first, but you’ll soon forget about it as you get into the play. The lapel mic can also be placed on the chest, a hand span from the mouth, and hidden under clothing, with the cord glued, taped, or sewn into the costume. Using a lav mic can be costly since each cast member needs one.
Headset Microphone
The headset mic, also called a headworn mic, is a headphone with a built-in microphone. It features a lightweight and comfortable design. The mic sits close to the mouth, capturing sound directly and reducing background noise.
2) Overhead Microphone
This type of microphone is positioned overhead and dispersed across the stage to capture actors’ voices wherever they stand. Known as the shotgun choir mic, it’s cost-effective because it covers the entire stage, regardless of the number of performers. Actors can perform freely without personal mics, though there’s a chance of picking up reverberant sounds. However, proper placement eliminates this issue.
3) Boundary Microphone
It is a small condenser mic mounted on the floor or scenery. In the 1950s, mics were limited to foot mikes near the footlights. Today, with advanced technology, mics can be placed almost anywhere on stage without obstructing the performance. A boundary mic can pick up sounds from great distances, allowing performers to move freely. There’s no need for multiple mics, as it can record sounds from different parts of the stage. The mic can be either omnidirectional or cardioid.
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:
Keep the mic securely fastened to the clothing. There’s no risk of it loosening or dropping, which could inconvenience the actor. To avoid discomfort, the cord and transmitter should be incorporated into the costume design so the actor barely notices them.
The mic shouldn’t pick up noise from clothes rubbing together. Taping the lavalier mic on the face can be hidden under makeup. The headset mic must be secure and comfortable; finding the right fit is essential. Check the mic as soon as the wearer is off stage, especially for actors who sweat a lot. Since the wireless mic relies on battery life, use new ones at the start of the play.
For overhead Microphones:
Place the mics far from the speakers to prevent feedback. Point them upward to avoid floor reflections. Spread out and keep them apart to reduce comb filtering or phase cancellation.
For Boundary Microphones:
The diaphragm of the condenser mic should be parallel to the large surface it’s mounted on. This alignment helps it pick up vibrations or sound reflections.