Fitting concealed radio mics - any good websites?

ibliss wrote on 12/6/2004, 6:26 PM
Thinking in terms of theatre where mics are 'face worn' either on the forehead or over the ear.

I just want to find a good clear site with explanations of the tips n tricks reguarding this subject, incl wig grips, elastics, what type of tape to use etc etc.

Have found this so far: http://www.mmproductions.co.uk/attach1.html
but would like more!

Comments

musicvid10 wrote on 12/6/2004, 8:34 PM
In most live theatre, the element is worn over the ear, in a wig, headwear, or on the collar. They are affixed carefully as to avoid rubbing on on any of the above or the skin and point as directly as possible to the mouth (cardiod is the preferred pickup pattern, though some theaters use omni to compensate for poor stage miking techniques). Foam windscreens are not used, except in outdoor venues. The mic elements are affixed with Transpore tape (available at any pharmacy), or with a small alligator clip. Actors are regularly admonished not to sing, cry, kiss, laugh into, or hug their fellow actors' microphones. Preferred mic elements are Countryman and Sennheiser (although I'm certain you'll get some discussion on this). The Shure WL93's often used in community theatre ('cause they're cheap) really stink in freq. response and distort easily. If you got some in a package, give them to an aerobics instructor.

Hope this helps.
adowrx wrote on 12/6/2004, 8:52 PM
This Shure link has some basics.......

http://shure.custhelp.com/cgi-bin/shure.cfg/php/enduser/std_adp.php?p_sid=IDl5Rlsh&p_lva=&p_faqid=95&p_created=951465600&p_sp=cF9ncmlkc29ydD0mcF9yb3dfY250PTEwMCZwX3NlYXJjaF90ZXh0PXRoZWF0cmUmcF9zZWFyY2hfdHlwZT00JnBfcHJvZF9sdmwxPX5hbnl_JnBfcHJvZF9sdmwyPX5hbnl_JnBfY2F0X2x2bDE9fmFueX4mcF9zb3J0X2J5PWRmbHQmcF9wYWdlPTE*&p_li=

I find depending on the speaker placement/model, etc....that dead center on the hair line works well or over the ear. I hate the "look" of the newer dpa and Cman capsules right next to the mouth/cheek and they don't sound all that great BUT you will get greater gain before feedback. As far as clips, etc. Get to know the costumer/wardrobe or wig person. Most actors are terrible at placing the mic consistently and there's no way to communicate with a handful to a dozen or more actors. Keep spare lavs and be sure the production is responsible for damage.

Oh, and record the show w/Vegas.

-jb
PipelineAudio wrote on 12/6/2004, 10:39 PM
you guys are soooooo busted!

Back in the CD architecht days I made a fair amount of billable hours from guys who wanted to tag cd tracks in live concert bootlegs

whoops I mean I know a guy who used to use cd architecht, errrr I heard about a guy

no wait
musicvid10 wrote on 12/7/2004, 8:36 AM
PipelineAudio,

???
Did you reply to the wrong thread?
PipelineAudio wrote on 12/7/2004, 8:46 AM
LOL I read it wrong, I thought you guys were talking about concealing mikes for other reasons
musicvid10 wrote on 12/7/2004, 9:43 AM
Can't speak for the OP, but we produce shows, not bootleg them.
Actually, I kind of wish someone would come in and bootleg of one of our concerts, might be good for business . . . .
adowrx wrote on 12/7/2004, 10:44 AM
Hey, I was only joking about the "use Vegas to record the show" comment as I thought the question was OT. Interesting subject, though.

-jb
ibliss wrote on 12/7/2004, 5:45 PM
Thanks guys -

yeah sorry, it was a bit OT, hust didn't think to add that to the title.

We're using MKE2 mics and Trantec S5000 TX/RX. I'm 'aware' of the various techniques, but have so far had the luxury of a 'no.2' looking after fitting the mics. Just trying to learn myself. Was kind of surprised that it was so hard to find info on the net, most sites talked only of setting up frequencies, interference and the like.
farss wrote on 12/7/2004, 6:39 PM
Cannot help much with mic placement but at IBC last year I saw some truly minute wireless xmitters, think they were made by QSX. Used mainly for Gridiron, they can hide the transmitter in the shoulder pads, things about 1.5" in diameter and maybe 1/4 thick, obviously will support many channels. They didn't have a receiver suitable for ENG so I lost interest but for stage work it should be ideal.
Bob.

PS for bootlegs, the PowerCore plus their mics seem ideal.
musicvid10 wrote on 12/7/2004, 8:08 PM
I can tell you from experience the creative fittings that go on between costumer and actor in the dressing room can cause fits in the booth. One actress didn't like the flexible antenna sticking down under her tights on her hiney, so she tied it in a tight coil, with predictable results. Of course it was "the sound guy's" fault our little prima donna couldn't be heard that night.
adowrx wrote on 12/7/2004, 8:23 PM
1st tell the actors (or don't) not to talk about us cuz we pfl thru headphones AND can put their signal thru the Front End. Second, the actors should be responsible for the damage they cause by sweating on, pulling on, spraying on, the expensive transducers. And putting the body pack in the lowest layer of clothing is a necessity as they always have quick costume changes. (the body pack can also be "sweated out" and a glad sandwich bag OR condom can be invaluable as sweat and skin attenuate RF. AND Always GAFF TAPE THE MUTE AND PWR SWITCHES.

BTW, I did a quick google and didn't find much on theatre mic techniques, either. Even Professional Wireless Systems/Masque Sound and Lectrosonics don't have too much on the subject. I guess it just might be VOODOO.

-jb

edited for sp
ibliss wrote on 12/8/2004, 2:20 AM
Received an excellent tip re Mute/Power switches - get a bicycle inner-tube, cut it into sections so that you have rings about 1.5 inches wide and then stretch them around the pack, covering any bits that could be fiddled with.
musicvid10 wrote on 12/8/2004, 8:33 AM
The Senny bodypacks have a "LOC" function that prevents accidental changes, except I still tape over the Mute switch.