Some questions, just in case someone will still read them here: -How many lav mics should a starting theater have? Considering that they will still be having their first production and will most likely have limited budget. -Upon acquiring these lav mics, what is their average life expectancy before we even start thinking about buying new ones? -What about dynamic movement of actors (especially fight scenes)? How do we ensure that the body packs and mics are safe? These are just hypothetical situations but I'm curious since I've had experience directing stage plays and sound has always been an issue. We were only using boundary microphones when I was still staging plays a few years ago.
Hello! A good place to start would be this webinar that delves deeper specifically into lavalier techniques for theater: th-cam.com/video/H-L2iHjxGp4/w-d-xo.html
Potentially a good subject. Shame the mic handling noise and low audio levels make this a bad example. Yeah, it's been normalized but the audio density is still low. Are webinars exempt from good audio practice? Why important? When your computer alerts are stigmatically louder it's distracting.
I was so excited to see this video, but so sadly disappointed by the modern idea that only body mics are the solution for theater productions. Maybe I am just an old guy who remembers when theater actors had to learn how to project, and musicals didn't try to sound like rock concerts. And the simple fact is I have NEVER seen one school production in the past 20 years that was able to actually get intelligible and functioning sound with wireless mics - the combination of not enough mics, amateur sound technicians, etc.., etc... has made going to school productions an awful experience.
Michael, love your comment. I'm alive performer in a two-person Magical Musical. We sing, dance, do magic and illusions through a storyline about Once Upon a Time American sweetheart entertainers who parted it all the way and now in middle age are making a comeback. It's a little bit Vegas, little bit Broadway, and a little bit David Copperfield lol. Anyway, for a four-month run coming up we are going to soon be experimenting with floor mounted boundary mics. Besides the basics including things like speaker placement and so forth do you have any ideas, thoughts, tips? We have a fair amount of banter and dialogue scenes as well as are singing over our original music and songs on backing tracks. We also do one tap dance number. Any of your thoughts are appreciated and if you would ever be down to actually do a zoom or a phone call or email or something that would be great!
@@john-carlosynostroza In your case with just two performers, wireless mics are probably the best bet. Will you be running your own sound, or will there be a sound technician in the house? Who will be running the music backing tracks for you?Will you be carrying your own PA system? What is your current plan?
It's hard to say without knowing your exact setup, but our Support Team will be happy to help you out. You can get in touch with them at shure.com/support.
The webinar mentions some different types of microphones, including overhead, boundary (floor), lavalier, and headworn. Headworn and lavalier mics typically pick up voices most effectively, as they are placed near the performer’s mouth. Overhead and boundary mics can provide additional sound reinforcement, but they usually are placed too far away from individual performers to be very useful for voice pickup. Examples of lavalier mics from Shure are the WL93 and MX150/O (both omnidirectional), or the WL185 and MX150/C (directional). The WL93 and MX150 models are smaller, and may be easier to hide in costumes, under hats or wigs, etc. The Shure headworn microphone models I would consider for theatre use are the MX153 (omni), Beta 53 (omni), and Beta 54 (directional). Others, like the SM35 and PGA31, may be too bulky or visually obtrusive. The versions of the Beta 53 and Beta 54 intended for wireless use are the WBH53 and WBH54, respectively.
Very first video I have seen where microphones are SUPPOSED to be placed.
Some questions, just in case someone will still read them here:
-How many lav mics should a starting theater have? Considering that they will still be having their first production and will most likely have limited budget.
-Upon acquiring these lav mics, what is their average life expectancy before we even start thinking about buying new ones?
-What about dynamic movement of actors (especially fight scenes)? How do we ensure that the body packs and mics are safe?
These are just hypothetical situations but I'm curious since I've had experience directing stage plays and sound has always been an issue. We were only using boundary microphones when I was still staging plays a few years ago.
Hello! A good place to start would be this webinar that delves deeper specifically into lavalier techniques for theater: th-cam.com/video/H-L2iHjxGp4/w-d-xo.html
Is there a critical distance for outdoor theatre?
Potentially a good subject. Shame the mic handling noise and low audio levels make this a bad example. Yeah, it's been normalized but the audio density is still low. Are webinars exempt from good audio practice? Why important? When your computer alerts are stigmatically louder it's distracting.
I was so excited to see this video, but so sadly disappointed by the modern idea that only body mics are the solution for theater productions. Maybe I am just an old guy who remembers when theater actors had to learn how to project, and musicals didn't try to sound like rock concerts. And the simple fact is I have NEVER seen one school production in the past 20 years that was able to actually get intelligible and functioning sound with wireless mics - the combination of not enough mics, amateur sound technicians, etc.., etc... has made going to school productions an awful experience.
Michael, love your comment. I'm alive performer in a two-person Magical Musical. We sing, dance, do magic and illusions through a storyline about Once Upon a Time American sweetheart entertainers who parted it all the way and now in middle age are making a comeback. It's a little bit Vegas, little bit Broadway, and a little bit David Copperfield lol. Anyway, for a four-month run coming up we are going to soon be experimenting with floor mounted boundary mics. Besides the basics including things like speaker placement and so forth do you have any ideas, thoughts, tips? We have a fair amount of banter and dialogue scenes as well as are singing over our original music and songs on backing tracks. We also do one tap dance number. Any of your thoughts are appreciated and if you would ever be down to actually do a zoom or a phone call or email or something that would be great!
@@john-carlosynostroza In your case with just two performers, wireless mics are probably the best bet. Will you be running your own sound, or will there be a sound technician in the house? Who will be running the music backing tracks for you?Will you be carrying your own PA system? What is your current plan?
don't you get rubbing from the forehead mic position? how do you control feedback? seems like you would have to gain it up pretty hot.
Hi Phil! Our support team can provide some recommendations. You can reach them at shu.re/contact.
What lav mics are best for when actors have to sing?
Hi can you guide me to learn how set-up 5 ore 6 mic in a large hall , we have Yamaha mixing console MG124cx sound is not Cristal as it should be .1
It's hard to say without knowing your exact setup, but our Support Team will be happy to help you out. You can get in touch with them at shure.com/support.
Which Mic You will prefer For the Drama Purpose? ( Shure Mic / Model No)
The webinar mentions some different types of microphones, including overhead, boundary (floor), lavalier, and headworn.
Headworn and lavalier mics typically pick up voices most effectively, as they are placed near the performer’s mouth. Overhead and boundary mics can provide additional sound reinforcement, but they usually are placed too far away from individual performers to be very useful for voice pickup.
Examples of lavalier mics from Shure are the WL93 and MX150/O (both omnidirectional), or the WL185 and MX150/C (directional). The WL93 and MX150 models are smaller, and may be easier to hide in costumes, under hats or wigs, etc.
The Shure headworn microphone models I would consider for theatre use are the MX153 (omni), Beta 53 (omni), and Beta 54 (directional). Others, like the SM35 and PGA31, may be too bulky or visually obtrusive. The versions of the Beta 53 and Beta 54 intended for wireless use are the WBH53 and WBH54, respectively.
unrealistic. Buying lav for 40 actors is finacially impossible for most theater organizations