Open Forum

Happy Holidays everyone,

I'd like to ask for suggestions on body mics for elementary school students?  I'm working in a school and do not yet know what sound equipment is available.  I am starting to think that I may need to think ahead to planning to purchase body mics and a mixer for students for thier performances.  May I please have suggestions for body mic equipment?  Also please share experiences with using the equipment?

Thank you and Happy New Year.

Carrie

1. Be sure to buy transmitter / receivers that are frequency agile.  Fixed frequency units are difficult to integrate with other Radio Frequency equipment and are a poor investment.
2. Make sure the available operating frequencies span 'empty' or Low power (LP) TV channels so you can work without fighting the local broadcasters.
3. Use NEW batteries for each performance (don't cheap-out).  It is OK to use used batteries for rehearsals.
4. If you have two or more wireless mics (and/or wireless musical instruments), they MUST ALL be frequency coordinated to work as a set.  Each unit affects ALL the others, so changing the frequency of one unit can disrupt many other channels.  This is an unavoidable scientific fact.  You have to learn how to calculate and coordinate the frequencies (there are software tools to do this for you).  You have to do this regardless of whether the mics are the same make / model or different makes & models.  You cannot just randomly set the frequencies and hope it works.
5. Set all the transmitters to the same transmit power levels (typically 25-50 milli-Watts (mW)).  More transmit power is typically NOT better for this scale of performance.
6. Place the receiving antennas up above standing head-height so they have a clear line-of-sight to the performers.  Audience bodies and metal equipment racks block the RF signal and diminish the reliability of the system.  If possible, purchase a set of directional antennas and an antenna distribution unit(s) so that a single pair of antennas can serve all of the receivers rather than having an 'antenna farm' sticking-up where the audience can see them.
7. Buy durable equipment.  Cheap gear will only last a year or so.  Equipment that can be rack-mounted is usually in the preferred class of gear you want.  Self-contained stand-alone receivers that cannot be rack mounted and have permanently attached antennas are usually a poor choice. If you can rack mount it (may require an extra kit), then buy a rack and mount it so it is protected and not a clutter / avalanche waiting to happen.
8. Rent it if possible, the technology keeps changing.  The rental house should do the frequency coordination for you.
9. Practice with each performer how to wear and use the mics.  It is not as easy as it looks.
10. Rehearse with the PA system.  Rehearse with the PA system. Rehearse with the PA system. There will be feed-back (ringing and screeching) - learn to recognize it when it begins so you can turn-down the volume before it is a problem.  This takes practice.  Lots of practice.  The fewer mic channels you have 'live' at one time, the less likely the feed-back will be.  You have to be quick with the channel faders (knobs / sliders) to drop the level of the non-speaking actors and keep the speaking actors 'on'.
11. Generally speaking, graphic equalizers (multi-band tone controls) do more bad than good, so don't bother trying to 'notch-out' the feedback frequencies - learn to use the channel volume controls to manage feed-back.
12. Don't be afraid to cut the low frequencies (LF or HP control) as there is very little speech that is affected and it helps get rid of breath pops and costume rumble.
13. If the students are using hand-held mics then teach them to keep the mic head one thumb length from their lips - this reduces boominess and breath pops.
14. Clean the mics with alcohol wipes each night to reduce the transmission of germs (the same is true for wired mics).
15. If they are using body-pack transmitters with headset or lavalier mics, make sure the antenna that dangles from the transmitter case can dangle freely (vertically preferred) and is not wadded-up in the costume or a pocket.
16. Loudspeaker selection and placement matter.  A lot.  Some types of speakers are worse than others when it comes to causing feedback. (This is a complicated subject that has entire books written about it, many of which are incorrect but still popular belief.  This is where an experienced sound system designer can really help.)

1. Be sure to buy transmitter / receivers that are frequency agile.  Fixed frequency units are difficult to integrate with other Radio Frequency equipment and are a poor investment.


2. Make sure the available operating frequencies span 'empty' or Low power (LP) TV channels so you can work without fighting the local broadcasters.


3. Use NEW batteries for each performance (don't cheap-out).  It is OK to use used batteries for rehearsals.


4. If you have two or more wireless mics (and/or wireless musical instruments), they MUST ALL be frequency coordinated to work as a set.  Each unit affects ALL the others, so changing the frequency of one unit can disrupt many other channels.  This is an unavoidable scientific fact.  You have to learn how to calculate and coordinate the frequencies (there are software tools to do this for you).  You have to do this regardless of whether the mics are the same make / model or different makes & models.  You cannot just randomly set the frequencies and hope it works.


5. Set all the transmitters to the same transmit power levels (typically 25-50 milli-Watts (mW)).  More transmit power is typically NOT better for this scale of performance.


6. Place the receiving antennas up above standing head-height so they have a clear line-of-sight to the performers.  Audience bodies and metal equipment racks block the RF signal and diminish the reliability of the system.  If possible, purchase a set of directional antennas and an antenna distribution unit(s) so that a single pair of antennas can serve all of the receivers rather than having an 'antenna farm' sticking-up where the audience can see them.


7. Buy durable equipment.  Cheap gear will only last a year or so.  Equipment that can be rack-mounted is usually in the preferred class of gear you want.  Self-contained stand-alone receivers that cannot be rack mounted and have permanently attached antennas are usually a poor choice. If you can rack mount it (may require an extra kit), then buy a rack and mount it so it is protected and not a clutter / avalanche waiting to happen.


8. Rent it if possible, the technology keeps changing.  The rental house should do the frequency coordination for you.


9. Practice with each performer how to wear and use the mics.  It is not as easy as it looks.


10. Rehearse with the PA system.  Rehearse with the PA system. Rehearse with the PA system. There will be feed-back (ringing and screeching) - learn to recognize it when it begins so you can turn-down the volume before it is a problem.  This takes practice.  Lots of practice.  The fewer mic channels you have 'live' at one time, the less likely the feed-back will be.  You have to be quick with the channel faders (knobs / sliders) to drop the level of the non-speaking actors and keep the speaking actors 'on'.


11. Generally speaking, graphic equalizers (multi-band tone controls) do more bad than good, so don't bother trying to 'notch-out' the feedback frequencies - learn to use the channel volume controls to manage feed-back.


12. Don't be afraid to cut the low frequencies (LF or HP control) as there is very little speech that is affected and it helps get rid of breath pops and costume rumble.


13. If the students are using hand-held mics then teach them to keep the mic head one thumb length from their lips - this reduces boominess and breath pops.


14. Clean the mics with alcohol wipes each night to reduce the transmission of germs (the same is true for wired mics).


15. If they are using body-pack transmitters with headset or lavalier mics, make sure the antenna that dangles from the transmitter case can dangle freely (vertically preferred) and is not wadded-up in the costume or a pocket.


16. Loudspeaker selection and placement matter.  A lot.  Some types of speakers are worse than others when it comes to causing feedback. (This is a complicated subject that has entire books written about it, many of which are incorrect but still popular belief.  This is where an experienced sound system designer can really help.)

If we do our play in a cavernous gym with a portable wooden stage will body mics just pick up all the sounds of the kids walking on the stage?  What would rental costs be  and for how long do rentals usually last?  What the optimum time for students to work with mics?  We don't have a sound person, rather, we train a student on sound and in the past that just meant simple sound effects.  Our 8th grade is performing And Then There Were None, by Agatha Christie.

Happy Holidays everyone,

I'd like to ask for suggestions on body mics for elementary school students?  I'm working in a school and do not yet know what sound equipment is available.  I am starting to think that I may need to think ahead to planning to purchase body mics and a mixer for students for thier performances.  May I please have suggestions for body mic equipment?  Also please share experiences with using the equipment?

Thank you and Happy New Year.

Carrie