All great comments so far, Ellen. If you decide to go with purchasing a system, here are a few things I learned the hard way:
1. When you spec out a system, make sure you don't get burned by the "low bid" policy in many districts. I spec-ed out a reliable set of Shure wireless systems, the bond issue passed, and the district purchased aerobics instructor/cheap DJ quality wireless mics. They sounded terrible, and broke the first few shows we used them. We corrected this by having the booster club buy us the next round of mics. Avoid any "comparable equipment" policy at all costs.
2. Make sure your gear has the following features:
Mics:
Frequency Agile: This means that if you start getting the local radio station, or cabs driving by, you can change the channel on the belt packs and receivers to a free channel.
Diversity System: Slightly more expensive than Non-Diversity systems, but Diversity systems have 2 receivers and 2 antennae that are always searching for the strongest signal, and then switch back and forth. Some models even do a blend of 2 signals. A Non-Diversity system only has 1 receiver, so you're more prone to audio drop-outs, or loss of signal, and the sound cutting in and out on your actors.
Insist on systems where mics that can be plugged in and out of the belt packs. I've found that when an actor's mic goes dead, it's often the mic (sweat in the mic capsule, a kinked cable). If the mic is hard wired into the beltpack, when a mic goes bad, you lose that actor's mic until you send it out to be repaired. If you can replace the mic with a spare, you'll be up and running almost immediately.
UHF: UHF is a good, affordable way to go. There aren't many VHF systems available anymore. If it is not UHF, it's probably a cheaper system.
Antennae Distribution System: If you are doing a permanent installation, an antenna distribution system can give you better reception, and clear up clutter around your receivers.
In General:
Brand names: I've always had great luck with Shure mic systems. Very good quality, very durable (especially when used by students who may take them for granted). Other brands are very good too. Avoid really cheap gear. I've always had great luck with Soundcraft, Yamaha, DBX, and JBL. Other name brands also make excellent gear. Ask other theaters around you what they've had good luck with.
Make sure you have a good audio designer help spec out the gear for your space. School districts often try to save $ by not hiring a good Sound Designer. In the long run, a good designer will usually help save the district $.
It's best if you can find a designer who does NOT work for a supplier. If you have a professional rep, stock or other professional company near you, that might be a good place to go for a reference. I have worked with suppliers that try to oversell for a space to make more profit. Also, avoid suppliers that haven't done permanent installs.
Ask people in your area who they would recommend, and get bids from several suppliers. Ask for references, and contact theaters where suppliers have done installations.
Use a local supplier: Mail order companies can often be cheaper, but if you have a problem, a local supplier will often replace or rent a replacement while your system is being repaired. Many local suppliers will also send a technician out to help troubleshoot problems, where if you buy from someone 2,00 miles away from you, you may be up the proverbial creek when issues need to be addressed during tech week, or the run of a show.
Digital Consoles: Digital consoles are more expensive than analogue consoles, but most have lots of features built in that make them actually cheaper than analogue consoles. Many have delay, reverb matrix, flange, feedback suppression, compressor/limiter, and many other features built into the digital console. Also, like a digital lighting console, you can record settings, which really simplifies running a show. Also, you can record parameters for different event that occur every year in your theatre. EG:
A. Settings for musicals (12 wireless mics, 3 boundaries, orchestra, playback, etc)
B. Stage Band (4 vocal, 4 for drum kit, keyboard, bass, woodwinds, brass, etc)
C. Assemblies: 4 - handheld wireless mics, playback, playback for projection feed
D. Orchestra
E. Choir (etc)
F. Straight Plays
Every time the space is used for a different purpose, you call up the settings, and boom, you're at a good place to start tweaking the sound.
Feel free to contact me if you have anything I might be able to help out on.
Hope some of this is helpful!
Bob Fowler
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Robert Fowler
Co-Developer
Interactive Educational Video, LLC
Chesterfield MO
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Original Message:
Sent: 06-05-2015 12:49
From: Rod Reilly
Subject: Mics
Before putting out the capital look at the true cost of ownership vs.cost of renting.
8 channels of Shure SLX will run you about $7,500-$9,000 with directional antennas and after market lavs or earsets (Acacia, Chameleon, Bodymics, OSP). Expected life, so long as the FCC doesn't change your frequency band again is 7 years
So annual capital amortization is say 1175.00
Repairs and maintenance is say $500.00
Annual cost to own = $1,675.00
Cost to rent $480 per week
if you have 2 shows per year across two week-ends each you will pay $1,200-1,500 in rent.
So you save money unless you have lots more shows (which also means more maintenance costs).
Other advantages of renting:
NO STORAGE
NO THEFT
ADJUST SYSTEM SIZE TO SUIT SHOW
NO WORRYING THAT THE FCC WILL MAKE YOUR SYSTEM REDUNDANT
For most schools, owning a multi-channel wireless system is like buying a car when you live in lower Manhatten and never really drive - it turns out that taxis and renatla cars will cost you way less with just a tiny bit of inconvenience - ignoring the fact that your car is probably park 6 blocks away and it's pouring outside.
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Rod Reilly
Somerset NJ
908-899-1277
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Original Message:
Sent: 03-13-2015 07:13
From: John Perry
Subject: Mics
When you say "microphone" I assume you mean the entire unit: mic, cable, transmitting unit. But all the answers only address the mic element.
What entire microphone combo do you recommend? And how much can we expect to spend? Right now I rent from a local business but I'd like to have some on hand and start to build up or inventory, maybe one or two a year.
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John Perry
Drama Instructor
Atherton High School
Louisville KY
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Original Message:
Sent: 03-11-2015 16:16
From: Ellen Starkey
Subject: Mics
I am looking for input about which mics everyone prefers for musical theater. I need mics that can stand up to numerous costume changes, extremely inexperienced performers, and just generally work every time that I need them to work. Like everyone, I have a limited amount of funding but please hit me with your favorites. Better to build up with good quality than to buy cheap mics that will not last or serve my purposes.
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Ellen Starkey
Drama/Vocal Teacher
Baton Rouge LA
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