The Six-Minute Water Scene that Put Point Source Audio IP57 Mics to the Test

Armando Vertullo is something of a quiet visionary in the European sound design world. Behind the scenes, he champions the most reliable and cutting-edge solutions budgets will allow—always with an eye toward elevating audio standards, especially for American blockbuster films, live musicals and Broadway productions reimagined for European audiences.

Armando’s introduction to Point Source Audio microphones began while sound designing a live musical production of Mary Poppins in 2018. He needed a mic that could withstand the intense sweat generated during the production’s demanding dance numbers. Through AudioLink, he discovered Point Source Audio’s IP57-rated lavalier mics—and he’s never looked back.

One of Armando’s next musical theatre gigs was Singin’ in the Rain. He knew exactly how to handle the full six minutes of singing directly under running water: he equipped the lead actors with the SERIES8 omnidirectional lavalier mics. “Omnidirectional because the sound is more natural, more spherical. It’s what the human ear expects,” he notes.

A New Standard for Natural, Emotionally Resonant Sound

For all musical theatre productions, Armando’s first priority is to deliver the most natural-sounding, emotionally resonant experience possible. “Audio is naturally spherical,” he explains. “And in live musical theatre, you need to replicate that sphere as much as possible.” For him, miniature lavaliers that are easily concealed and visually unobtrusive respect the aesthetics of the production and support the emotional intention of a scene rather than distracting from it.

That philosophy is reflected in major productions at the Teatro Nazionale in Milan. Armando’s most recent challenge came with Flashdance Il Musical and its notorious “Wet Chair Dance.” In an earlier staging of Flashdance, the live audio was distorted and microphones routinely failed after repeated exposure to water, forcing engineers to rely on pre-recorded tracks. Armando proposed live audio with Point Source Audio’s new SERIES9 mics for the 2025 production of Flashdance —and this time it would be distortion-free.

Along with the same IP57 rating Armando has come to trust, the new lavalier delivers a substantially higher max SPL and heightened sensitivity. Already one hundred performances in, Flashdance Il Musical is set to tour in 2026 using the same live audio setup for the Wet Chair Dance.

The Right Mic Placement Is Part of the Story

For live theatre, Armando prefers to conceal lavaliers along the hairline. “Sound design should be part of the storytelling,” he says. “Respect for the audience is essential. Whether the time period is the 1970s or the 17th century, they deserve to be fully immersed in the story—not focused on technology on actors’ faces.”

A lavalier placed farther from the mouth can introduce EQ challenges, but skilled live mixers welcome the trade-off because the audience experience is far more authentic. Armando acknowledges that boom placement can be easier for engineers. However, the convenience isn’t worth compromising the connection between performer and audience. “Human beings don’t talk directly into each other’s ears,” he explains. “When a mic is too close to the mouth, the harmonic content becomes unnatural. It’s like someone whispering in your ear for two hours. Using lavaliers at a natural distance makes the sound more acceptable and believable.”

Musical Theatre: The Pinnacle of Sound Design

Musical theatre represents the pinnacle of the craft for Armando. “Once you experience it, you can’t go back. It’s like tasting the best whiskey or dark chocolate. I feel it’s the most complete art for a sound designer.” He enjoys mentoring young sound engineers and empowering a new generation that shares his passion for continuous improvement.

Speaker placement, he notes, is always designed in relation to mic placement to minimize feedback and maximize emotional impact. By working with the harmonic characteristics of the human voice rather than fighting them, his team can position actors remarkably close to the PA system without generating feedback. “Loudness is part of emotional storytelling,” he says. “But dynamic contrast matters more. You don’t need to hit 99 dB constantly. Sometimes the power comes from how you build into the moment.”

About Armando Vertullo

Armando Vertullo’s extensive sound design credits include musical theater productions such as Dirty Dancing, Pretty Woman, Ghost, Next to Normal, Newsies, Jersey Boys, West Side Story, Footloose, The Bodyguard, Mary Poppins, and Singin’ in the Rain. He brings deep expertise in the latest audio technologies and a commitment to designs that meet both aesthetic and budgetary goals. As the owner of Milan-based ArtWise Production, he leads a skilled team of engineers delivering the highest standards in technical solutions for theatrical, musical, and live events.