Sound Stability for the Stage: Try These Techniques Next for Clear Sound for Your Actors
Whether you're putting together a stage play or an active musical theatre production, body mics play an instrumental role in capturing sound for your production. Sound technicians often find themselves considering many techniques to reinforce sound. Here, we provide a primer on microphones, and tips you'll need to achieve proper mic placement.
Picking the Best Mics for Stage Plays and Productions
Microphones, which produce the first signal in the audio chain, are the cornerstone of any sound technician's tool box. Omnidirectional and cardioid microphones are both used in stage plays, but each have distinct characteristics.
An omni microphone captures sound equally from all directions, and are generally easier to place on an actor and often are described as having a more natural “sound”. Therefore, it is highly popular for theatre performances and capturing the overall atmosphere of a stage.
Cardioid microphones are directional and capture more sound from the front (on axis) and less from the sides and rear (off axis). Therefore, they are often preferred for isolating individual performers and reducing feedback on stage. Cardioid mics typically require a windscreen because they can be more susceptible to wind noise from actors moving across the stage.
Determining Mic Placement for Stage Actors
Microphone positioning is key. A consistently placed mic produces consistent sound. The kind of microphone chosen significantly affects placement options. Here is a breakdown of several mics popular for stage and theatre:
These mics are equipped with double ear hooks and the mic can be placed on either side of the actor's face. They offer flexibility but must be adapted to individual facial structures and head size. And ideal mic placement is at the "corner of the smile": this is where the mic meets the corner of the mouth when the actor smiles. This placement mitigates plosives “pops” and breath sounds.
These mics consist of a single earhook and boom arm that extends from the ear down the side of the face. They tend to be more visible for that reason compared to a headset microphone which comes across the jawline. The earpiece hooks over one ear. For active performers, the boom arm may need to be stabilized with tape, or by installing an earhook adapter for the other ear.
Known as an "ear rig", this style of mic was traditionally handmade to conceal a microphone on a stage actor. Modern on-ear mics such as EMBRACE Microphones can be easily and quickly secured to the ear like a headset. While on-ear mics are further back from the mouth, they are generally still closer to the mouth than a lavalier mic worn at the lapel. The sound stays consistent as the actor turns their head because the mic moves with the mouth.
These lightweight alternatives offer excellent flexibility for discreetly positioning them along the hairline, middle of the face, or even along eye glass frames. The challenge with lavalier mics can be the distance from the mouth, and securing them in place on an actor.
Securing Microphones on Stage Actors
Microphone stability is crucial. Whether you're using a headset frame or a flexible lavalier, the mic needs to remain securely attached to the actor. Typically, taping the microphone and cable is the go-to method, but there are several other techniques you can consider:
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Find a good fit for your actor by adjusting the headframe.
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Lock the microphone boom in place.
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Secure earmounts properly behind the ear.
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Attach the microphone with some slack in the cable to accommodate head-turning.
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Apply medical tape to the mic and or cable to secure. Always clean the skin with alcohol pads before taping for facilitate a secure adhesion.