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[Rory Maguire]

I've had much better luck with Dpa 4066's.

I've had the same experiences. I do most of my work operating theatrical shows, and the DPAs win hands down every time. Easier to position, and they sound fantastic!! I've found with the e6s, when you put them on a louder singer, they tend to break up pretty nastily and they don't seem to be able to take the same SPL as the DPA stuff.

While some directors don't like the look of the DPAs, so we are often getting the loose ones (No headbands) and rigging our own, discreet ways of mounting them!

I actually spent a full day this week, building mics for a show going in next week! All DPA stuff again.

[Brian Ehlers]

I'm another fan of the DPA 4066.  But I will point out one downfall:  since the boom extends from under the ear instead of from on top of the ear (as on the E6), it's vulnerable to contact noise with dangling earrings.  This is dependant on the size and shape of the ear and earring, of course.

If the noise occurs, it's not that loud or objectionable over the PA;  I've never had anyone even mention it let alone complain.  But I can hear it.  And it's more noticable on the recording.  It makes sense to keep one or two E6's with earclips handy in case your talent shows up wearing dangling earrings.

[RaySoly]

I've had the same experiences. I do most of my work operating theatrical shows, and the DPAs win hands down every time. Easier to position, and they sound fantastic!! I've found with the e6s, when you put them on a louder singer, they tend to break up pretty nastily and they don't seem to be able to take the same SPL as the DPA stuff.

While some directors don't like the look of the DPAs, so we are often getting the loose ones (No headbands) and rigging our own, discreet ways of mounting them!

I actually spent a full day this week, building mics for a show going in next week! All DPA stuff again.

actually, I've been touring pretty much all over Europe and the middle east with a"gypsy" group and had the chance/mishap to try just about anything on the singers (they are screamers)..........E6, shure, DPA  etc.....but, was pleasantly surprised by the sennheiser HSP series......(I 'm now using HSP4 ....i.e. directional) for us, that beats all others "hands down" it always sits perfectly on the ears, boom is always in the proper axis towards the mouth, it doesn't turn (like the dpa or shure), the back of the boom doesn't get caught in the performers hair and pushed up their noses when they look up or under their chin when the ladies look down..... there is only a very small flexible area to fiddle with ......so repeated placement on the performer is the best i've seen in any of the pro stuff the capsule is always in the right angle to the mouth and they can't turn it!!! up or down..perfect every time......they sound great and can take a spl pounding......but, nothing beats DPA 4099 on the accordions though.......

Ray

[alex champagne]

I need to buy a couple Countryman E6 headset mics. These will be used primarily for sound reinforcement at live events. Our first outing with these will be used at a show with a big name comedian.

Are you guys using the omni-directional or the directional E6? How about the I-series? Any help is appreciated. Thanks.

I've used the E6 Omni a number of times, and while they are a pain to fit, they are a great sounding mic.  I find some double sided medical tape works well to keep the mouthpiece positioned correctly, and haven't had any complaints from performers about having a piece of tape on their face, but perhaps I have just been lucky.

[Robin Parker]

I need to buy a couple Countryman E6 headset mics. These will be used primarily for sound reinforcement at live events. Our first outing with these will be used at a show with a big name comedian.

Are you guys using the omni-directional or the directional E6? How about the I-series? Any help is appreciated. Thanks.

After a quick scan of all of the replies - I’d like to add the following... from a performance point of view, it could be argued that the Countryman set the bench mark for quality – I knew Carl Countryman personally, and was one of the first dealers on the east coast to represent his products. The Isomax IV today remains one of my personal favorite gooseneck type microphones… but….

Virtually every customer that purchased an E6 has complained about the ‘fit’ and comfort… to this point several years ago, I conducted my own test of wearing an E6 for almost 12 hours a day, 4 days straight at a trade show and my conclusion – unfortunately – was “fail”…  After possibly dozens of fittings and adjustments, the E6 just simply would not stay in place. I wasn’t doing cartwheels or aerobics or even marching around on a stage… just sitting in a booth and moving around easily and still, I had to give the E6 a failing grade.

My search for the best possible headword mic brought me to the Australian made Da Cappo line All I can suggest is that before investing in any new mic, please take a look at these products, you may be pleasantly surprised.   

[Todd Shumansky]

Thanks to everyone for the replies. I appreciate all of the real world info. I ended up buying two of the E6i headsets. The show we need these for will not accept any substitution for the E6. Hopefully they last for us. Thanks again for all the help!

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