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[TomBoisseau]

Anyone here have any experience with the Acacia LIZ Roadster headworn microphones sold by Sweetwater.  I think I will be able to get my hands on one to try for an afternoon, but that might be insufficient not being able to really put it through it's paces.

Here they are:
https://www.sweetwater.com/store/search.php?s=liz+roadster

Any input would be appreciated.

Tom

 

[Russell Ault]

Anyone here have any experience with the Acacia LIZ Roadster headworn microphones sold by Sweetwater.  I think I will be able to get my hands on one to try for an afternoon, but that might be insufficient not being able to really put it through it's paces.

Wow, that looks a heck of a lot like an Apex575, execpt that the Apex comes with 4 differently-terminated cables (instead of having to choose just one) and costs a little more than half as much ($120 CAD).

If it is the same mic (which, I mean, it might not be, but it sure does look identical) I've used lots of them, specifically in high-energy rock musicals in hot venues with no A2. They sound...okay. Not great, really (expect to use a lot of EQ) but manageable. The second ear is removable, and I've never used it. I don't trust earsets on their own, so I tape them on.

Why bother, then? Well, they are cheap. More importantly, though: after over 100 performances I have literally never had a single one sweat out. Ever. Give me the sweatiest actor with the most choreo in the hottest venue and I'll give you a not-very-good-sounding mic that will sound exactly the same at the curtain call as it did at the half. Sometimes perfect consistency and reliability trumps perfect audio quality.

-Russ

[Mike Caldwell]

Those were the house brand headset mic of the Florida company I can't remember the name of that Sweetwater acquired a few years ago.

I remember looking at them in the original companies catalog and thinking Alvex or Apex were the OEM.

[John P. Farrell]

The second ear is removable, and I've never used it. I don't trust earsets on their own, so I tape them on.

Why not use it?  I love the dual ear approach, less tape and far more consistent placement.

They are the same as the Apex, which I love for high school and semi pro theatre.  Do they sound like a D-Fine?  no.  Are they pretty good?  yep, and I don't cry if they get stepped on or abused by amateurs. 

I have a couple dozen Apex I rent out a few times a year to local high schools, etc, and they have been a great purchase.  The bonus is it keeps the DPA's fresh for the high end corporate events. 

JF

[Russell Ault]

Why not use it?  I love the dual ear approach, less tape and far more consistent placement.

Personally, I don't trust a boom mic on a musical that doesn't have at least two pieces of tape on it (under the ear and back of the neck, with a third in front of the ear for really intense shows). The second ear means more fighting with hair, and it's even more visually obtrustive (although admittedly that ship has largely sailed), not to mention another part to adjust during mic fitting. Of course, once it's been taped I don't tend to have placement consistency issues (although for my purposes I've always wished that the wire was stiffer).

-Russ

[Eric Snodgrass]

I've used the Samson SE10 earset mic for years.  For a dirt-cheap single-ear mic it's great for low-budget musical use.  They come with a very clever system to hold the mic on the ear - a rubber-like band that cuts across the ear loop and sits behind the earlobe when worn.  This keeps it in place really well - only a single piece of tape is needed to keep the mic on a performer's head when they have multiple costume changes.  The mic cable detaches easily from both the connector and the earset for easy swaps.  They also come with multiple adapters for different manufacturers' pack connectors.
Of course at this price point it does need EQ to make it sound decent, but it's definitely usable. 

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