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Sound Reinforcement - Forums for Live Sound Professionals - Your Displayed Name Must Be Your Real Full Name To Post In The Live Sound Forums => Pro AV Forum => Topic started by: Kevin Esprella on November 15, 2014, 06:55:42 PM
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Looking to get some Lavalier for the work we do with theater performances and wanted to get some input.
We would be using the them with our Shure SLX kits.
I've been looking at countryman but can't decide on the b3 or b6 also trying to figure out which sensitivity I should get. I'm also open to other brands as well.
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We use microphone madness for theater. Why? They are affordable, sound good (not great), and are affordable enough that I don't feel bad charging a client for a mic they sweat out.
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Looking to get some Lavalier for the work we do with theater performances and wanted to get some input.
We would be using the them with our Shure SLX kits.
I've been looking at countryman but can't decide on the b3 or b6 also trying to figure out which sensitivity I should get. I'm also open to other brands as well.
I've had really good success with the B6. We put them over the top of the head just in the hairline facing down. That way the mic always follows the mouth no matter which way you turn your head and it's out of sight.
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I can recommend Point Source CR-8L. Last week I used its earworn cousin CR-8S and it was fantastic. Very sensitive and great fidelity.
They make an omnidirectional version (CO-8WL), but with possibility of several open mics, I'm not sure that's ideal.
-JR
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I can recommend Point Source CR-8L. Last week I used its earworn cousin CR-8S and it was fantastic. Very sensitive and great fidelity.
They make an omnidirectional version (CO-8WL), but with possibility of several open mics, I'm not sure that's ideal.
-JR
Omni mics in theatre are routine - it's common to have 1-5 principle actors on open mics with 20+ mics on in the ensemble... all at the same time. Reducing the ensemble levels (to compensate for the number of open mics) is part and parcel of mixing live musical theatre. Sometimes we build in those level changes with snapshots/scene automation and sometimes it's up to the show mixerperson to do it manually.
Directional elements are used in theatre, but they're not the default choice.
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Looking to get some Lavalier for the work we do with theater performances and wanted to get some input.
We would be using the them with our Shure SLX kits.
I've been looking at countryman but can't decide on the b3 or b6 also trying to figure out which sensitivity I should get. I'm also open to other brands as well.
I think the B6 is a very good microphone; the B3 has been the "budget" standard when "Sennheiser Mickey II/mickey gold/etc" were considered too spendy. If you're doing musical theatre get the least-sensitive models for 100% of your needs, and another 20% of the middle sensitivity to keep for actors with small voices. A singer with a big voice can overload the middle sensitivity and certainly would overload the most sensitive. A call to Countryman will be informative and helpful, they're great folks.
The Microphone Madness elements are "very good for the money." With the price point you adjust your expectations a bit and come away pleased with the balance of budget and tonal quality. A phone call to their office is also informative; they offer a couple of variations and modifications that are not on their website. I suggest getting a couple to try out, if you don't like them you can probably find willing buyers...
DPA is the 'big boy' standard of miniature mics, but you need a big boy budget. Very nice mics, though.