What character has worn the most body mics at once? — Page 2

Elphabuff2- I remember reading somewhere that they used them to remind people that they are performers and that this is a show.

Hey

Well, the unmuting and muting is handled scene by scene by the mixing desk/computer, but the operator will be watching the stage very closely and if a character is singing to another character (who is not singing but is in the scene), then either itll be pre-programmed that the non singing character's mic is muted, or the operator will bring the fader right down until the non singing character is due to sing again.

When two characters are singing right in the face of each other at the same time, then the operator's task becomes incrediby difficult, but ultimately, the physics of sound dictate that there will be bleed into the other character's mic, because the mics used in theatre are omnidirectional (and therefore pick-up sound from every direction).

However, in some shows, the above problem is abbated with a complicated, but simple method of sound re-enforcement. The radio mics (and some of the orchestra) are split into different systems (A&B), so in a duet say, one characters mic will be in the A system, and one will be in the B system. This doesnt really stop the sound bleeding, but it does help abbate the phase coupling that happens when two mics and two singers are in very close proximity. This technique generally makes the sound clearer and less muddy in duet sequences.

Notable examples of shows that use A/B systems are 'The Producers', 'The Phantom of the Opera' and 'Brundibar'.

This particular problem is helped in shows where actors wear mics that are very close to their mouths (sonically better, but visually intrusive), because the mics become more directional, and therefore there is less bleed into other mics onstage. The most commonly used headband, or boom mics, are the DPA 4066 and 4065, and the countryman E6 & ISomax HS. Sennheiser MKE-2's are also often used in an adaptor that makes them into boom mics.

Updated On: 6/11/06 at 02:13 PM

Well I know that some shows will place the mic pack in wigs sometimes if the costume is tight to the body. As in the case of Passion, Mazzie wore her pack in her wig because they didn't want any visible wires due to the fact that she was naked. Jennifer Hope Wills said that when she was in Wonderful Town she wore her pack in her wig, and then in Phantom she wore it on her hip.

The is size is normally around the size of a deck of cards, correct me if I am wrong. That is the size of the mics I have used.

Performers who can't project and be understood in the last row of any theatre really ought to consider television or film for their careers or be embarassed that they aren't a real theatre performer.

Performers who can't project and be understood in the last row of any theatre really ought to consider television or film for their careers or be embarassed that they aren't a real theatre performer.

So almost everyone? Training has changed...and even if they do learn, they may lose that technique after a time because they become so used to mics. (NOTE: But they should always project somewhat.)

---

Updated On: 7/23/06 at 06:54 PM

LuPonatic - "forcing actors to "project" without microphones all the time can promote screaming"

Then explain why we are micing people who scream?

Also some people would be up ****'s creek without a mic. I am not trying to make this sound like a stab at you, but Patti was completely understandable during some dialouge in Sweeney.

"I am not trying to make this sound like a stab at you, but Patti was completely understandable during some dialouge in Sweeney"

What does this mean? The microphones are not muted for dialogue in Sweeney- i have the technical magazine article in front of me, and it is very detailed. If you couldnt hear the sound as coming from a speaker and not her, then its because the sound system is very comprehensively programmed, imaged and operated.

The microphones in musical theatre are on all the time- its the psycho-acoustics principle. The brain needs to hear a sound coming from a source consistently- not speakers for singing, directly from the mouth for dialogue. Carefull imaging and programming can make the design consistent enough that it will always sound like the sounds coming from the actors are coming from them.

Updated On: 7/23/06 at 07:01 PM

I have certainly never heard of Equity requiring mikes if amplified music is used. I am musical director at an Equity theatre, and I often use synthesizers and electric pianos. Obviously, the sound comes out of speakers. We have never used any kind of microphones for our actors. The theatre has a seating capacioty of 180. There are 11 rows of seats. Anyone who can'r project that far REALLY needs to get out of the business. Yet, I am constantly hearing of less-than-200-seat theatres using body mikes!

Who turns the microphones off when they go offstage for costume changes and things like that?

Updated On: 7/23/06 at 08:38 PM

^True. But I've heard it go wrong and the audience gets an earful! Bathroom breaks, swearing, farting...

---

back onto topic i reall that the phantom of the opera wears 3, one in his hairline ,one in the edge of the mask, and one over his ear.

as to the need for microphones, take a show like the wedding singer or rent- their band is electric guitars and synthesizers, it would be a moot point to try to try to sing over that

---

In Reference to the phantom- he actually wears two. Both over his left ear, usually extending about an inch following the line of the cheekbone (this is subject to the bone-structure of the actor though). This arrangement for the phantom wasnt always the case- until about 10 years ago, actors playing the phantom wore one over the ear and another (white) one in the place that a newsreader would usually wear one. The two mics over the ear format is the case in London and on Broadway, but some productions still go for the 1 over the ear and one on the chest. There have been occasions in the past when an actor has been wear two over the ear and one on the chest- this was the case in london for a while, but as with all things in a show, the sound design is adapted.
The reason why the phantom does not wear one further up his hairline (on the forehead) is because that would be far to close to the mask, and that would cause major reflections into the mic element, which would cause the sound to sound VERY odd. The over the ear position is not the most sonically advantageous, but sometimes compromises have to be made when there is an element of costume in the way.

"Who turns the microphones off when they go offstage for costume changes and things like that?"

In reference to this, it is all pre-programmed, and the board operator does not move the faders up and down to mute and unmute the microphones. The muting and unmuting is done in a pre-programmed order using the mute switch in each channel and the consoles automation system. The operator just needs to press the 'next' button to get to the next scene (incidentally, pressing the next button may also fire a sound effect or playback trigger as part of the cue). To make the task of mixing the show with such a large amount of radio mics, groups of mics are assigned to faders called 'VCA's' at the centre of the consoles. These arrangements may change during the show, so in say scene one, vca 1 may be for the band, with vca 2 for the phantom, vca 3 for christine and vca 4 for the offstage chorus. In another scene, vca 1 may be for the band, with vca 2 for raoul, vca 3 for carlotta, vca 4 for andre, vca 5 for piangi etc etc. This makes the task of mixing a musical easier, but overall it is not an easy task at all. There are so many input sources to keep and eye on, and keeping the balance between the band and the cast is a very difficult job, primarily because actors are rarely consistent- even if they have been singing a role for 2 years, their levels may change wildly during the week. During the show, the task if mixing is very thought and labour intensive- it requires intense contribution to keep all the levels constant, in line with what the actors are doing.

Some things to look at:-

http://www.cadac-sound.com/frameset.asp?P=products/j-type.htm
http://www.digico.org/DiGiCo-05/d5t.htm
http://www.yamahaproaudio.com/products/mixers/pm1d/index.html

These three sound desks are the most commonly used in professional theatre and on broadway.

Updated On: 7/24/06 at 04:19 AM