# Taping Headset Mics



## Schniapereli (Nov 3, 2008)

So, just recently in two theatres, I saw the sound crew take headset microphones, and tape them to the faces of the actors. (I think they were AKG. Something like the HC 577) They would put on the headset, and then they would take the mic arm that reaches out, and tape it down to the face. There were a few actors without tape on them and some with a lot, but the crew was doing it.

Weren't these microphones designed to stick out without having to be taped, and don't they sound better when used like that? Doesn't that ruin the acoustics, and look stupid while just making more pointless work?

Is there any good reason at all for doing this?


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## howlingwolf487 (Nov 3, 2008)

Maybe the mics wouldn't stay on the actors properly, and the tape was used to hold them in place more effectively?

If you mold the headset part properly, it should not move around at all, and will not be a problem unless the mic is hit or snags on something.

Pretty much, however, headset mics are lavs on a short boom (which is a particular length depending on its intended placement), so I wouldn't think that taping the mic in place would present any large problems. The only one I can think if might be movement noise from the boom being stiff, as compared to a flexible lav-like wire (microphonics, maybe?).

I guess we'll see what others have to say.


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## Schniapereli (Nov 3, 2008)

So, it should just be molded properly? I know they weren't broken.

I am thinking taping it down would cause bad acoustics because the element ends up by the corner of your mouth, and you wouldn't tape a regular lav like that.


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## howlingwolf487 (Nov 3, 2008)

Schniapereli said:


> I am thinking taping it down would cause bad acoustics because the element ends up by the corner of your mouth, and you wouldn't tape a regular lav like that.



Well, bad acoustics are usually caused by not enough money, not enough knowledge, and a lack of involvement of both the end user(s) and acoustical engineers.

Semantics aside, as long as the placement of the element is secured, there will be a number of benefits: plosives will be decreased, GBF can be increased, and a more consistent signal level from the source (the talking head, in this case). The AKG mic element are omnidirectional, which can make it very touchy when it comes to GBF. Maybe, through experimentation, the audio crew found more consistency from show-to-show my that method.


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## Hughesie (Nov 3, 2008)

I think that this has already come up before but you maybe refering to another type of microphone, neverless here is the previous thread
https://www.controlbooth.com/threads/spirit-gum-for-mics.6077/


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## jkowtko (Nov 3, 2008)

If they are using Countryman E6's, or something that just loops over one ear -- those mics were really made for tradeshows, lectures telephone operators, not theater, so they can flop around a bit under the rigors of a musical. For those I wouldn't be surprised at taping.

For dual ear hanger mics like the HC 577 or the DPA 4066, those shouldn't have the flopping problem. As described above, they should be fitted properly so the mic doesn't have to be taped down.

As for effect on sound, does anyone know if cardioids will have a problem if taped against the face? I know my omni B3s don't, but I've never worked with a cardioid lav.


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## howlingwolf487 (Nov 3, 2008)

jkowtko said:


> As for effect on sound, does anyone know if cardioids will have a problem if taped against the face? I know my omni B3s don't, but I've never worked with a cardioid lav.



I would assume that it would be a similar effect to cupping the mic.

Microphones patterns are made by the advantageous use of phase. The microphone element picks up the sound from whatever it's pointed at; if any off-axis noise gets into the diaphragm, it will also enter, out-of-phase, through the phase holes on the underside of the diaphragm, thus canceling out.

+1 (positive polarity) PLUS -1 (negative polarity) = 0

Preventing noise from entering out-of-phase will decrease, if not eliminate, the mic's cardioid pattern; though, realistically, it will only make it omnidirectional at certain frequencies due to only some of the phase ports being blocked (and even then, any feedback due to this could change based on a number of environmental factors).

Manufacturers spend a lot of money and research developing smooth off-axis responses and even pickup patterns. Same goes for loudspeaker systems (aka speaker cabinets).

Anyways, those with more knowledge/experience, please correct, otherwise, read up!


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## jkowtko (Nov 3, 2008)

Hmmm ... although in these demo pics of the Countryman e6i, it shows the mic element pretty tight against the face. So maybe these cardioids have already been tuned for boundary effects.


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## howlingwolf487 (Nov 3, 2008)

I have always situated the E6 mics that we use so that they sit close to the corner of the mouth, where there is usually a little indentation. The mics don't touch the skin, or at least I've never noticed. We've got a big production going on next week; I know all the main cast are on E6's, the rest are B3's, floor mics, and hanging mics. I'll see if I can rustle up from pictures of placement.


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## Schniapereli (Nov 3, 2008)

The mics do have the dual ear hooks, and now I remember they also had wind screens on them too which I thought was a little odd, since the microphones were also out of the way of their breath, and indoors.

I talked to some of the actors too, and they said the tape was annoying, and the techs didn't look like they knew a lot about what they were doing...

I can't tell you much about the sound, since I was almost on the front of the stage, and not in an optimal listening area, but they did sound a tad bassy to me.


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## BillESC (Nov 3, 2008)

Whether or not the techs know what they are doing, ANYTIME you can have a mic element at a constant position relative to the actors mouth, half the battle is won.


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## Schniapereli (Nov 3, 2008)

So, since I have never personaly used one of the wires, or felt its strength, are they usually a little too flimsy to stay at a solid, consistent position, or if any of you use them, do you usually resort to other methods than dealing with the wire?
(tape or other?)


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## howlingwolf487 (Nov 4, 2008)

The booms on headset microphones are bendable, but it usually takes a little doing. The key to bending the boom correctly is to do it in short, small steps, making an arc that positions the element close to the corner of the mouth without wind noise/plosives from the actor/talent.

Remember: every time you halve the distance to the sound source, you gain around 5dB-6dB of level.


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## GreyWyvern (Nov 4, 2008)

howlingwolf487 said:


> The booms on headset microphones are bendable, but it usually takes a little doing. The key to bending the boom correctly is to do it in short, small steps, making an arc that positions the element close to the corner of the mouth without wind noise/plosives from the actor/talent.
> 
> Remember: every time you halve the distance to the sound source, you gain around 5dB-6dB of level.



That's exactly right. The Countryman mics are completely bendable to about any shape, although I wouldn't recommend playing with them like a paper clip. It does take same time and patience, but you can mold the mics pretty much to the exact shape of the ear and face to the point that it almost isn't noticeable to the person wearing it.


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## jkowtko (Nov 4, 2008)

You just have to get them tight around the ear, otherwise they'll start to flop around. At the local high school where they just purchased a bunch, the mics booms looked like they were getting bumped 1-3" off the face. I think that's why Countryman came up with the dual-ear design.


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## jowens (Nov 5, 2008)

We tape... We use Countrymen, and the point source co-5's (which for high-school is what I think I will stick with... best bang for buck)
In a H.S. Drama or Musical there is too much moving around - taping about 1/2 way down the boom helps to keep the element where you want it, without jamming the element on the face. 
The first time you watch a kid dancing with a headset microphone hanging around their knees is the last time you will let them go onstage without tape.

None of the headset models I've tried _really_ hold their shape that well, without really working it...

Good luck!
~Joe


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## zuixro (Nov 5, 2008)

We have to tape our mics down. If anything it (hopefully) keeps the actor from screwing around with it and taking it off (knowing that they can't put them back on by themselves, it doesn't always work). We try to form the mic to their face, but it doesn't usually work very well. On our last show, during first dress, we didn't have any tape, so we sent them on without it. Most of the mics were either removed during a costume change, or came off while dancing.


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## lieperjp (Nov 6, 2008)

We tape some, especially for musical where the actors are [-]flopping about on stage[/-] dancing, and sometimes the headset is knocked askew. Just a little bit of tape makes sure we don't have one go flying! Mostly for the actors that have moves where their body is upside-down.


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