Theatre headset mics can be a bit of a minefield. People have different ideas of what works best, and what doesn’t. As with most things to do with sound, the primary and most important tool is your own ears. Equipment is important, but medium quality equipment with a good quality sound engineer is a much better combination than the best equipment with a mediocre sound engineer.
A couple of things to bear in mind while using headset microphones:
– Placement is key, people have different sized heads, different sized ears, different sized mouths. The ideal placement for our head microphones is approximately 1-2 inches from the corner of the mouth, out of the path of air coming from the nose.
– Damage to headmics is usually caused from fitting and removing the units, they tend to be fine once a user is wearing one comfortably.
– Make sure when fitting a headset mic that both the headset and belpack are securely fixed. Some people prefer to wear mic pack in a pouch and this is also fine and often a better option if people have lots of costume changes. However we do find that our beltpacks work just fine when clipped on to belts / bra straps / pockets.
– The easiest bit to damage on a headset mic is the cable where it joins the connector, and where it joins the head mic. Ensure that strain on these parts is minimised as much as possible to mimise the chance of any problems.
– With EQ, our beltpacks have built in optional LF roll off, we recommend turning this on as it is unlikely to affect any vocal reproduction but will minimise the chances of feedback from the microphones. In our experience the headsets tend to benefit from a small HF boost to maximise vocal