Traditionally, lavelier mics are the ones with clips to allow you to clip them on a lapel or collar. They are easy to deal with, but they have a problem in that the sound level and character of the sound will vary depending on the direction the actor is facing.

 

The current trend for theatre is to attach the mic to the actor's head. That way his voice stays at the same level no matter which way he turns his head. Hiding a very small lav in the hair or a in a wig or hat near the forehead is considered one of the best options. the same little mics can be taped to the cheek with surgical tape to get the mic closer to the mouth. You have to install the mic before the actor goes into makeup, because the skin has to be clean to accept the tape. They also make mics that clip over the ear and have a little boom to get the mic near the mouth.

 

The next thing is to be sure the mic takes AA cells instead of 9 volt batteries. 9 volt batteries are more expensive to buy, but even more important rechargeable 9 volt batteries don't last very long compared to AAs. Senheiser makes some good products, but there are many others. Don't go too cheap, and take care that no one sells you 700mhz units because they are not legal to use anymore. The FCC has hijacked that band and given it to others.

 

Another thing is to select diversity receivers These will have a pair of antennas and are much less susceptible to going in and out as people move around the stage.

 

Generally we use a sound system that is tailored to the performance space in an effort to keep the sound from the FOH system from getting to the stage and causing feed back. This means equalizing the system to reduce feedback, and using a system that is directional to cause most of the sound to hit the audience, and minimize the amount of sound that hits the walls and ceiling, as well as missing the stage.

 

 

Head mics are probably the best trade-off between sound and appearance.  I've used both head mics and the over-the-ear boom mics.  The boom mics are visible but easier for the actors to do makeup.  There are ear mics that cost $400 (plus transmitter) that are practically invisible.  I helped at a high school that used cheaper boom mics and they worked well.  This is what they looked like:

http://www.claycentraleverly.com/hs_happenings/archives/DSC08332.jpg - http://www.claycentraleverly.com/hs_happenings/archives/DSC08332.jpg

 

Anytime you run wireless mics you have to figure in a sound check before each one of the shows (about 2 mins per mic to check speaking/singing levels).  I've done sound on a dozen shows with 50 different actors.  Only one actor was ever consistent enough to pass sound check without adjustment.

 

Remember that sound levels are going to change during a performance, especially a musical, as the actor's voice changes.  This is more evident with younger actors.  They start off quiet and get louder as their confidence and voices get warmed up...and if you're doing a musical with a bunch of "belters" get ready on the slider.

 

Another suggestion, use a mixing board with mutes.  Leave the wireless mics hot the entire time.  Put a piece of tape over the On/Off/Mute button.  Nothing is more agrivating to a sound person than a mic with no signal.  Let the sound guy worry about the sound and the actors can worry about the acting.  Once the transmitter is stuffed into a pocket or "bra pack" they don't need to be distracted by it.

 

 

mj

 

Being able to operate nine to ten wireless systems simultaneously probably pushes you out of many entry level systems.  Also be aware that systems that claim "up to" a certain number of simultaneous systems are presenting a best case scenario and that existing wireless systems, other interfering RF sources, etc. could effectively limit you to fewer than that maximum number.  You really should do a frequency study for your location and intended use before purchasing, some of the manufacturers offer tools for this online or maybe the party you'd be purchasing from could run a study for you.

 

Antenna and power distribution can also become a factor with that quantity of systems and you may want to consider also including a couple of antenna/power distribution units to allow all the receivers to use the same pair of antennas.

 

Wireless mics are not usually a good place to cut corners.  There are plenty of inexpensive wireless systems out there but they typically do not offer the reliability, durability and performance required for theatre applications.