Microphone Placement Techniques for Theatre
So you want to know how to attach a microphone to an actors head, and make it invisible? Where are the mics? It seems to be the most frequently asked question, next to could you turn it down, or could you turn it up. Here’s a little guide that may help you understand how mic rigs are built and used.
First the supply list:
- your favorite miniature microphone (Sennheiser MKE2, DPA4060, Countryman B3 or B6 or what have you) I prefer to start with mics that are light flesh tone, because it allows the greatest number of possibilities when it comes to coloring them to match their surroundings.
- 1/16″ round elastic. Black and white Once again I prefer to start with white and color it as needed. In lue of RIT or some other dye, we have used 10 tea bags (regular Lipton, not the fancy herb stuff) and a bowl of hot water to darken the white cord to a light tan.
- Black and Brown toupee clips, assorted sizes. Although we use more of the small size than any other.
- Art markers. Assorted skin and hair tones. It’s usually good to have several shades of brown, black, grey. We also have some browns that skew towards red. We use Prismacolor Art Markers with DPA microphones, but have found that the Prismacolors don’t work as well on Sennheiser and Countryman mics. We have started to use Zig Painty’s on the Countryman mics. the color is a little shiny compared to the Prismacolors, but it lasts longer on the Countryman. While the color doesn’t last forever once applied to the mic wire, it’s about the best we’ve found. I have also tried shoe paint, with varying success. No matter what you choose, it is an ongoing art project to maintain mics that hide.
- Flexible super glue. (Miracle Glue, Foam Adhesive)
- Floral wire – small gauge, solid wire
- Moleskin or fabric surgical tape
- Hellermann Tool and Hellermann Sleeves or surgical tube.
Ok, now it’s arts-and-craft time. The process can be time consuming, and probably should be undertaken well before the half-hour call. As every actors hair and skin color is different, you have to start with the actor and samples of the various coloring options at your disposal. We have colorized a broken mic wire with all of our art marker colors, so we have a color template to use for comparison purposes. We have a couple of minutes with each actor to start, where we do a quick color match using the color template wire. We also find out if the actor has a preference as to using elastic or clips. Not that they will always get what they want, as there are other factors that determine the form of the final rig. We also try and get some rough measurements. The most important measurement is Front center of the forehead to edge of hairline on the back of the neck. This may be different for a clip rig as opposed to an elastic rig. It’s also easiest to use the actual mic to do the measurement. Hold the mic where it needs to be and stretch the wire through the path it will follow, and mark the location of the rear hairline on the mic, that way you know how far to color the mic wire to match the hair.
Elastic Rigs (Halo)
Halo rigs are by far the easiest to make and the easiest to put on. They can be hidden quite effectively if colored and fitted correctly. If done improperly they end up looking like the actor is wearing a hair-net. Halo rigs don’t work for everyone, the hair line has to be such that the mic wire and elastic have a place to hide, and aren’t stretched across the forehead without the cover of hair. Halo rigs can be difficult to hide properly if the actor has a receding hairline or a “widows peak” as the wire will want to run across the forehead. Bangs are also very helpful in hiding the head of the microphone.
The photo to the left shows an uncolored halo rig. The elastic is tied to the mic wire just behind the head of the mic, and again several inches down the mic wire resulting in a circle that can be placed around the actors head, with the mic in the center of the forehead at the hairline, and the mic wire trailing down the middle of the back of the actors neck. We use a bowline knot with a half-hitch to secure the elastic to the mic wire. It holds well, and before it’s tightened down can be slid on the wire to get the position correct. Care should be taken not to make the knot too tight, as that can be damaging to the mic wire. Sometimes a drop of super-glue on the knot can save re-tieing knots that have come loose. Use your best judgement with the glue, it can create problems of it’s own.
The photo to the right shows a halo rig on an actor. The photo was taken with a slightly upward angle as to show the microphone. From a forward angle the mic head hides behind the actors hair. In this case care was taken to arrange the wire in such a was as to weave it through the actors hair leaving only the head of the mic protruding onto the actors forehead.
This photo shows the same actor from the side. Notice the mic wire is colorized to blend in with the actors hair color, making it very difficult to see, even close up. From stage, this microphone completely disappears.
Here is a shot of another halo rig. This photo was taken looking at the side of the actors head to show the microphone head extending down the forehead and being obscured by the actors hair. Notice the mic wire to the right has not yet been properly dressed through the hair.
The Clip Method
Toupee clip rigs can be used to blend into the hair when halo rigs are not an option. Some actors prefer them to the elastic rigs, however the clips can be hard on the hair and end up pulling hair out, leaving thin spots unless care is taken when removing the rig. Clip rigs are time consuming to build. Attaching the elastic to the clips and threading the mic wire through, as well as getting the clip placement correct for the application is once again a trial and error proposition. 
Here is a picture of a clip rig. In this instance we were able to use a black mic and black clips, no extra color was used. Notice the head of the mic, a Hellerman sleeve is placed just behind the mic head to minimize any sweat that might run down the mic wire.
This is a close-up shot of the toupee clip with the elastic tied between the two holes on either side, and the mic wire threaded through and wrapped around the elastic.
Here is a photo of the rig in the actors hair. The arrow points to the clip hidden in the hair. Once again, this rig completely disappears when viewed from the stage. This photo is taken from straight on. This actor has a hair line that is ideal for this sort of placement. The mic sits past the crest in the actors brow, placing the mic on the front of the actors face, not the top of their head.
Here’s a photo of the back of an actors head, showing the mic wire and toupee clip holding the wire in place. In addition to the clip, a piece of surgical tape is used on the back of the actors neck to provide additional adhesion.
The Ear Rig
I am not a fan of the sound of the ear rig, but sometimes it’s the only option. 
Here’s a photo of an unfinished ear rig. It is a piece of coat hanger bent into the correct shape. The mic wire, and a piece of floral wire and the coat hanger are held together with Hellerman sleeves. A little moleskin or fabric surgical tape covers the Hellerman sleeves, to provide a little comfort for the actor. 
Here’s a closeup of the elements inside of the Hellerman sleeves. From left to right, you can see the mic wire, the floral wire, and the coat hanger wire. I don’t have a picture of one of these rigs on an actor. Notes on painting: This is camouflage. In the hair, using color that’s just a little darker is easier to make disappear. Military camo is multi color, and multi pattern. Varying the color a bit usually gives better results than solid colors. It’s all about trial an error to see what works and what doesn’t. If your trying to hide a wire across open expanses to flesh (down someone’s back for instance) generally going just a bit lighter works best. Once again, trial and error.
Notes on maintaining rigs: Mics don’t last forever, and the knots, elastic, clips get old and colors fades. Be sure to write down what works for each actor, and all the parts you need to build each rig. For the principals roles we generally build 2 for each of them so that if one breaks, we have another ready to go. Building a new rig is just to time consuming and tedious to have to do it at the half-hour or worse during a performance.
Notes on placement: Here’s a can of worms. In an ideal situation, the sound designer would have absolute say over mic placement, but that’s not how it works. I prefer the center of the forehead, provided the shape of ones brow allows the mic to sit on the front of the actors face and not the top of their head. Of course, the use of hats in the production could influence mic placement, as the sound produced with a hat tends to be hollow and loud. If an actor has a lack of hair, perhaps the only option for unobtrusive micing is the ear rig.
Be sure to check into the use of rechargeable batteries for your wireless mics. Batteries and Wireless Mics and Recycling
This article was published in the January 2007 issue of Stage Directions magazine.
Comments on Microphone Placement Techniques for Theatre »
There was question about how much mics cost. The original comment was lost, but I decided to post a response.
Miniature microphones like these can run anywhere from about $150 to $600 depending on the manufacturer.
What about battery pack location and size? How would you do something like “Joesph” where some characters arent’ wearing shirts?
There are a couple of things you can do. It generally isn’t a problem to place the transmitters on the actors back under the waist band of the pants, or have the wardrobe department modify the dance belts to contain a small pouch on the back. Running the wire up the actors back requires careful painting and clever use of tape. Check your work by looking at it from about 5th row or so. Another option is to mount the transmitter in a wig, hat or any other head piece that is large enough to accommodate it.
Obviously, the smaller the transmitter the easier it is to hide. Several companies manufacture miniature transmitters, although you will generally pay a premium for the form factor.
I’ve got actors mic’d with clip on microphones (like for public speaking) with the mic on their shirt collar. When they raise their arms and the collar raises to their Adam’s apple, the sound level pegs. I’ve been orienting the microphone on towards the actors neck. We are in mid-production so I don’t want to do any major changes to the mic placement but could use any advice.
Hello Dave,
If you aren’t in a position to get the mic onto the actors head, the changing levels are something that will have to be dealt with at the console. You’ll want to set the input gain so that when the actor has his arms raised, the channel is not clipping, then ride the fader to obtain a consistent level.
If the show is scripted you will know where the actor will be making such gestures and be able to play the console to alleviate the excessive level. You may also be able to speak with the director and/or the actor an have them gesture differently, or smaller. If the event is unscripted the engineer will have to pay close attention to this particular actor and anticipate problems. Theatre mixing can be very much about maximum fader movement.
Do you know of any professional type transmitter holders (body) for these mikes?
Hello Kay,
Every production has different needs. Generally, we will ask the wardrobe department to hep us with making the belts. They have detailed size information on the actors. Sometimes, as needs dictate, pockets can be sewn inside the garments. Other times it makes sense to put the transmitters in wigs or other head pieces. You may be able to find a rental house or sound shop that has mic belts to sell, but your best bet is to have them built for the production.
Great article. Is there a source to purchase halos or clip rigs?
Thanks Norm,
Most of this stuff is DIY. However, some of the sound shops that service Broadway have metal wire or plastic ear pieces that work as starters for an ear rig, but they still need treatment to be usable on stage.
I am wondering how you managed to keep the microphone element centered and pointing downwards when using the halo rigs. I find they tend to pull to the side.
Thanks,
- Mike
Hi Michael,
One has to keep an eye on them, but it doesn’t make too much difference if you are using omni-directional microphones. A little floral wire tied into the knot also make it easier to get the mic to sit where you need it to.
Hi there, I was wondering how you would go about micing a person who is bald with the halo technique, or would you utilize some other method for stage micing? I am in a position where my actor cannot wear a wig. Any ideas?
Thanks!
I am interested in the Hellerman Tool and sleeves. First, where do you obtain these products, and second, what sizes of sleeves do you use and how do you produce them for ear clips.
Thanks,
Jan
Hi David:
Generally speaking, I would first try an ear rig for an actor without hair. The halo will usually be very obvious from all angles, where an ear rig can only be seen on one side, and can be painted the same color as the actors skin. If the person wears eye glasses, you could attach the mic to the arm of the glasses and get excellent placement out by the actors temples.
Hello Jan:
There are links to a source for purchasing Hellermann tools and sleeves in the article above.
As for sleeve size, start with H15-3/4 That will work for most mic rig applications. You might step up a size for building headsets, depending one the size of the structure wires you are using.
what if u have already bought all of your microphones for the cast and they are black. I need to havae them halo mic’d. how do you go about coloring the mics??
just stumbled across this – this is a great post, thanks. A couple of questions if you have time?
First a little background – Working at a community theatre with a limited budget, with a mix of actors, some of whom project, some do not. There may be leads in musicals who don’t project well. Typically use a rock style band, either in the pit or center upstage, ordinarily amplified, but not necessarily running through the house. I’m the drummer, btw, but have basic sound reinforcement and mixing competency. Soundguy has limited knowledge and I’m trying to fill in the gap.
We ordinarily use 3 pzm on the proscenium floor, 3 overheads dropped from the fly, and a half dozen or so lavalier mics, mounted either to lapels or ears. The lavaliers are ordinarily passed between actors, get cords beat up, pop and crackle, etc.
So the questions:
1 – With only a few lavaliers, are we better to skip them entirely? I am wanting to implement halo mounts, btw.
2 – If we buy more mics/transmitters – what do you recommend based on best value?
3 – Are there issues with upcoming FCC frequency auctioning?
4 – If you suggest better stage micing, how should we manage the band sound? Shotgun mics a problem if we’re upstage center?
Thanks in advance, and I’m more than happy to read a guide rather than take up your time if you can point me in the right direction.
Joey Schnople
Conover, NC
I am a audio engineer at a local arts center. We do all kinds of shows and performances but we mainly do musical theater. My question is about transmitter belt packs and a fabric that can be used for protecting against moisture and perspiration of the actors?
Also, what would be your choice of mic and transmitter selecting?
Thanks, Mark
If you already have black mics you may only need to worry about coloring the head of the mic. Of course it will be harder to lighten the mic rather than darken. You may try spray shoe paint. to get a lighter base coat on the mic, but be very careful to cover the tip before spraying. To avoid trying to paint the tip of the mic all together, order some wind screens or caps in the lighter color so you only need to paint the wire. Alternately, you may not need to paint the mic at all if the mic can hide in the actors hair as is.
1 – This potentially depends of several factors:
The desired effect. Are the mics there for reinforcement or amplification?
How well behaved is the band? – Can the level of the band be managed without trying to “get the voices over the band”?
Considering the previous two, factor in the size of the house and the skill of the operator. Using mics that are ‘invisible’ is cool, but generally requires more PA, and a more skilled engineer to manage the high gain necessary to make them work.
2 – Professional theatre generally uses Sennheiser products, but you can find good offerings from Lectrosonics and Shure as well. Remember, when ever you can, use a wire. None of them sound as good as a wire.
3 – The 700Mhz band that is currently allocated the TV channels is being allocated for other uses that don’t include TV stations, and summiraly do not include wireless mics. Stay away from the 700Mhz band for future purchases.
4 – If the band is on stage, go with handheld or headset mics. Stage mics and lavs will be a problem no matter what you do.
Mark,
I do the same gig with a local community theatre group, and we run ten-plus wireless lavs every show. I got a hookup with a local rubber manufacturer, and what I found is that condoms which don’t pass inspection, i.e. can’t be sold for their “intended purpose”, can be picked up by the hundreds for a few bucks, unlubricated of course. I roll one over the transmitter pack and that keeps it dry, through even the sweatiest singers and dancers. I call it “practicing safe sound.”
I’m an audio engineer at a performing arts center. We typically run about 20-30 wireless lavs per show. I’ve just been taping them to the face, but would love to try the halo rig. We’re using a mix of Countryman B3 and Shure WL93, soon to become all Countryman B3.
We tend to have more gain before feedback issues with methods such as pinning it to the hair, and the lav hanging down the forehead. Speaker placement is probably the main issue, but nothing can be done about that at this point. With the lavs, I have harsh EQ cuts around 500 and 1k, and also a roll off around 6. Do you have any suggestions for using the halo rig/feedback?
Thanks.
GREAT RESOURCE – Thanks!
I’m the sound person for a small vocal ensemble (11 voices including my own) just learning to use wireless, having been tethered to wired stand mics for years. We balance our voices quite well unplugged (i.e. no mics) in smaller venues and even with wired mics. I’m trying to teach the rest of us how to balance our sound with the wirelesses, but I’m climbing the learning curve myself. I’d appreciate feedback or suggestions on the approach I’ve been taking.
Our equipment is a 12-channel UHF system. The mics are mounted on flexible booms attached to headband wires that hook over the ears and go round the back of the head. Easy to put on, although rather visible (which doesn’t really worry us as we don’t have the time to set up and conceal rigs). I aim for consistent mic placement (about an inch away from the corner of the mouth), then do a level set for an initial overall balance. I try to have people sing normally, relying on our experience without mics to achieve our balanced sound; however people keep either over-singing or moving the mics closer to their mouth because they can’t hear their own voice through the sound system.
My questions:
- is this (sing naturally as you would without a mic) a good approach?
- short of muting their channel, how do you get across to the over-singers that they’re ruining the balance?
- finally, we’re all close friends and I’d like to keep it that way…
I just wanted to say I think someone needs to come up with something better than a forehead microphone. I went to see Thoroughly Modern Millie last night (performance was great!) During the entire evening I was so distracted by the ‘cyclopse’ effect on some of the actors I was having a hard time looking at anything else. I couldn’t figure out if it was part of the costume or what.
Very noticable from the 2nd row, and I imagine back as far as 10 rows. There’s gotta be a better way!
Ive recently attended a play at Fords Theater and was wondering…with many mic’d actors how does can one be sure their mic is off when they walk off stage?
Hello Vincent,
That is the job of the engineer behind the console. As a scene progresses, the engineer is essentially turning the mics on and off and varying their individual levels, to, hopefully, properly balance each line against the others. When the actors exit the stage and have no further lines, the engineer should have the mic turned off. Modern Sound consoles offer some automation designed to assist the engineer in managing who is on and off stage, but still requires an engineer who knows who speaks which lines and when to create the illusion that little or no manipulation is happening.
Here’s a question that has us stumped. We have an actor in our cast that seems to be an RF magnet — please don’t laugh. When she’s wearing a mic pack, you can watch the RF meter light dropping. When she takes the pack off, they come back up again. The real problem is that she kills all the packs that come near her on stage. We’ve tried taking the pack off her, placing it on a stool in the middle of the stage, and it’s fine. As soon as she approaches the thing, it dies. I’m thinking in terms of that small group of people who cannot wear battery powered watches. Same thing happens. Has anyone run into a similar problem — and maybe found a solution?
Hey
Im a new sound engineer at a small theater and we are currently looking to upgrade microphones. We are looking to get microphones to sit at the front of the stage, the stage is quiet large and we need them to pick up the entire stage. What microphones would you recommend?
Thanks in advance
In the past i have use the small Lavs from Shure, and taped them to the right cheek. ive gotten decent quality from there and if you color your mics, no one will ever see it.
My question is, would i have better quality from the forehead?
I personally find the center of the forehead at the hair line to be the highest quality as well as highest volume. But there are exceptions. If you tape to the cheek make sure you are on a bone and not the soft fleshy part of the cheek.