Wireless Microphone Systems

for Live Theatre

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Wearing Transmitter Options.

WHERE SHOULD I PLACE TRANSMITTER PACK?

SELECT THE RIGHT GEAR

​Anywhere that the antenna can be fully extended - NEVER stuff in a pocket with the antenna pushed down - it must extend freely.


Placement

  • Strapped to the inside of the thigh - popular with movie makers
  • clipped to a bra strap between the shoulder blades (well a little lower) or use a transmitter belt
  • clipped on a belt - best for presenters
  • in a pocket - pants, suit jacket, or pocket purposely sewn into a costume

IMPORTANT INFO ABOUT USING TRANSMITTER PACKS?

​The answer is probably!


Transmitter belts make

  • costume changes easier,
  • it less likely that a bodypack will drop to the floor - usually damaging the attached microphone
  • bulges less conspicuous - as it is worn high around the waist the pack is in the hollow in the small of the back.


We do rent them at $5 each per week, but we do require that you launder them before they are returned - if we have to do it (following a smell test) we charge $5 each for however many you rented.

HERE ARE SOME TIPS STOLEN FROM SHURE (Original Article)


5. Maintaining stability in some odd locations can require the use of cloth, elastic, or Velcro straps or bands. They should be stable enough to hold bodypacks on to arms and thighs.


6. Affixing a large safety pin to a bodypack with gaffers tape can allow smaller, lighter bodypacks to be affixed to hats or wigs, although this may not be the best choice for physically active performances or dancing.


7. RF signal can be blocked and reflected by metallic surfaces. This can include any costuming that has metal threading or metal plating, the extreme cases being your knight in shining armor. Wearing a bodypack under this material will severely degrade RF performance.


8. Antennas of bodypacks should always be kept as clear as possible from obstructive surfaces or materials. As stated earlier, antennas should never be curled up, stuffed into pockets, or wrapped around the transmitter.


9. Allow for strain relief on the microphone connector and antenna, so that movement of the actor will not crimp the cable or antenna with their movements. Repetitive strain on the cable will cause failure sooner rather than later. Remember to check cables and antennas thoroughly before each performance.


10. You can utilize the lock out features of some bodypacks to make sure the actor cannot accidentally power off the transmitter during a performance, or in the case of frequency agile systems, accidentally change the operating frequency.


11. Make sure to leave the battery as accessible as possible, as you may need to do a quick change unexpectedly.


12. The human body, because of its composition, can cause some RF transmission issues with bodypack transmitters. In certain cases, the body of the actor can potentially inhibit RF transmission. Repositioning the bodypack or the receiving antennas (or both) can overcome this occurrence.


13. Sweat can be potentially harmful to the electronics of a bodypack transmitter. There are many methods sound designers have created to protect bodypacks from sweat. A simple solution is to wear a Neoprene transmitter pouch (our TB30 or TB40) when feasible. While not completely waterproof, it will protect the bodypack from sweat and low level moisture. Another more protective method is to use a dry condom (or purpose designed bodypack sheath like our TSN sheaths), to cover the bodypack. (or even wrap the transmitter in kitchen cling wrap). As unusual as it sounds, it is fairly effective when used properly. An un-powdered, dry surgical glove can also be used or a ziplock bag. Remember that there are people allergic to latex or other materials, so check with the talent ahead of time before using any method of covering a bodypack next to skin.


14. It is a good idea to clearly label your bodypacks in some manner to identify the intended user. Any mix-ups can destroy the continuity of the show and cause the sound engineer to search for the right mixer channel to operate during the show. (please use removable labels or tape and remember to remove the label and and remaining tape residue before shipping back to us)


15. Do not leave transmitters bunched together on a table or in a bin while they are turned on. The proximity of the transmitters to each other can increase the likelihood of intermodulation distortion (IMD) manifesting itself on one or more receivers. The same effects can occur when poorly chosen frequencies are used on bodypacks that are very close to each other on stage. Proper selection of frequencies is a must.


16. Bodypacks can come equipped with a variety of input connectors, depending on the manufacturer. Most will supply bias voltage for condenser elements. Using one manufacturer’s wireless lavalier microphone with another manufacturer’s transmitter and receiver is not out of the question. It is a matter of contacting the manufacturer of either and getting the proper "pin outs" of the connector types. It may require purchasing a mic with no connector, or rewiring the proper connector on to the lavalier in the right manner. Do not assume the mic will work because that if the connector is the same between manufacturers. There are several ways of wiring any given connector.


17. When using bodypack transmitters simultaneously with wireless in-ear monitor receivers, make sure the packs are separated as much as possible to avoid any RF interaction between the two. The methods used for concealing bodypack transmitters can also be used for wireless in-ear monitor receivers, as they are the same general shape and size.

  • RED HIGHLIGHTS ARE OURS
  • GREEN TEXT HAS BEEN ADDED BY US

Should I use Transmitter BELTS?

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