Keeping track of who has what mic .

[mal421]

How do you keep track of which performer has which mic ? I will be doing a show soon which will have as many as 20 radio mics . There will only be 5 or 6 on stage at any one time . Some hand held some headset . Keeping track of the hand helds is easy because I will colour code them but keeping track of the headset mics could be a problem . Any suggestions ? I should add that there may be as many as 10 or so acts each night .

[Russ83]

For that number is it not worth having somebody responsible for all the radio mics? Giving each actor their pre-assigned beltpack according to a list that you both have a copy of. They can also then be responsible for checking batteries and that the beltpacks are switched on and not on mute when the actor goes on stage.

[Pyramid]

Hi Mal

This really is a case of learning the show. Group mics, if possible in a logical way to correlate with appearance.

I always label the receivers and desk with names that are useful to me. I don't use performers names or the name of characters. I look for the most visually striking feature of the person. The tallest, fat-est, the one with long dark hair, purple trousers etc.

Knowing what's going to happen (or what should be going to happen!) is so important, but foolproof labels are the next must.

 

That's what I do anyway - May seem mad to some others....

 

Andy

[Rob_Beech]

If its a run of shows with the same thing hapening each night. If the performers can be trusted to pick up the right mic each time, then you should be able to learn who will have what and where.

 

If its a one off, or if they can't be trusted to do this (nothing bad against them) then you will certainly benefit from someone assigning them to people and using comms to transfer this information to you.

 

The person should also be aware of how things are patched on the desk(s).

 

 

Rob

[Bobbsy]

I produce mic plots in advance detailing who should have which microphone and have somebody back stage making sure that this list is being followed. This plot also details all mic swaps, though the performers are generally told to hand their mic to the back stage sound person, not directly to the next user. On the rare occasion I use hand held mics, I'll also colour code them but his is a backup procedure, not the main operating method.

 

On a complicated show, the mic plot can run several pages long and go through several versions during tech week. Having somebody backstage also pays dividends when, as often happens, an RF mic breaks down...the ability to get a mic swapped then be told exactly what's happened is very useful.

 

Bob

[ojc123]

My experience is school/amdram and I've never dealt with so many mics. Here are my thoughts anyway.

I always have a microphone plot in detail. I try as far as possible to always have the same character on the same mic. I try to minimise the changeovers involving the principals. I have a crew member SL and SR whose job it is to issue mics at the start of the show, to collect mics at changeovers, ensure that the changeovers are calm so that the talent doesn't break the thing in their excitement, and to collect the mics when they come off for the last time. If needed I have a runner to move mics from one side to the other. I always have some of the most assertive crew on this job because some of the talent seems unable to appreciate the importance of this procedure. Once the changeover is complete the 'mic monitors' tell the DSM who lets the soundperson know that the mic is on the right person. As a back up on one show we used coloured badges which went on the costume so the person with the red mic had a red badge. This is not always appropriate but it worked for that show because the costumes were a bit odd anyway.

My 'mic monitors' always have a supply of batteries and a spare lav or headset. We have an order of priority for each number so that, in the event of complete failure of one mic, the 'mic monitors' know to move the mics one up the line and to let the DSM know what's happened. We've never needed that option (Touch wood). Each mic is colour coded and numbered because the colour isn't always easy to see in dim lighting. As a final precaution I make the users very aware of (an inflated) cost of the systems and that there will be repercussions if they get broken because of silliness or carelessness.

 

Much the same as others but I hope it helps.

[Lofty]

I just get a bit of LX tape on the mic, write who's mic it is, even if it does mean there are 3 or 4 names on each mic... although usually I tend to just use one for each person. That way, the only confusion that's gonna happen is if the actor is completely incompetant at reading! Ok... so :-P

[Malcolm Gordon]

For help with the paperwork MicPlot might be worth considering. (I haven't used it or had a need). It enables you to plan the plot against a number of different criteria, e.g minimum number of mics, minimum number of fast swaps etc.

[timtheenchanteruk]

frequently doing dance school, I use 8 mics generally, and for protection reasons its usually a "helpful" mum who ends up with the job of mic changes.

 

despite a plot, and strong enforcement that if the mic on the plot isnt on the person, the wrong mic will be turned on they inevitably still put the wrong one on during rehearsal.

 

all it usually takes to get the point across is a changing room conversation coming over the PA!!

[Shez]

I always try to make sure that the person looking after swaps for me has no other interest in the show i.e. isn't a mum, member of stage crew with other jobs etc. I'll train them in switching on / off, changing batteries, what all the indicators mean, tightening connections etc. and make sure that they'll get messages to me via the SM if anything goes wrong. If they're on the ball, I don't even have to think about swaps and I can put up the fader with confidence.

Finding the right person for this particular job is crucial!

 

To plan, I'll go through the script with the aid of pencil / paper or a spreadsheet marking out which characters are in which (parts of which) scenes, then work out how many mics are needed and draw up a mic plot from there.

[cedd]

With the advent of cheap and reasonable quality headset mics from cpc, I always try and issue every performer with a mic, even if they can't have a beltpack for the entire show. That way the mic can be fixed pre-show and the cable run to somewhere convenient, then all that needs to happen is the beltpack be attached. As most mic swaps involve the mic being unplugged from the beltpack anyway it doesn't increase wear dramatically (though I've just made up some short sacrificial leads to prevent this) and makes for much smoother changeovers.

[soundiesam]

just on a complete off topic question. have you thought about the licencensing side of using that many radio mics?

sam

[Bobbsy]

I've several times used 24 mics in the UK. With Sony 805s as the main mics, I could get 14 intermod free on Channel 69 (for which I had a licence) and the deregulated channels. Six more went on Channel 67 for which, by memory, the licence for a week was around £120 but don't quote me. The final four channels were my ancient but excellent Audio Ltd. RMS2000s on VHF, again in the de-regulated. In theory I couldn't run 4 but the Audio Ltd. gear was good enough that I never had intermod problems.

 

...but you're right to ask the question. Time to call JFMG methinks!

 

Bob

[timtheenchanteruk]

I always try to make sure that the person looking after swaps for me has no other interest in the show i.e. isn't a mum, member of stage crew with other jobs etc.

 

 

I do try, but unfortunately, needing a female to change young girls mics it frequently isnt possible, although I do have a female assistant at the moment.

 

I never ask crew on these dance shows to do it, they are frequently even worse than a mum.

[mal421]

Thanks Guys . Lots of great information . I had a meeting with the show organisers tonight and have managed to reduce the number of mics to 10 . The show is in the form of 'Popstars' lots of acts competing against each other with minimal rehearsals . Because the acts are coming from clubs and societies and due to the large number of acts headset mics will be supplied all I have to provide is beltpacks etc. Can't say I'm looking forward to it but it does pay top dollar , for obvious reasons . Once more thanks guys I really appreciate it .