Worship Theater A generation ago, productions in Christian churches were pretty much limited to the major holiday pageants and performances largely performed by the church choir and Sunday schoolchildren. Today, congregations across the country are harnessing the power of drama as a worship tool, and in doing so, learning the basics of stagecraft. Set building, costume design, lighting and special effects have all found a new stage. Among these, of course, sound design for drama. In this issue, we’ll offer you the benefit of our experience in sound reinforcement for theater in the areas of microphone selection and placement – beyond that, do’s and don’ts to help you get the most from your mics and inspire your congregants. Microphones & Placement A microphone is a device that transforms one type of energy into another. It’s a transducer that converts acoustic energy into electrical energy. There are two very common types of microphone transducer types that are used in professional audio – dynamic and condenser. Directionality also plays a role. You’ll want to know the differences between omni and unidirectional microphones. We have covered these topics in prior issues, the diagrams below will give you a snapshot view of the differences.

Transducer Types

Directionality Now that you understand the difference in transducer types, it’s time to move on to polar or pick-up patterns. The two you’ll probably deal with are illustrated here — omnidirectional and cardioid or unidirectional. Put simply, these categories represent the sensitivity of the microphone to sound arriving from different angles. Omnidirectional Sensitivity Equal at any angle. An omni will pick up ambient or room sound as well as the sound you intend to amplify. Use Often used in theater applications since the feedback associated with loudspeakers (in live music, for instance) is rarely an issue. Less susceptible to wind and breath noise than unidirectional mics. Unidirectional (Cardioid and Supercardioid) Sensitivity Most sensitive to sound arriving on axis and less sensitive to sound as it moves off axis. There are two types: cardioid which have a 130-degree pick-up angle in front and the narrower supercardioid, which have a 115-degree pick-up angle in front and are even less sensitive to ambient sound. However, they do have some sensitivity directly rear of the microphone at 180-degrees, making placement even more critical. Use These mics are very effective when there is a lot of undesirable ambient sound and they’re useful when you need to mic a sound source from a farther distance. However, they tend to lose high frequency as the sound source moves further off axis, sometimes creating a “muddy” or less bright sound. Unis are susceptible to Proximity Effect, an increase in bass response, that may cause your performers to sound a little “boomy” or “bassy”. (Radio actors and announcers of the 1930s appreciated the effect. You may feel differently.)

Types & Placement Now that you understand the basic differences in transducer type and polar pattern, let’s move on to the mics you’re most likely to consider for your house of worship’s theatrical productions. We’ll limit our discussion to four types – lavalier, headset, overhead and boundary mics and look at them one by one. Lavalier Microphones

Avoid getting makeup into the grill of the microphone. It will alter its frequency response. Do not clean the mic with soap and water. If necessary, hold the mic upside down and brush it lightly with a soft brush or cloth. Replace the grill if necessary. Sometimes a microphone becomes drenched with sweat and stops working. It’s usually temporary and can be remedied by either shaking out the sweat or allowing the mic to dry out, in an airtight box containing a silica gel packet. If you are using wired mics, you can prevent damage from sweat from running down the cable into the mic by affixing a small cotton or gauze patch around the cable. With wired mics, it’s also important to make sure connectors are snug and they should lock in place.

Headset Microphones

Overhead Microphones

Boundary Microphones

About Wireless In this issue, we’ve assumed that individual performer microphones will probably be wireless. The reasons are fairly obvious: Wireless mics offer your actors and performers freedom of movement onstage and off Bodypack transmitters, about the size of a pack of cards, are easy to conceal Multiple systems can be used simultaneously They’re more affordable than ever However, you need to understand frequency selection and antenna usage if you want to take advantage of wireless. We’ve covered this topic at some length in Shure Notes for Houses of Worship Issue #4 – Wireless Microphones – and suggest you take a short detour there now before we move on to special considerations for theater. Wireless Basics Wireless mic manufacturers design their systems for peak performance in a variety of environments, but competing radio signals can be a problem, as you’ve learned. Here are some helpful tips on getting the most from wireless transmitters and receivers. Ten Tips for Wireless Transmitters Refer to the manufacturer’s guidelines on selecting the right frequency for your wireless system or systems. Click here for Shure’s version. If you’re using multiple systems onstage, keep each system’s frequency at least 400 KHz apart from the next system’s frequency. Test the receiver’s ability to “listen” to the transmitter. Like just about everything else in sound reinforcement, it’s a matter of testing and experimentation. When concealing a bodypack transmitter, make sure the antenna is unobstructed and fully extended. Bodypacks can be placed fairly easily in fanny packs or between the shoulder blades using a harness. They can be attached to large hats or wigs using gaffer’s tape and safety pins. Cloth or elastic straps can be used to attach them to arms or thighs, keeping in mind the need for stability. If you’re using wired bodypacks, allow for strain relief on the cable and antenna. Check connectors and cables carefully. Use the lock-out feature on some bodypacks to keep performers from accidentally shutting down the transmitter or changing the frequency. Use fresh batteries. Placing the transmitter in a neoprene pouch will help protect it from sweat. You can also use a dry condom or a surgical glove. Since many people are allergic to latex, it’s a good idea to avoid it. Label each bodypack with the performer’s name or role. It will prevent backstage mix-ups and make your sound engineer’s job a little easier.

Ten Tips for Wireless Receivers and Antennas Maintain line-of-sight between the transmitter and receiver antennas, as much as you can . Try to avoid metal objects, walls and large numbers of people between the transmitter and receiver antennas. Best to place the receiving antennas in the same room as the transmitters and elevated above other obstacles. Keep the receiver antenna at a reasonable distance from the transmitter. Closer is better, with a minimum distance of about 10 feet. Use the proper type of receiving antenna. A 1/4 wave antenna can be used if it is mounted directly to the receiver, to an antenna distribution device or to another panel that acts as a ground planes. A 1/2-wave antenna should be used if the antenna is remote mounted from the receiver. Use the correctly tuned receiver antennas. Most have a finite bandwidth allowing them to operate over only a certain bandwidth. It’s a good idea to group antennas with the same frequency band together if you’re using a distribution system. Locate receiver antennas away from likely sources of interference – CD players, digital effects units, lighting controls. They can emit electromagnetic interference, which can cause poor RF reception and noise. Keep receiver antennas away from metal objects. Antennas should be in the open or perpendicular to racks, grids, metal studs and other structures. Orient receiver antennas properly. If transmitter antennas are generally vertical, the receiver antenna should be vertical. For “unpredictable” transmitters (those used by dancers, for instance) a 45-degree receiver angle from vertical is recommended. Use the correct antenna cable for remotely locating receiver antennas. The shortest length of low-loss cable with proper connectors and impedance works best. Use an antenna distribution system when possible. It will minimize the number of overall antennas and can help to reduce the interference associated with multiple receivers. Check cords and cables, making sure that the right connectors are being used and that the connections are tight. Curtain Call We hope we’ve been able to spotlight some important considerations for your church’s theatrical productions as they relate to microphone, placement and wireless considerations. You already know that sound design is also a matter of taste and experimentation and that every performance, with individual challenges in costuming and stagecraft, will present new opportunities for you and your crew to discover and grow. More technical information is available in Shure’s Audio Systems Guide for Theatre Performances, from which much of this newsletter was drawn. It’s available for free by visiting the Literature Cart on www.shure.com.

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