Will wrote:
I am in the process of buying a Shure PGX1/PGX4 transmitter/receiver system
with the intention of using it with an earset microphone, the small, nearly
invisible 'rice grain' style.
Well, now that you mention it, here is another perspective on this
technology. Before making the investment you might want to consider
all of the implications.
Regards,
Greg McKenzie
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Un-tethered from Reality: Some Thoughts on Wireless Microphones
I have tried using a wireless headset microphone and found the
experience wanting. I owned one for several years and used it
regularly. I abandoned it for several reasons. Not primarily
because of the increased instances of feedback--something I find
devastating to the sense of safety and community spirit in the
hall. And not because of the monetary and environmental cost of
batteries, the extra trouble of setting up the mike and receiver, the
complications of switching the mike off and on again to make "off
mike" comments, or the feeling of being wired and walking around with
an electronic device attached to my head. My decision was also not
primarily based on concerns about exposing myself and others to
high-frequency electromagnetic radiation--though I recognize that
some people are very sensitive to the idea of such exposure.
My primary reason for giving up on the wireless headset was because I
saw that it was interfering with my ability to connect with the
dancers, musicians, and others in the hall.
Any speaker at a public event needs to be in a position where the
entire audience can see them. This is a very basic
principle. People naturally prefer to watch someone who is speaking
to them. When someone hears a voice hailing them the most natural
reaction is to turn one's head toward the source of the sound. It
can be disconcerting to look toward the sound source and see an empty
stage. The natural reaction is to feel a little bit silly, and to
look around to try to find the source of the voice. This is a
relative small matter but keep in mind that there are probably dozens
of people going through this reaction whenever a speaker is not in
the spot where the audience is accustomed to seeing them. That means
that for at least a few seconds a big part of your audience is
feeling silly and disconnected. Those people are not feeling
confident or relaxed. They cannot listen carefully to what the
speaker is saying.
As an aside here I would point out that an "off-stage mike" is
commonly used in theatre and stagecraft. Please note, however, that
the purpose of the "off-stage mike" is always to build suspense and
tension. Something that I, personally, try to avoid when calling
because I want people to feel relaxed and sociable. The off-stage
mike is, therefore, usually accompanied with a visual cue (such as a
spotlight at the edge of the stage during an introduction) to direct
the audience's attention in the absence of a physical speaker they can see.
I have attended dances where the caller has used a wireless headset
mike off-stage freely during the evening. I always found it
disconcerting to have to look for the caller in the room. It also
seemed a bit creepy to think of a live microphone moving around the
hall without warning. Callers sometimes use these mikes while
speaking to individuals or small groups of dancers who are
confused. This is unprofessional because it draws the entire hall's
attention to the confused dancers and exacerbates the situation by
creating even more tension.
I quickly learned that when using a wireless headset it is the
speaker's duty to alert the audience whenever they change
locations--particularly if they move off stage. I would say
something like: "Ladies and gentlemen. Please direct your attention
to the center of the hall," before stepping off the stage. This is
the courteous thing for a speaker to do. This helped a lot, but it
also complicated the process of moving away from my regular
location. Ultimately I found that the headset mike was more trouble
than it was worth.
I can see that these headset or "earset" mikes are very appropriate
for entertainers who dance or move while singing or speaking and, in
particular, when they have a spotlight to keep the audience cued as
to their location. They also work well for instructors who must
gesture or handle props while talking, such as in demonstrations. I
think such mikes are of particular use to exercise instructors such
as Jazzercise leaders who generally remain in the same location while teaching.
At calling gigs the sound engineer will often offer me a wireless
mike to use. My response is that I am happy to use any mike that
delivers a good range of high-frequency sounds so that my voice can
be clearly understood. Wireless mikes are acceptable, as long as
they are securely fastened to a mike stand where I will leave them
during the entire dance.
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