I call mostly One Night Stands. I am crippled when my headset has a problem. Rich Sbardella Stafford, CT
________________________________ From: Erik Hoffman <e...@erikhoffman.com> To: Caller's discussion list <call...@sharedweight.net> Sent: Sunday, January 5, 2014 9:07 PM Subject: Re: [Callers] Thoughts on Off-Stage Microphones (Was: Headset microphone recommendations?) My opinion and experience on the use of wireless mics differs greatly from Greg's. First: Although the caller is the most well noticed person in a dance hall, even she is often not looked at. Dancers look at each other, not the stage. Greg's descriptions of on & off stage use of wireless mics pertains far more to shows than dances. Second: When using a wireless mic at a dance, where I want to demonstrate something, and feel the need of saving my voice by using the mic, I call attention to myself, that I'm using a wireless mic, and where I am going. No mystery there! Third: I have found it useful at times to assist a dancer through a move (like pointing where to go in Contra Corners) while calling. I do this from the floor, during a dance. At this time, dancers are not looking to the stage, and finding a disembodied voice, they are looking at each other. I've had many thanks for such assistance. Fourth: I often do sound and call. When doing this, I can call, and walk around the room to see how the sound is, walk to the system, back out in the hall, keep calling. Can't do that easily without a wireless mic. Finally, I can check my own sound. I am pretty sure I had my reputation severely damaged when calling at Brasstown Christmas Week a few years back. I, mistakenly, thought: experts at camp, no need to take my own wireless mic. During the week I often had to ask people to go back a move or three during walk-throughs. Didn't know why. Towards the end of the week I was told that they had a wireless mic, which I immediately requested to use. At that point I could go out in the hall, and when I did I could not believe how poorly and muffly they had EQ-ed my voice. After I fixed it, I had far fewer problems with dancers understanding my calls. But it was too late: the feedback I was given was that I was difficult to apprehend... Now I will never go to a gig without my own wireless mic. If some organization has a mic that I think is as good or better than mine, I'm happy to use theirs, but I won't do a gig where I can't check my own sound. That said, I hate head-worn wireless mics except for teaching couple dances, like Waltz or Hambo to large groups. I love a hand-held, where I can speak into it, hold it away and talk to someone, speak into it, etc. Thus I recommend the hand-held over the headset. I recently upgraded to a Line-6 XD-V75. It has built in mic-modeling. I found one of the mic models the EV N/D767 works so well for my voice that I need almost no equalization. Prior to this I used Shure wireless mics. I still have two of them: an old VHS system with a Beta 87 head that I really liked, and a newer one with a Beta 58 head that works fine, but not as well as the line 6. These are all in the $500 to $700 range. To get better than these for our purposes, I think one needs to go to the $1500 to $3000 versions. ~erik hoffman oakland, ca On 1/5/2014 4:27 PM, Donald Perley wrote: > During an orientation, at least as I usually see it, everyone knows > where the teacher is. Maybe in the center of a circle. So, wireless > mike not a problem for me here. > > During an actual dance/walkthrough, yes, disconcerting to hear the > voice and not know where it's coming from. > > I have seen it work ok in a set that small enough that having the > caller dance really helps; could go without a mike at all in this > case, but not everyone is comfortable belting it out loud enough. > > On Sun, Jan 5, 2014 at 7:19 PM, Greg McKenzie <greken...@gmail.com> wrote: >> Lindsay wrote: >> >>> We are looking at buying a headset mic to help people who are teaching the >>> beginner's lesson. >>> >>> Do any of you have recommendations... >>> >> I would recommend you consider the option of *not *buying a headset mic. >> I'm not sure if I've posted my reservations about headset mics here before, >> but I think it is worth bringing it up again. >> >> As a caller, a talent booking coordinator, and as a dance manager at open >> public contra dances, I have worked for years on strategies and techniques >> for making the dance hall a place where everyone can feel safe and >> comfortable. I believe this sense of a "safe space" is essential for >> putting first-timers as well as regulars at ease in order to facilitate a >> comfortable, fun social event where there is little stress or tension. >> This is a subtle point but one that I have learned is critical for >> integrating newcomers and for making the event an exciting, fun, and >> relaxed social occasion. >> >> The primary issue for me is not wireless mics, but *off-stage* mics--of any >> kind. Michael Jackson--and many other performers--have used wireless mics >> professionally *on-stage* with great success. This technology is >> particularly useful when dancing or demonstrating. Note, however, that >> even when used on-stage, wireless mics are usually used in conjunction with >> a follow spot. The purpose of the follow spot is to help the audience >> follow the action in the absence of a mic stand that acts as an anchor. At >> contra dances, where stages are typically small, a headset mic used *on >> stage* will seldom confuse the dancers. (A caller using a headset mic to >> play bodhran while calling, for example.) >> >> An *off-stage* mike, however, can create unease in the dancers when they >> look for the caller--who may have moved during a demo, for example. That >> moment of confusion--as the dancer looks right and left--is likely to make >> many dancers feel a bit silly or clueless. These are feelings I work to >> avoid during a social dance. I want both the regulars and the first-timers >> to feel confident at all times. A live mic on the dance floor can be >> unnerving. (Callers who call from the dance floor using a headset mike >> often come across as confused about their own role at the event.) >> >> There are techniques to keep the dancers/audience oriented while using an >> off-stage mike, without a follow spot. Taking care to only change location >> after you have earned the attention of all of the dancers is one such >> technique. (That way dancers who look to the last place they saw the >> caller will always find them there.) Talking *off-mike* to make your >> position clear before switching on the wireless is another. These >> techniques, however, require experience and practice. I personally would >> not use an off-stage mike without a follow spot or a prepared plan. >> >> I find it interesting that the off-stage mike is often used in stagecraft >> to deliberately create tension in the room. A darkened room with a >> dis-embodied voice will always create drama. In my view the less drama at >> open public contra dances the better. >> >> There can be other issues such as mic clarity, volume, and feedback. It >> would seem to be a good idea to have a sound engineer at the mixer board >> whenever an off-stage mike is being used. Feedback is always a sure way to >> create stress in an otherwise relaxed social event. I know that I >> personally get a little uneasy whenever I see a caller or teacher lead an >> optional newcomer's orientation while wearing a headset mic. >> >> Yes, wireless mics can be useful, when in the hands of an experienced >> professional. But these devices are often used inappropriately. I would >> be cautious about purchasing one to make it available for general use, >> without some kind of practice or training. >> >> Just a thought, >> >> Greg McKenzie >> _______________________________________________ >> Callers mailing list >> call...@sharedweight.net >> http://www.sharedweight.net/mailman/listinfo/callers > _______________________________________________ > Callers mailing list > call...@sharedweight.net > http://www.sharedweight.net/mailman/listinfo/callers > > > _______________________________________________ Callers mailing list call...@sharedweight.net http://www.sharedweight.net/mailman/listinfo/callers
