Have you ever had the experience of a using a very expensive sound system and the sound was still awful?  Have you ever been to a concert and not been able to understand the singer or been to a football game and weren't able to understand the announcer?

The source of all sound in modern sound systems is the microphone, the single most important piece of equipment in nearly every audio chain.

Transfer of Energy
A microphone is an amazing thing. It actually transfers energy—right in the palm of your hand. It takes an acoustical energy (your voice or instrument) and turns it into an electrical energy. This electrical energy can then be recorded, amplified, or otherwise altered in ways that the original acoustic sound wave could not. 

There are many different microphones available these days, and you have to select the right technology for the right job. This is a very important point. What may work well for vocals may not be right for overhead cymbals or kick drum. 

When choosing a microphone to be placed overhead for cymbals and the drum kit, it is essential for it to be able to withstand huge SPL (sound pressure levels), exhibit -40 to -45 dB of rear and side rejection so you do not hear the rest of the stage, and, most importantly, have a frequency range out to at least 18 kHz. Kick drum microphones need to be able to withstand huge amounts of SPL without any distortion,  and horn microphones must also handle huge amounts of SPL and have a wide frequency range. Handheld vocal microphones rarely work in these cases.

Condensers Are Not the Answer
We also must be aware that condenser microphones are never the answer on a live stage. Made to work in a perfect acoustically controlled studio, when used on a live stage, they overload easily and pickup sounds from 30 and 40 feet away. They also demand +48 volt D.C. phantom power, which usually creates havoc on some highly sophisticated stages.  It simply is never the answer. 

Until recently, dynamic microphones were never the answer, but new designs and new technologies have allowed the large diameter dynamics to become a good solution. Try using some of the  large diaphragm dynamic microphones, which exhibit the same and sometimes better frequency response while exhibiting  at least -40 dB of rear rejection and gorgeous natural articulation.

No Electronic "Fixes"
Several new large diaphragm dynamic microphones exhibit natural articulation, which rarely needs any equalization. Many of us were brought up using older technology microphones that demanded lots of equalization, but we have learned over the years that the less EQ, the cleaner and  more natural  the sound. 

Remember that you can't fix acoustical problems with electronic fixes. Find some of the new dynamic microphone designs that have paid attention to reproducing natural articulation without any outside equalization. The large diaphragm dynamic microphones are also extremely rugged and will take heavy abuse that absolutely is death to ribbons or condensers.  

Listen to Your Mix
Make certain each of your microphones is "listening" to what it should.  The best way to do this is make recordings of each individual channel for a few moments. As you play these back, you will be able to hear exactly what each microphone is hearing.

Hopefully your mixing console allows you to solo each channel into your recording device and listen carefully as you play back, for instance, the overhead microphones. You should not hear any guitar, vocal, piano, etc….just that overhead cymbal. If you are hearing other instruments, it is time to find some of the new dynamic microphone technologies. 

Remember also that hearing is a physical process. Listening is a mental process. Be sure to listen to your mixes. 

Bob Heil is the president and founder of Heil Sound, Ltd., www.heilsound.com/pro.

Product Roundup

Headset and Lapel Mics from Galaxy Audio
Galaxy Audio offers a complete line of Headset and Lapel Mics that are compatible with all Any Spot Wireless Mic Systems as well as wired systems using the optional Phantom Body Pack (JIB/PB). Additionally, a wide variety of connector options make the mics compatible with virtually all brands of wireless mic systems. Both Omni and Uni Directional types are available. Lightweight attachment systems include Single Ear Hook, Dual Ear Hook, and Wrap Around designs as well as Combination Headset/Lapel and dedicated Lapel types.
www.galaxyaudio.com

4099 Series from DPA Microphones
DPA Microphones has long been revered by discerning audio professionals for producing the most natural and un-colored sound possible. DPA has now brought that same sonic purity to a new range of instrument microphones known as the 4099 series. The 4099 Guitar, 4099 Sax, 4099 Trumpet and 4099 Violin are multipurpose microphones. The mounts for the 4099s are meticulously designed and optimized for each of the four instrument families, ensuring that the finest possible audio reinforcement is achieved when performing live.
www.dpamicrophones.com

Audix Micros Series
The Audix Micros Series, the world's smallest condenser microphones with integrated preamp and detachable cable, continues to evolve and break new ground with the addition of the M1255. With a stylishly machined brass housing and modular threaded capsule, the M1255 is designed to handle a wide variety of live and fixed installation applications. Features include a smooth frequency response of 80 Hz – 20 kHz, 12 mm gold vapor diaphragm, a selection of four capsules, and complete immunity from RF caused by cell phones and GSM devices.
www.audixusa.com

Gator G-Tour Case
Gator has released the a G-Tour case that holds four handheld wireless microphones with clips, body packs, headsets and extra batteries called the G-TOUR-WIRELES4. The case has a sectional built-in foam nest with compartments to hold all the gear, including a battery cutout section that holds 16AA batteries and convoluted foam in the lid. The rugged case features Gator's G-Tour trademark Red Penn Elcom recessed MOL twist latches, spring-loaded rubber-gripped handles, and heavy-duty plywood construction.
www.gatorcases.com

Listen Technologies' LA-278 Behind-the-Head Microphone
With congregations becoming more international, the need for reliable, precise language interpretation equipment is greater than ever. Providing language interpretation delivers a very important message – the complete involvement of each person is highly valued and essential. Connect the LA-278 Behind-the-Head Microphone to the LT-700 Portable Transmitter and deliver your audio message to individual headset receivers for simultaneous language interpretation, portable interpretation settings, and whisper interpretation. Listen Technologies' LA-278 directional microphone secures over the user's ears and around the back of the head.
www.listentech.com

Califone's PA Pro from ChurchPartner
The PA Pro by Califone, available from ChurchPartner, with portable voice enhancement support is perfect for meetings, conferences, field trips, tours, outdoor events, and any number of indoor/outdoor activities. The battery-powered and wireless microphone has a 100-foot transmission range, which is adequate for the venues listed above. Choose from either a beltpack transmitter and microphone or a handheld wireless microphone. The microphones and beltpack store inside the amplifier to keep everything safe in one place. There is a choice of two frequencies, 206.400 MHz or 210.250 MHz, for simultaneous wireless announcements.
www.churchpartner.com

Provider Series PSL6
Provider Series has introduced the new PSL6 series of lavaliere and theater-style microphones. The PSL6 lavaliere microphone is ideal for speech and theater applications. The small size (3mm capsule) and lightweight are ideal for applications requiring minimum visibility and comfort like video, television, pastors, stage productions, presenters, and speakers. The mini microphone is practically invisible, while still producing Broadway-quality sound. The PSL6 is available preconfigured for various belt packs. The PSL6 is available in black, for traditional lavaliere application, or tan, for theater and drama productions.
www.providerseries.com

Scan16 Wireless from Ansr Audio
This new wireless system from Ansr Audio has it all, including 16 UHF frequencies, auto-scan channel selection, built-in transmitter recharging system to eliminate battery cost, simple and reliable operation, and a budget-friendly price. The Scan16 is equally comfortable as an entry-level system or operating alongside larger install systems. Handheld, lavaliere, and a variety of head-worn packages, including the popular AM-17 single-ear low-profile microphone, are available and shipping now. 
www.ansraudio.com

Astatic
Astatic is known for having a Variable Polar Pattern technology on its boundary and gooseneck microphones. Most microphones make you choose a single pick-up or polar pattern such as Cardioid or Super Cardioid.  That pattern may be too wide or narrow for a pulpit or whole sanctuary. Astatic's line of Variable Polar Pattern microphones allows you to change the shape and size of the microphone's polar pattern in real time while the microphone is active. This feature can help improve feedback issues and adjust for the right amount of sound going into the microphone.  Contact Astatic for more information on how this microphone can improve your sound system.
www.astatic.com