Different sound in studio and live applications

Sub-miniature lavaliere microphones as worn and seen on TV shows often exhibited excellent sound performance characteristics. Unfortunately, the same outcome cannot be guaranteed when using the same lavalier microphone during a live performance. This is not the fault of the lavaliere microphone. Rather, it is due to absence of monitor speakers in TV studios, thus avoiding feedback when the sensitivity level of the microphone is raised.

If monitor speakers are present during a live performance, the sensitivity level of the microphone needs to be adjusted accordingly, in order to avoid feedback.

Proximity of microphone and mouth has different sound effect

Furthermore, the microphones sound level output is reduced when the capsule is positioned further away from user's mouth. If the sound level output is increased, then unwanted feedback is likely to occur. Achieving an optimal sound level is a difficult problem faced by all, even seasoned, sound engineers. A solution to the problem is to follow the principle: "The output level of a microphone is in inverse proportion to the distance the microphone is located from the sound source". Simply place a microphone as close as practical to the sound source to reduce the likelihood of feedback. By doing this, there is no need to raise the level from amplifier to achieve the same effect.

Headworn Microphone Amplification:

However, the real problem is: how to position the microphone near to the mouth? There are many kinds of head worn microphone designs on the market today which provide solutions.

"Pop" issues

The design goal of all head worn microphones is to provide an ideal capsule-mouth distance and to allow for the greatest sensitivity without inducing feedback. However, new problems such as "pop" sounds can occur with English syllables such as "B", "F", "P", "T" for example. This situation is caused by strong breathing entering the microphone diaphragm, causing overload, resulting in an explosive pop noise or breathing sounds, which can impair sound quality. This is particularly evident when using a microphone in front of or near the chin. The problem worsens the closer the capsule is to the mouth.

Although headworn microphone positioning can solve sensitivity and volume adjustment issues, how should they be worn to properly to achieve this effect? How do you adjust the capsules position to avoid the feedback and pop noises while also satisfying demands for high sound quality and comfort?

In general, the capsules used in headworn microphones are classified into two types "omnidirectional" and "unidirectional".

In the case of omni directional capsules, there would not be a big difference in sound quality as long as you position the capsule on either the right or left side of your mouth, about 1 cm away from the mouth in either a vertical or horizontal direction. This would avoid the pop noise and produce the clearest sound outputA unidirectional headworn microphone exhibits a wider frequency response and dynamic range than an omni directional microphone, making them better for musical performance than the omni directional alternative. However, due to the controlled pick up pattern of the unidirectional capsule, more care needs to be taken with capsule-mouth placement.

This means that in the case of the unidirectional microphone, best results would be achieved when the capsule is placed right in front of the month. However, the trade off here is the pop noise problem, meaning that the best practical position to locate a unidirectional capsule is away from directly in front of the mouth and chin.

According to actual experiments, keeping the capsule's front 1 cm away from the mouth at an angle of 45 degrees is the optimal position. In this position, not only do you avoid the pop noise but the best sensitivity is also achieved. Accessories such as pop filters are available to help reduce pop noise, but these can look ugly and do reduce the high frequency performance of the capsule.

There is no doubt that the correct positioning of the microphone capsule in relation to the month can greatly enhance the microphones performance and guard again the unwanted effects of pop noises and feedback. Therefore, before first using the microphone, time should be taken to ensure that the capsule is located in the ideal position, both in terms of performance and user comfort.

Recommended Wearing Position

Please refer to the below introduction for correct wearing position of MU-53HN or MU-55HN headworn microphone. First, adjust the length of capsule shaft on the shaft holder so the capsule on the end of capsule shaft does not extend past the edge of your mouth. Then, use the pivot joint on shaft holder to position the capsule slightly below your mouth. Finally, use the soft tube (or goose neck) to make final adjustments to capsule's distance and direction. When adjusting the capsules position, it is recommended to use a PA system in line of sight for sound testing while making adjustments. Furthermore, "push" and "pull" are two ideal words for testing when you are adjusting the position and direction of capsule.