A common problem in providing sound reinforcement support for dramatic productions, especially large ones, is getting all the on-stage talent heard. Numerous lavalier mics are always problematic, and there's never enough to go around. Bartlett Microphones has produced a stage floor mic that Mike Groh and I, both tech volunteers for Spiritual Twist Productions in Angier, N.C., got to take for a spin for a recent theatrical production.
The TM-125 microphone is designed to be placed on the floor of the stage out in front of the action-typically on the front edge of the stage. The microphone is well manufactured to withstand the potential for being stepped on and kicked; the casing is made of strong sheet metal. The only obvious damage potential is where the cable enters the microphone at the side of the unit. Stepping directly on the cable's connector at this point could cause some damage (but we didn't test this, for obvious reasons). However, Bartlett also sells a version with a permanently attached cable that could mitigate this.
Bartlett Microphones strongly suggests a fairly specific loudspeaker arrangement when using its stage floor mic, which we did not have the opportunity to set up. Our test environment was a more typical house-of-worship configuration, with a permanently installed curvilinear line array system. Placing any mic intended to pick up a group of people in a location that is directly under the loudspeakers will be a challenge. Thus, Bartlett suggests that for theatrical productions, the sound reinforcement speakers be placed further back into the room and away from the stage. This would be logical, as people up front can usually hear the direct sound from the stage; it is those further back that need the benefit of the sound reinforcement.
In our case, we used the mic for a production of the life of Jesus, with 60+ cast members, and many large-ensemble musical numbers.
With the loudspeakers directly overhead, picking up small groups of actors was a challenge to get enough gain before feedback, and we would clearly benefit from the recommended loudspeaker configuration. However, for the large ensemble numbers where the volume from the actors was significantly higher, the TM-125 performed well and had good tonal qualities. The only challenge we had in using it for our production is the temporary platforms that were constructed to extend the stage. They were made of 2x4s and ½-inch plywood, and tended to creak a lot when the actors moved around. As the microphone was placed on the temporary stage extension, it did pick up a lot of stage floor noise. But for the group numbers once people were in place, it added a lot to the overall sound mix.
Overall, this microphone has a lot of potential, and with a PA configuration designed for the sound reinforcement of theatrical productions as recommended by Bartlett, this microphone could make mic'ing your theater group significantly easier. It could also work well, for example, if you had a group of actors around a dinner table, and you placed the mic on that table to pick them up. The distance from mouths to the mic would be greatly reduced, and augment the natural pickup capabilities of the microphone.
It would also be pretty amazing for mic'ing a dance company, such as tap dance numbers, where the sound of the shoes hitting the floor is a big part of the performance. If you do a lot of theatrical work at your church, it's worth checking out, and for only $199 could be a great addition to your mic cabinet. Bartlett currently offers a 10-day money-back guarantee, so there's little risk in seeing if it will help with your theatrical sound reinforcement challenges.
