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1. AKG HC577L Omnidirectional Headset & 2. Audio-Technica BP894 MicroSet Cardioid Headset.
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15. ELECTRO-VOICE HM2 Cardioid Headset & 16. GALAXY AUDIO ES3 Single-Ear Omnidirectional.
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7. MOGAN Elite ICE Omni Earset Microphone & 8. POINT SOURCE AUDIO CO-8WD Omnidirectional Headset.
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11. SAMSON SE50 Omnidirectional Headset & 12. SENNHEISER HSP4 Cardioid Headset Dual-ear headset with adjustable frame.
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13. SHURE MicroFlex MX 153 Omnidirectional Headset & 14. CAD Audio Equitek E19 Miniature Earworn Mic.
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5. DPA d:fine 66 Omnidirectional Headset & 6. LINE 6 HS70 Omnidirectional Headset.
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9. QUE AUDIO DA-12 Omnidirectional Headset & 10. RODE HS1 Omnidirectional Headset.
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3. Audix HT5 Slim-Line Omnidirectional Headset & 4. COUNTRYMAN H6 Omni or Directional Headset Microphone Line.
Unobtrusive, small-format microphones perform a significant and ever-increasing role in today's worship services, allowing the pastor or other presenter the opportunity to move away from the pulpit and engage the congregation more fluidly and dynamically. These miniature lavalier or headset microphones attach to the user's person, so that both hands are free and expressions can be more clearly seen—the usual connection to a wireless transmitter giving complete freedom of movement without trailing cables.
Lavaliers clip onto clothing in a collar or neckline position, picking up the presenter's voice less directly from a bit of a distance; this mic format is also widely used for capturing a variety of acoustic instruments.
The advent of low profile, high-quality headset mics has pushed lavaliers into the background for most live vocal reinforcement applications, with the benefits of greater fidelity and much higher gain before feedback.
Let's explore more about the solutions currently available—when to use omnidirectional or directional versions, instrument reinforcement applications, and why some of these mics are quite inexpensive while others are a greater investment.
Omni or Directional?
One decision to make is whether or not to use an omnidirectional headset or lavalier, or whether a more focused (directional) polar pattern would be beneficial. Omni’s have the advantage of picking up the audio signal relatively equally from all directions, without the low-frequency boost (proximity effect) at close distances and a more even tapering of the sound level as the source moves away from the microphone. They are typically less sensitive to cable and clothing noise, especially in the lavalier format, and are more forgiving in their placement. On the downside, they will pick up other voices and sounds from surrounding sources, such as other presenters talking in close proximity.
When used in a headset format, with a tiny omnidirectional mic element on the end of the mic boom positioned less than an inch from the corner of the mouth, pickup is much less of a problem than with lavaliers placed several inches from the voice. The gain at the mixing console can be set much lower to achieve the same level from the loudspeaker system, while the relative distance between the desired source (the person’s voice) and interfering sources move those unwanted sounds into the noise floor. This is a key advantage of headsets, and why they are replacing lavaliers.
Directional mics will convey advantages when the background noise is higher, being able to be aimed at the voice or instrument where their pickup pattern is most sensitive, while placing the other sounds in their null areas. Sometimes these mics will just be designated directional, or their polar patterns may be specified as cardioid, supercardiod, or hypercardioid. A bit more care needs to be taken in their placement so that they remain pointed at the desired source—visualize a flashlight vs. a light bulb.
Directional mics can help clean up the mix in a situation such as a play or pageant where many people are talking while close by each other, by better isolating each voice. And the proximity effect bass boost can warm up thinner voices. One very nice directional headset is the Audio-Technica (A-T) BP894, which places the mic capsule in a rotating housing at right angles to the tip of the boom so that it can be aimed right where you want it.
To create consistent directionality in miniature microphones, precise design and manufacturing techniques are required. Countryman uses a specialized micro-drilling technique for directional porting, while DPA uses tiny acoustic interference tubes for a similar purpose. Both companies rigorously test the results to meet a consistently narrow window of frequency response, polar pattern, sensitivity, and so on. This level of assurance is a major differentiator between an OK mic and a high-quality, albeit more expensive, audio device—one that is more likely to sound great, be less prone to feedback, and make your job easier when several are being used at the same time.
Single- or Dual-ear
A headset has to stay in place while the user moves—sometimes vigorously—while maintaining the positioning of the mic element to the voice. At the same time it has to be comfortable and unobtrusive enough to not affect the performance.
Both dual- and single-ear headsets are available, with a variety of solutions to permit stability, a good fit for most head sizes, and mic positioning. Dual-ear headsets wrap around the back of the neck and hang over both ears, creating a platform for the mic boom. While earlier attempts were often uncomfortable, more recent advances in both materials and design have made some of them almost undetectable.
Single-ear units variously wrap around an ear with a loop or “C” of wire, or sometimes with a bit thicker curve of soft plastic over a flexible metal core that may be molded over the ear. I especially like the latter type, and have found them to be very stable and comfortable. DPA’s d:fine headsets come in both dual- and single-ear formats, and the kit that A-T provides with its BP894 comes with the accessories for both formats. If the mic is going to be used by different people at the same service or from week to week, an adjustable dual-ear unit may be a bit easier to set up and position.
Cables & Connectors
Complementing the diminutive size of the microphones, the cables are also thin. Yet this vital link is subject to twists, pulls, and other indignities on a regular basis. Headsets and lavalier mics are almost always condensers that require phantom power from the console (or a battery power supply), meaning that any breaks or other flaws can produce loud pops and crackles before complete failure. To ensure that the mic works as needed, manufacturers give much attention to the ruggedness of these thin cables, using high-quality braided wires, premium connectors, and insulators and jackets impregnated with Kevlar fibers that are both flexible and tough.
Some of these mics feature an additional miniature in-line connector at the headset itself, so that even if the cable is damaged, a replacement can be made. This feature can also come in handy if the mic will be used with a variety of wireless transmitters sporting different connectors, or if it is sometimes used wired (with a full-sized XLR) and other times wireless. Just have the cable types you need, and connect them to the mic for the particular application. Most manufacturers offer their mics with the correct connections for any wireless system you have.
Capturing Instruments
Certain high-quality miniature microphones are ideal for capturing the sound of a variety of acoustic instruments, ranging from violin and flute to string bass and piano. They are small and light enough to be placed directly on the instrument and move with it, typically using the manufacturers’ customized adapters, and can rival the audio quality of larger-format mics. Both omni and cardioid (directional) patterns are used for these applications, depending on the tradeoffs between isolation, proximity effect, and how much of the instrument’s acoustic output and environment you want to capture.
For piano, a pair of these mics can be placed inside, attached to the harp above the sound board and positioned a bit back from the hammers about a quarter of the way in from both sides of the instrument. With string bass, a mic can be clipped or otherwise attached near the bridge using a gooseneck attachment—and other stringed and small instruments can be treated the same. As an example, the DPA 4060 or 4061 omni’s are often used in professional touring settings for such applications.
Which should I choose?
The advent of low-profile, high-quality headset mics has pushed lavaliers into the background for most live vocal reinforcement applications.
Gary Parks
Writer.
Headset and lavalier microphones are offered in a wide range of prices, and to a great extent the audio quality, consistency, reliability, longevity, and features follow suit. Some can be found for well under $100, while the very best professional headsets run $500 or more. What do you get for your investment?
The better mics will typically be made from higher quality materials, manufactured with more care and testing, and be backed by a significant warranty and available support. They are likely to sound better with minimal EQ, have higher gain before feedback, be more consistent from unit to unit, and remain reliable for years of use. Headsets and tiny lavaliers that are placed near the mouth or the skin are exposed to considerable moisture from breath and sweat, which can possibly lead to failure; many of the better mics have been tested and rated for their resistance to moisture and dust incursion.
For light-duty use with a basic sound system in a small meeting hall or church, a relatively inexpensive mic may be all you need to make your voice loud enough to be understood. Consider how much action these mics will see, so that what you own will stay functional long-term—without becoming noisy, having a mic boom that no longer stays in place, or that no longer holds its adjustment. When you’re using several headsets, it becomes important for your channel setup and your mix to have their response characteristics be very similar; you want to be able to dial in the sound repeatedly and know you’ll have all the level you need without feedback.
Also realize that the overall quality of your sound system begins with the input, and a great mixing console, processor, or loudspeaker will not adequately correct the frequency response and polar pattern of an inferior microphone. Choose well, looking for the attributes that fit the people who will be using the mics, so that they sound and feel their best while presenting their message to the congregation.
1. AKG HC577L Omnidirectional Headset
Low-profile, dual-ear headset with flexible mic boom featuring full-range omni mic element with adjustable frame; miniature dual-diaphragm omni element; three-pin mini-XLR connector. List: $449
2. Audio-Technica BP894 MicroSet Cardioid Headset
Single- or dual-ear format in one with adjustable frame, with directional element on a unique rotating housing at the end of the mic boom for precise aiming; versions for most wireless transmitters or wired use; BP892 omnidirectional version also available. List: $499
3. Audix HT5 Slim-Line Omnidirectional Headset
Low profile, dual-ear headset with flexible mic boom featuring full-range omni mic element on a fixed-wire frame; versions with four-pin mini-XLR or for wired applications; HT2 dual-ear supercardioid headset also available.
4. COUNTRYMAN H6 Omni or Directional Headset Microphone Line
Low-profile, dual-ear headset with adjustable frame and mic boom, ending in accurate, moisture-resistant 2.5-mm mic element; IP67 moisture-resistant rating; detachable Kevlar-reinforced cable with mini-connector at headset frame; models available with three different sensitivities for applications ranging from quieter speaker to high-level vocals; both omni and directional capsules available; versions for most wireless transmitters or wired use. List: Omni $670; Directional $720
5. DPA d:fine 66 Omnidirectional Headset
Low-profile headset, available in single- and dual-ear versions, with adjustable frame and mic boom ending in accurate, high-fidelity mic element; short and long mic booms available; detachable cable with mini-connector at headset frame; versions for most wireless transmitters or wired use; d:fine 88 directional headset also available; 4060 and 4099 miniature instrument mics and mounting accessories also available. List: Omni $670
6. LINE 6 HS70 Omnidirectional Headset
Dual-ear headset with flexible mic boom featuring omni mic element with adjustable frame; low-profile boom and mic; connects with Line 6 and compatible wireless transmitters with four-pin mini-XLR connectors. List: $199
7. MOGAN Elite ICE Omni Earset Microphone
Single-ear headset with moisture-resistant, 2.5-mm omnidirectional capsule. The Invisi-Clear Earpiece (ICE) provides comfort and concealment, ensuring that the microphone doesn’t distract the speaker or congregation. A short boom option is also available to accommodate
smaller faces. List: $399
8. POINT SOURCE AUDIO CO-8WD Omnidirectional Headset
Dual-ear headset with adjustable, flexible frame; earpieces fold flat for easy storage; extremely flexible yet stable mic boom ends in tiny 2.4-mm omni mic element; interchangeable X-Connector cable tails for use with most wireless transmitters or wired applications; IP57 moisture-resistant rating; low-profile CO-3 single-ear headset at $199 list also available. Street price: $449
9. QUE AUDIO DA-12 Omnidirectional Headset
Single-ear cushioned earpiece with flexible, adjustable metal core; flexible mic boom ending in a moisture-resistant 2.5-mm omnidirectional element; fits on left or right ear; durable yet very thin, detachable cable; versions for most wireless transmitters or wired use; petite earpiece model available for children or others
with smaller ears. List: $399
10. RODE HS1 Omnidirectional Headset
Rode: HS1 Omnidirectional Headset – Low-profile, dual-ear headset with adjustable frame; flexible, length-adjustable, pivoting mic boom ending in small, 3.4 mm omni element; water-resistant pop filter; detachable Kevlar-reinforced cable; versions for most wireless transmitters or wired use.
Street price: $299
11. SAMSON SE50 Omnidirectional Headset
Low-profile, single-ear headset with unique flexible retaining band for stable mounting; 2.5 mm omni mic element on flexible boom; durable, detachable cable; fits on left or right ear; treated with water-resistant coating; versions for most wireless transmitters or wired use; SE10 single-ear omni headset with 3 mm element at $125 list also available. List: $250
12. SENNHEISER HSP4 Cardioid Headset Dual-ear headset with adjustable frame
flexible mic boom ending in moisture-resistant MKE condenser mic element with cardioid polar pattern; versions for most wireless transmitters or wired use; single-ear 4-ew-3 earset with MKE1 omni mic element at $400 list and MKE2 miniature
13. SHURE MicroFlex MX 153 Omnidirectional Headset
Low-profile, single-ear headset with flexible mic boom ending in miniature omni element; Kevlar-reinforced cable; wired for Shure transmitters or with adapter to wired applications; variety of other headsets available, from the PG30 at $39 street and WH20 at $95, to the WCM16 at $285 and the Beta 53 at $349. List: $249
14. CAD Audio Equitek E19 Miniature Earworn Mic
Single-ear headset with adjustable, cushioned earpiece and flexible mic boom with omnidirectional element; fits over left or right ear; detachable cable with mini-connector on earpiece; versions for most wireless transmitters or wired use. List: $279
15. ELECTRO-VOICE HM2 Cardioid Headset
Dual-ear headset with fixed frame; flexible gooseneck boom with cardioid element; four-pin mini-XLR connector; HM7 dual-ear supercardioid headset at $239 street is also available.
Street price: $172
16. GALAXY AUDIO ES3 Single-Ear Omnidirectional
Headset Omnidirectional headset with adjustable, cushioned earpiece and flexible mic boom fits over left or right ear; detachable cable with mini-connector on earpiece; versions for most wireless transmitters or wired use; HS3 dual-ear omnidirectional version with adjustable frame also available. List: $150
