Setting Up a Wireless Mic Channel for a Vocalist
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In musical theater, each actor’s mic needs to be set up so their voice is clear, natural, and easy to hear, without feedback or harshness. This guide shows how to set up a mic channel for a performer using our wireless systems: Sennheiser EW-D or Audio-Technica 3100b.
Step-by-Step: Setting Up the Channel
1. Start with Flat Settings
- On the board, choose an empty channel for the actor
- Make sure the EQ, compression, and pan are all reset to default
- Give the channel a clear name (e.g., “Sophie”, “Mic 1”)
2. Set the Input Gain
- Have the actor speak or sing in character
- Adjust the gain (trim) until the level hits green to low yellow on the meter when they’re talking or singing loudly
- Don’t let it go into red (that means it’s clipping)
If the mic sounds too quiet even when gain is up, check the gain setting on the wireless receiver - it’s okay to raise it a bit there too.
3. Apply a High-Pass Filter (HPF)
- Turn on the HPF (sometimes called “low cut”) at around 100-120 Hz
- This removes deep sounds we don’t need - like bumps, thumps, or foot noise
4. EQ for Clarity
Start with gentle adjustments. Every voice is different, but here’s a great starting point for musical theater:
| Frequency | Action | Why |
|---|---|---|
| 100 Hz | HPF (on) | Removes unwanted low noise |
| 200-300 Hz | -2 to -4 dB | Reduces “muddy” or “boxy” sound |
| 3-4 kHz | +2 to +4 dB | Adds clarity to speech |
| 6-7 kHz | -2 dB (if needed) | Tames sharp “S” sounds |
| 10-12 kHz | +1 dB (optional) | Adds “air” if it sounds dull |
Note:
- Sennheiser EW-D mics (forehead-mounted) often sound clear and bright - you may need less EQ
- Audio-Technica 3100b mics can sound slightly warmer or duller - the high-mid boost (3-4 kHz) becomes more important
5. Compression (Optional but Helpful)
- Compression helps keep soft and loud lines balanced
- Use gentle settings:
- Ratio: 2:1 or 3:1
- Threshold: Just below their loudest speaking/singing
- Attack: 10-20ms
- Release: 100-150ms
It should smooth things out, not squash their voice.
6. Limiting (Only if Needed)
- A limiter protects the speakers from sudden loud moments
- Set the threshold just above the normal loud range, with a fast attack
- Not required unless you’re pushing speakers hard or the actor yells a lot
7. Check for Feedback
- Walk the actor through the stage area with their mic on
- Slowly raise the fader while listening - if feedback starts, make a narrow EQ cut at that frequency
DOs and DON’Ts for Vocal Mic Channels
| DO | DON’T |
|---|---|
| Use HPF to clean up the low end | Don’t crank gain too high - it’ll distort |
| EQ gently and with purpose | Don’t over-EQ just to “make it louder” |
| Adjust gain on the receiver if needed | Don’t rely only on the fader for loudness |
| Use compression to help balance | Don’t use heavy compression - it sounds fake |
| Test each mic individually on stage | Don’t assume one EQ works for all actors |
| Label each mic clearly on the board | Don’t let multiple channels go unnamed |
For New Crew Members
- Every actor’s voice is different. Some may be soft and need more gain; others are loud and need less.
- Ask a sound lead or director if something sounds off - they’ll help you adjust EQ or gain.
- If you hear feedback: first lower the fader, then look at EQ.