Failure Hiding lavaliers

What Thom said- sandwich the mic in a lapel or between two layers of
clothing, then hope the mic moves with the clothes. If there is still
noise, tape the clothing to the skin for some immobility.

If the subject is wearing just a t-rhirt or similar, hide it in the
neck just above the collar seam, then use tape for some immobility, if
neccessary.
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I agree with much written here, and am always grateful for more
discussions on quiet lav placements. Please, more responses/ideas
from others.

Although I have much to learn and much to improve upon as a new mixer,
I feel confident in all of my methods of working except for lav
placements! I mean I can get physically ill worrying about that long
march to wire up talent. I suppose its related in some way to the
fact that if I have ANY noise whatsoever, regardless of materials or
situations, I feel I've failed in my work. Also, as much as I've
practiced around the house with family guinea pigs, lets face it, you
don't really LEARN how to do this aspect of our work until your
actually on the set. And we all know that your expected to get it
done right the first time and in just a few minutes per actor. For
me, that's real pressure. And I can't say I've always met the
challenge. But I will say that I see myself improving with each job.
I hope that's an upward trend.

As for my limited experiments, and presently only having COS-11's and
EMW's, I have had the greatest success with my COS-11's (Thom... what
issues have you had with yours? Very curious.) while using the RM-11
rubber mount. And although I am going to take Thom's advice to heart
in the immediate future, I find myself primarily using Topstick
against the skin (sternum), applying the RM-11-mounted COS-11 to the
Topstick, then applying a homemade circular "butterfly" cage made of
copper over the rig. The way I make mine, by using two wraps of
copper instead of one, I can then pull out on the inner ring to the
desired height I want in order to keep the "read" factor down while
'lifting' the clothing material away from the mic as much as possible.
And although I will confess that I have still experienced clothing
noise from the rubbing over the copper cage, for the greater part, I
have been successful. Of course, the fly in the ointment is when the
male actor has the proverbial hairy chest. At that point I'm looking
to mount the COS-11, still in the RM-11, on the inside of the top
clothing piece. As Thom said, in an area wher it will move/float
freely. But I confess, I am much less successful in that regard.

I am also disappointed with my experiments using the sticky triangle.
Yes, it secures the two pieces of clothing. But I end up with constant
noise of the two stickies pulling at each other! Am I misapplying
this technique?

Most of the time, in that situation, I grab the EMW and try the caged
viper clip. I don't like that set up though as I almost always have a
dickens of a time getting the thing on without the viper reading or
resultant mic/cable noise. And where cable noise is concerned, the
EMW for me, has been nightmarish. It has an incredibly sensitve
leading edge portion of cable with a very forward, 'tinty' sound. I
always try to do a double-loop with the first two inches or so of
cable with this mic. But rarely does it help.

I realize I need to add more mics to my aresenal, but lav bucks are
limited at present.

To others. I would be especially grateful for tips on the 'lapel'
miking discussed here as well as proper methods for mounting a mic
between buttons on the shirt. Which mics are best used for this kind
of application? Round (COS-11) or flat (EMW)? Methods?

Is the tie-knot with a COS-11 pretty much the defacto standard in this
regard?

Also, what are the feelings where cable routing are concerned? I find
myself happier when I can rout the cable over the shoulder of talent
rather than down the belly. Of course that means often turning my
COS-11's upside down (to prevent cable stress) for such use. And
although I fretted about this previously, I have found that the sound
quality remains nearly the same, save for possibly picking up unwanted
downward noises. I know the EMW is well-suited in this regard, but I
just prefer the mounting options that the RM-11 affords me, and
therefore give up ideal placement for attachment benefits. Again,
more input here would be appreciated.

> What Thom said- sandwich the mic in a lapel

Can you describe this method more clearly?

> or between two layers of
> clothing, then hope the mic moves with the clothes. If there is still
> noise, tape the clothing to the skin for some immobility.
>
> If the subject is wearing just a t-rhirt or similar, hide it in the
> neck just above the collar seam, then use tape for some immobility, if
> neccessary.

Tom Beach
 >> Stay informed about: Failure Hiding lavaliers 

When all else seems to fail and you're working with actors, the broadway
mount will always work. A Broadway mount is putting the lav in the
talents hair just behind the front hair line.

Another way to rig the mic is behind the ear with the mic & cable held
in place with a piece of transpore tape.

The B6 works especially well for these types of Broadway riggings.
(that's what the "B" in B6 & B3 stands for). Hiding the cable at the
back does present a problem sometimes as does hair length.

Have the hair stylist hold the mic & cable inplace with bobby pins.
Flesh colored B6's will help a lot.

If you're working outdoors use the little foam windscreen that comes
with the B6, you have to have one of the caps on the B6 for the foam to
fit properly.

Eric
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Toupee clips work really well in the scenario. They have a little comb
and a snap piece that holds the cable and mic head.

Eric Toline wrote:
> When all else seems to fail and you're working with actors, the broadway
> mount will always work. A Broadway mount is putting the lav in the
> talents hair just behind the front hair line.
>
> Another way to rig the mic is behind the ear with the mic & cable held
> in place with a piece of transpore tape.
>
> The B6 works especially well for these types of Broadway riggings.
> (that's what the "B" in B6 & B3 stands for). Hiding the cable at the
> back does present a problem sometimes as does hair length.
>
> Have the hair stylist hold the mic & cable inplace with bobby pins.
> Flesh colored B6's will help a lot.
>
> If you're working outdoors use the little foam windscreen that comes
> with the B6, you have to have one of the caps on the B6 for the foam to
> fit properly.
>
> Eric
>
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