Microphone Decision TreeEasyStagecraft Course · Tier 1B · Module 2 (Speak Sound) · v1.0 · "what mic for what job, in plain English"
Why this matters. When the engineer says "we need a Beta 57 on the snare instead of an SM57", you should know whether that's a reasonable substitution or a A$30/day upgrade for no real reason. This sheet walks through the most common mic decisions in a school musical, with the "school-show appropriate" answer for each.
Decision 1 · Vocals (lead actors)
Question: how will the lead actor's voice be amplified?
If the actor is moving + singing → Wireless headset mic (Madonna mic / DPA 4061-style lav rigged into the hairline). Standard for musicals. A$140-180/day per channel.
If the actor is stationary (concert format, recital) → Wired vocal mic on a stand. Shure SM58 is the workhorse. A$15-20/day. No RF setup.
If the actor is sitting + speaking (radio play, podcast format) → Wired condenser (e.g. SM81 or Audio-Technica AT2020). A$25-35/day.
The conversation: if a sound engineer pushes for premium wireless tier (Axient, ULX-D for ensemble), ask: "Will the audience hear the difference between SLX-D and ULX-D? At 380 seats, the answer's no. School-show standard is SLX-D."
Decision 2 · Vocals (ensemble + choir)
Question: how big is the ensemble + are they stationary?
4-12 ensemble singers, choreographed movement → Wireless headset on each. Most expensive option. A$1,100-1,500/day for 8 channels.
4-12 ensemble singers, more stationary → 4-6 condenser overheads on the choir formation (front-of-house bar position). A$100-150/day total. This is the school-show savings sweet-spot.
Full choir (20+) on risers → 4-6 condenser overheads (boundary mics or pencil condensers). A$150-200/day total.
The conversation: "Can we mic the ensemble with 4 overheads instead of individual wireless headsets? Saves A$700+ per day."
Decision 3 · Drums
Question: full drum mic-up or partial?
Full drum mic-up (musical with prominent drums, big rock numbers) → Kick (Beta 52 or AE2300), snare (SM57 or Beta 57), 2× toms (e57/e604), 2× condenser overheads (SM81 or AT4051), optional hi-hat (SM81). 6-8 channels. A$110-150/day.
Acoustic only (orchestra, classical) → No close mics; 2-4 overheads or area mics from FOH. A$50/day.
The conversation: "Do we need a full mic-up, or is partial enough for our acoustic balance? Listen to a partial mix in tech-week + decide."
Decision 4 · Band / Orchestra instruments
Question: is the band amplified or acoustic?
Amplified band (pit orchestra for a musical) → DI on keys + bass + acoustic guitar (A$15/day per DI). Mic for brass + woodwind individually OR area-mic the pit. 8-14 channels.
Solo instrument moment (saxophone solo in a musical) → Add a clip-on condenser (e.g. DPA 4099). A$50/day. Only for the solo moment.
The conversation: "Can the brass + woodwind share a pair of area mics instead of individual close-mics? Saves 8-10 channels of mic + stand hire."
Decision 5 · The "what mic for X" reference table
Source
School-appropriate mic
~A$/day
Why
Lead vocal (wireless)
Shure SLX-D + WL184/B6 capsule
140
Industry standard for school + theatre wireless.
Lead vocal (wired stationary)
Shure SM58
15
The workhorse vocal mic.
Backing vocal (ensemble)
4-6× SM81 overheads
25 each
Pencil condensers for choir-style area mic-up.
Kick drum
Shure Beta 52 or AKG D112
25
Heavy low-end pickup.
Snare drum
Shure SM57
15
Top of snare. The standard.
Tom drums
Sennheiser e604 or SM57
15
Clip-on tom mic.
Hi-hat / Ride cymbal
Shure SM81 or condenser
25
Pencil condenser overhead.
Drum overheads
Shure SM81 or AT4051
25 each
Pair, spaced for stereo image.
Electric guitar amp
Shure SM57
15
On the speaker cone.
Bass guitar
DI box (passive)
15
Direct from instrument or amp DI-out.
Acoustic guitar
DI box from pickup OR SM81 on body
15-25
DI preferred for live sound.
Keys / Piano
DI box (stereo pair)
15 each
From the keyboard's stereo out.
Acoustic piano
2× SM81 or AT4051 overhead
25 each
Pencil condensers above the strings.
Brass section (trumpet/trombone)
SM57 close OR area mic from above
15
SM57 close on each, OR a pair of condensers area-mic'd.
Woodwind (clarinet/sax/flute)
SM81 or AT4051 close
25
Condenser captures the breath detail.
Strings (violin/cello)
SM81 or AT4051 close
25
Pencil condenser at 30-50cm from bridge.
Choir (full)
4-6× SM81 or AT4051 overheads
25 each
One mic per ~6-8 singers.
Conductor / MD
Lavalier (Countryman B3)
30
For talkback to band only, not FOH.
Boundary mic (floor)
Crown PCC-160 or AT-ATM350
30
Subtle picks-up actors' downstage voices.
Audience reaction / applause
2× SM81 from FOH bar
25 each
For live broadcast recording only.
The substitution conversation
When the engineer specifies a premium mic, the substitution conversation is always one of these three:
"Is the mid-tier mic audibly worse to a 380-seat audience?" Usually no. SM58 vs Beta 58 in a school theatre = indistinguishable.
"Can we share an area mic instead of close-mic'ing each instrument?" Often yes for orchestral instruments. Saves 6-10 channels + stands.
"Do we need the wireless on every cast member or just the leads?" Often just the leads. Ensemble can use overheads.
What to leave alone
Don't substitute on:
Lead vocal wireless tier — if the engineer says ULX-D for the two leads (vs SLX-D), accept. The two-lead cost saving is only A$160/day total, and the leads are the audible focus.
Drum kick mic — the Beta 52 / D112 specialist is worth the A$10/day over an SM57.
Lavalier hidden in a wig — the DPA premium is worth it for sweat-resistance + frequency response on skin.
The goal is informed conversation, not penny-pinching. Some lines are worth the spend; many are not.