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  1. Overhead boom.
  2. Boom from underneath.
  3. Boom mics as plant mics.
  4. Lavalier mics as plant mics.
  5. Lavalier mics as body mics.
  6. Lavalier mics, as wireless or radio mics

5) Next in our bag of tricks is the lavalier used as a body mic. Lavs tend to have three major problems: perspective, clothing noise, and mobility.

Perspective is the biggest problem. Dialogue recorded with lavs usually sounds like dialogue recorded with lavs. Talent always sounds like they are close to the camera, even in long shots. If talent turns their heads over one shoulder, their voice drops off. If talent leans over a hard podium or tabletop surface, their dialogue suddenly becomes infused with reverb.

The lav sound is sterile and somewhat free of natural sound effects and ambiance. The result is more authoritative and reporter-ish, less slice-of-life. Depending on the effect you are looking for, this could be a plus or a minus.

For example, an instructor will sound more dominant on a lavalier. But a community relations spokesperson will sound warmer and more natural if miked with an overhead boom.

Perspective can be improved by using some simple cheats. Place the lavaliers further down on the chest or further away from the voice to "open" up the sound. Two people standing close to each other and can be miked off of each other's mics to increase the air space.

Be aware that the audio characteristics of lavaliers vary from make and model. Some lavaliers (known as proximity lavs) are more reporter-ish, and others are more natural (known as transparent lavs). Some reject background noise and focus on the individual, and others reach out to include other elements in the scene.

A boom mic on the set can be used to record footsteps and sound effects that the lavs might ignore. Recording just a smidgen of ambient "noise" (open the mic channel just a little bit) will wash out the normal sterility of the lavaliers. Use more "mic bleed" in long shots to thin out the dialogue, and then reduce the mixture for close-ups.

Clothing noise is a major problem with lavaliers. Although we don't have the space in this article to fully explore that area, one simple solution to clothing noise is to avoid the problem by attaching lavaliers to non-traditional sites, such as a hat brim or a clipboard.

When lavs do have to be hidden under clothing, secure the clothing carefully on all sides of the mic head. If the clothes are taped to the mic, then they cannot rub against the mic. Any loose flap of clothing that could strike the mic should be secured with tape or pins. Break the stiff starch near the mic with some water, so that noise does not conduct to the mic. The use of StaticGuard can also help reduce clothing friction.

Mic cables should be connected at the ankle. Never let talent drag the power supply of a lavalier by the thin mic cable that attaches it to the capsule. Instead, secure the power supply to the leg (put it in the sock, or use an ankle strap, or line the ankle with a protective strip of cloth or toilet tissue and then use gaffer tape). Attach the mic cable to the connector at the ankle, during a take. Remember to disconnect immediately during breaks so that talent is free to move off of the set.

Obviously, there will be situations when it is either not practical nor safe for talent to be tethered by a mic cable. 6) Our last resort as a miking solution is to use radio mics.

Radio mics suffer from all of the limitations of lavaliers, plus those of their own such as electronic failure, radio interference, and bad karma that the scientific types are loathe to admit exist (such as mysterious magnetic black holes). Everything that has ever made your television reception bobble for a moment can interfere with radio mics: appliances, computers, passing trucks, overhead airplanes, CB's, and so on. Radio communications can also be a source of interference: walkie-talkies, mobile radios, repeaters, etc.

Try to use wireless as sparingly as possible. Sometimes, you can start a scene with a wireless, and then go hard-wire after talent has settled into a spot.

Only use fresh batteries, and change them routinely every couple of hours, or sooner!

If you are planning to use radio mics, bring along back-up units for contingency. There may be interference on one channel, or a unit may fail go sour on you, or talent may break a unit accidentally.

Radio mics can get expensive to use, not to mention difficult to mix if there are more than just a couple in use. Try to limit having to deploy them if there are any alternatives.

In conclusion, remember that good sound doesn't just happen. It has to planned.