How-to guide 07 · Live sound & microphones
How to build intelligible sound, confident microphone use and clean camera pictures.
The moment
If the message is not clear, the event is not clear
Intelligibility begins with coverage, not simply volume. Design main, front-fill and delay loudspeakers around the audience geometry, then keep them away from active microphone areas. Account for reflective surfaces, stage depth and changing room occupancy. Decide whether room and broadcast need separate mixes. Choose microphone types for the job: handhelds for control and audience questions, headsets for consistent level, lectern microphones for formal positions and lavaliers when a discreet look matters. Every choice affects sound, movement, wardrobe and camera framing. The objective is natural communication—presenters should feel supported, listeners should understand every word and the system should retain enough stability for the unexpected.
Step 01
Fit the microphone to the person
Involve presenters before show day where possible. For lavaliers, place the capsule consistently and keep it clear of hair, necklaces, lanyards and rubbing fabric. Test jackets, dresses, scarves and religious clothing respectfully, with clips, magnetic mounts and secure pouches available. Explain where the transmitter sits and offer privacy for fitting. Headsets need the capsule positioned correctly at the mouth and adjusted for comfort. Handheld users need a brief, practical demonstration: keep the grille close, avoid covering it and maintain distance while turning. Prepare alternatives for anyone who cannot use the preferred option. Then listen through the real PA and broadcast chain while the presenter moves, speaks softly and reaches their natural loudest level.
Step 02
Create gain before feedback deliberately
Place microphones close to the desired source and loudspeakers as far from open microphones as the design allows. Use directional patterns where appropriate, mute channels that are not in use and ring out the system after the final room layout is installed. Apply equalisation to solve identifiable problems, not to compensate for poor placement. Coordinate stage monitors, foldback and front fills with presenter positions. Scan and coordinate radio frequencies, then monitor them during the show. Keep spare batteries, capsules, cables and at least one wired recovery option ready. For hybrid programmes, check echo management and remote return paths. A stable system is the result of geometry, disciplined operation and rehearsal—not one last-minute processor setting.
Shure’s live-sound guide explains that doubling source-to-microphone distance can reduce gain-before-feedback by 6 dB; doubling the number of open microphones costs 3 dB.
Step 03
Rehearse the details the audience notices
Build the audio check into the running order.
Test every mic with its intended presenter or a realistic substitute.
Confirm pronunciation, playback levels and remote feeds.
Check walk-ons, handovers, panels and audience questions.
Listen from front, middle, back and difficult side seats.
Monitor room and broadcast mixes independently.
Label spares and brief stage managers on rapid swaps.
Keep a quiet wired microphone ready.
Shure’s guidance shows why placement matters: doubling source-to-mic distance can cost 6 dB of gain-before-feedback, while doubling open microphones costs 3 dB.
Good to know
Shure’s live-sound guide explains that doubling source-to-microphone distance can reduce gain-before-feedback by 6 dB; doubling the number of open microphones costs 3 dB.
Sources
Take it with you
Download the full six-page guide (1.2 MB PDF) to share with your team.
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