Headset microphone rental

What a headset microphone is and what you use it for

A headset microphone is a microphone held on the head by a light bracket, with the capsule hanging on a thin boom just beside the corner of the mouth. Because the microphone moves with the head, the distance to the mouth always stays the same, no matter how someone turns or walks. That delivers a constant, natural sound while keeping both hands completely free. For anyone who moves, gestures or demonstrates something while speaking, it makes a world of difference compared to the classic handheld.

The related option is the lapel microphone, also called a lavalier, which clips onto the collar or lapel. It keeps the hands free too, but it sits further from the mouth and is therefore more sensitive to volume differences and ambient noise. Which of the two suits best depends on the type of speaker, the freedom of movement and how visible the microphone is allowed to be. Both types are usually wireless, so there is no cable attached to the speaker and the stage stays completely free to use.

Headset and lapel microphones belong to the wider world of sound, where they work together with the mixing desk, the amplification and the loudspeakers. The microphone captures the voice, but whether that voice ultimately reaches the room clearly depends on the whole chain behind it.

When to use a headset and when a lapel

A headset is the logical choice for people who really use the stage: trainers who walk back and forth, chairs who move towards the audience, fitness instructors or performers who sing and move. The fixed capsule at the mouth gives a stable volume and good resistance to feedback. A lapel mic suits a calmer setting better: an interview, a panel discussion where people are seated, or situations where the microphone should be as invisible as possible, for example during a video recording. We advise on each situation which type gives the best balance between sound quality, comfort and appearance.

When to use headset microphones

Headset microphones come into their own whenever someone speaks for a longer stretch and needs their hands at the same time. They are not there to replace the handheld entirely, but to give a speaker or performer the freedom to move naturally.

Concrete events

• Presentations and conferences: chairs, keynote speakers and trainers who do not stay behind the lectern but use the stage and move towards the audience. At presentations and conferences the headset is often the standard for anyone speaking longer than a few minutes.
• Corporate events: kick-offs, year-end gatherings and internal meetings where several speakers take turns and the programme has to flow smoothly. At corporate events we often set up several wireless channels side by side so handovers run seamlessly.
• Weddings: a ceremony speaker, a host or a performer who wants to keep their hands free during a performance. At a wedding a slim headset or an invisible lapel mic also barely shows on camera, which is welcome for the photography and video.
• Parties and company parties: presenters, hosts and performers who guide a programme and use the space. At parties and company parties we often combine the headset with a music system, so speech and music run through the same control.

For a fitness class, workshop or demonstration where the speaker is constantly on the move, the headset is really the only workable solution. Where people stand still behind a lectern instead, a fixed microphone can sometimes be the better choice. What works best we determine based on the programme and the way the speakers use the space.

The technology: setup, tuning and operation

Behind a headset that works flawlessly all day sits more than the microphone alone. It comes down to the right placement on the head, a clean wireless connection and proper tuning with the rest of the sound system.

Wireless frequencies and channels

Almost all headset and lapel microphones we use are wireless: the speaker wears a small transmitter on the belt or on the back of the body, and a receiver at the control position picks up the signal. Every microphone needs its own frequency, and as soon as several are running at once those channels have to be chosen carefully so they do not interfere with each other. On site we scan the available radio spectrum, because it differs from place to place and from moment to moment due to other wireless traffic nearby. We then set up the channels so that a panel or a group of speakers can all come through the system at the same time without interference.

Placement on the head and body

The position of the capsule largely determines the sound quality. With a headset the capsule hangs just beside the corner of the mouth, not directly in front of it, to limit popping on p and b sounds and breath noise. With a lapel mic we choose a spot on the collar or lapel that sits close enough to the mouth without clothing or jewellery brushing against it. When fitting the mic we take a moment, check that the bracket sits comfortably and that the transmitter is well concealed, so the speaker no longer notices it during the performance.

Tuning with the system

The microphone never stands on its own. The signal goes to the mixing desk and from there to the amplification and the loudspeakers. We set the gain per microphone to the voice of the particular speaker, because a soft and a loud speaker call for different settings. Where needed we also apply light processing to the voice so it comes across the room full and intelligible. With several speakers we make sure the channels are matched to each other, so the volume stays even when someone takes over.

Setup, testing and operation on site

We set up well before the start and test each microphone with the actual speaker if possible, or with a soundcheck by our technician. We walk through the room to hear whether the voice comes through equally well everywhere and whether feedback occurs anywhere. Fresh batteries or charged packs are standard, and for long programmes we keep spare transmitters and extra batteries ready to swap in between without interruption. During the event our technician operates the mixing desk, opens and closes microphones at the right moment and keeps an eye on the volume and clarity throughout.

Points to watch specifically for headset microphones

Headset and lapel microphones have a few characteristics that call for attention. Knowing them prevents the most common problems on a stage.

Feedback and howling

The classic problem with microphones that move freely through the space is feedback: the howling that occurs when the microphone picks up the sound from the loudspeakers again. With a speaker who walks across the stage, the distance to the speakers constantly changes, which increases the risk. We limit that by positioning the loudspeakers so they are not aimed directly at the speaker and the microphone, by choosing capsules with a directional pickup pattern and by adjusting the gain and the critical frequencies on site. That keeps the voice loud and clear without any squealing.

Battery life and reliability

A wireless microphone is only as reliable as its power supply. Transmitters run on batteries or rechargeable packs, and for a long programme it is essential to replace them in time. We calculate the running time, start with fresh power and keep spares to hand. We also make sure the transmitter is fixed firmly and out of sight, so it does not come loose when the speaker moves or dances.

Comfort, sweat and appearance

A headset sits on the head for a whole programme, so comfort counts. We choose light, well-fitting brackets and protect the capsule against sweat with a windscreen, which also softens popping sounds. For situations where the microphone should be as unobtrusive as possible, for example on camera or during a ceremony, we choose a slim, skin-coloured headset or a hidden lapel mic. That keeps the image clean without compromising the sound.

Combining with light, video and special effects

A clearly intelligible speaker is the foundation, but on a stage sound always works together with vision and atmosphere. When a presenter steps onto the stage with a headset, you want the lighting to move with that moment and highlight the speaker, so the audience naturally turns its attention to the right spot. If someone wears a lapel mic during an interview that is being recorded, a clean audio recording is just as important as the image; we match the microphones to the video recording so speech and picture come together seamlessly.

Atmospheric effects play a part too. A speaker who comes onto the stage out of a light haze or a performer who takes the stage with a headset while an effect goes off calls for coordination between sound and the special effects. Because our technicians oversee the whole production, the voice, the light, the picture and the effects all run through shared control and everything follows the same running order.

Practical tips

Think in advance about who is going to speak and whether they will be seated or moving; that determines the choice between headset and lapel and the number of wireless channels. For a tightly scheduled programme, plan a moment for a short soundcheck with the actual speakers, because a voice always sounds different in practice than in a test with a technician. Bear in mind that the speaker needs somewhere to carry the transmitter: a belt, a waistband or a jacket with an inside pocket helps to conceal it neatly. And where possible, match the clothing to the microphone, because smooth fabric and a good attachment point prevent rustling with a lapel mic.

Individual equipment or a complete production

If you want to collect and set up one or a few microphones yourself, you hire individual equipment directly online through SpeakerVerhuur.nl, part of Speaker Verhuur Amsterdam. For an event where the sound simply has to be right, choose the complete approach from HuurAV: we supply the headset and lapel microphones with the accompanying system, set up the wireless frequencies, test everything on site and operate the sound during the programme.

Request a quote

Would you like to hire headset microphones for your presentation, conference, corporate event or party, with technicians who take care of the setup, the tuning and the operation on site? Tell us how many speakers there are, how they use the stage and what kind of space you have, and we will put together a fitting proposal. Request a quote with no obligation and we will think along with you about the best setup for your event.