Re: [Callers] Headset mikes

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First Dance Weekend (David Millstone) ---------------------------------------------------------------------- Message: 1 Date: Wed, 22 Apr 2009 09:30:15 -0700 From: gregmck(a)earthlink.net Subject: Re: [Callers] Earset microphone recommendations To: Caller's discussion list <callers(a)sharedweight.net> Message-ID: <7.0.0.16.0.20090422091957.01dc13f8(a)earthlink.net> Content-Type: text/plain; charset="us-ascii"; format=flowed Will wrote: Well, now that you mention it, here is another perspective on this technology. Before making the investment you might want to consider all of the implications. Regards, Greg McKenzie ************ Un-tethered from Reality: Some Thoughts on Wireless Microphones I have tried using a wireless headset microphone and found the experience wanting. I owned one for several years and used it regularly. I abandoned it for several reasons. Not primarily because of the increased instances of feedback--something I find devastating to the sense of safety and community spirit in the hall. And not because of the monetary and environmental cost of batteries, the extra trouble of setting up the mike and receiver, the complications of switching the mike off and on again to make "off mike" comments, or the feeling of being wired and walking around with an electronic device attached to my head. My decision was also not primarily based on concerns about exposing myself and others to high-frequency electromagnetic radiation--though I recognize that some people are very sensitive to the idea of such exposure. My primary reason for giving up on the wireless headset was because I saw that it was interfering with my ability to connect with the dancers, musicians, and others in the hall. Any speaker at a public event needs to be in a position where the entire audience can see them. This is a very basic principle. People naturally prefer to watch someone who is speaking to them. When someone hears a voice hailing them the most natural reaction is to turn one's head toward the source of the sound. It can be disconcerting to look toward the sound source and see an empty stage. The natural reaction is to feel a little bit silly, and to look around to try to find the source of the voice. This is a relative small matter but keep in mind that there are probably dozens of people going through this reaction whenever a speaker is not in the spot where the audience is accustomed to seeing them. That means that for at least a few seconds a big part of your audience is feeling silly and disconnected. Those people are not feeling confident or relaxed. They cannot listen carefully to what the speaker is saying. As an aside here I would point out that an "off-stage mike" is commonly used in theatre and stagecraft. Please note, however, that the purpose of the "off-stage mike" is always to build suspense and tension. Something that I, personally, try to avoid when calling because I want people to feel relaxed and sociable. The off-stage mike is, therefore, usually accompanied with a visual cue (such as a spotlight at the edge of the stage during an introduction) to direct the audience's attention in the absence of a physical speaker they can see. I have attended dances where the caller has used a wireless headset mike off-stage freely during the evening. I always found it disconcerting to have to look for the caller in the room. It also seemed a bit creepy to think of a live microphone moving around the hall without warning. Callers sometimes use these mikes while speaking to individuals or small groups of dancers who are confused. This is unprofessional because it draws the entire hall's attention to the confused dancers and exacerbates the situation by creating even more tension. I quickly learned that when using a wireless headset it is the speaker's duty to alert the audience whenever they change locations--particularly if they move off stage. I would say something like: "Ladies and gentlemen. Please direct your attention to the center of the hall," before stepping off the stage. This is the courteous thing for a speaker to do. This helped a lot, but it also complicated the process of moving away from my regular location. Ultimately I found that the headset mike was more trouble than it was worth. I can see that these headset or "earset" mikes are very appropriate for entertainers who dance or move while singing or speaking and, in particular, when they have a spotlight to keep the audience cued as to their location. They also work well for instructors who must gesture or handle props while talking, such as in demonstrations. I think such mikes are of particular use to exercise instructors such as Jazzercise leaders who generally remain in the same location while teaching. At calling gigs the sound engineer will often offer me a wireless mike to use. My response is that I am happy to use any mike that delivers a good range of high-frequency sounds so that my voice can be clearly understood. Wireless mikes are acceptable, as long as they are securely fastened to a mike stand where I will leave them during the entire dance. ######## ------------------------------ Message: 2 Date: 23 Apr 2009 09:59:59 -0400 From: David.Millstone(a)VALLEY.NET (David Millstone) Subject: [Callers] First Dance Weekend To: callers(a)sharedweight.net Message-ID: <117429638(a)retriever.VALLEY.NET> Content-Type: text/plain Jack Mitchell wrote: "I've gotten to the point in my calling that calling for a weekend in the next few years is something that I'd like to set as a goal for myself, but don't have a good idea of how to go about it." Lynn Ackerson followed with many excellent suggestions. I'd like to add one other: Diversify. Many years ago, I was in the position that Jack is in. I looked around at folks being hired for prestigious dance camps and wondered, "Why not me?" I took a harder look-- I remember sitting down and drawing up a list of every caller I could see listed at a camp advertised in the CDSS news. I soon realized that just about everybody on that list could offer more than simply calling contra dances. Some taught tango, or waltz, or swing. Some had honed their ability to teach a special dance that would appeal to avid dancers; "Dutch Crossing" is one popular example. Some were crackerjack square dance callers. Some had lots of experience leading caller workshops, or had written many themselves and had led sessions on how to write dances. Some had lots of experience teaching children or novice dancers. Virtually everyone had something to offer a programmer in addition to their ability to call contras. I already had lots of experience with kids-- decades as an elementary school teacher, including teaching longsword, morris, and country dance, and I had lots of family dances on my resume. But I decided that I would hone my skills as an English country dance caller; I already enjoyed dancing ECD and was eager to share that dance form with others. Looking around, these seemed to be relatively few callers who taught both American and English. (That's still the case, though the numbers have grown in the past 15 years.) Today, my gigs are pretty evenly split, with about one third of my jobs being English country dance, one third contras and squares for the hard- core dance crowd, and one third family dances. I've also developed presentations on dance history, something that relatively few others offer. Each of these items have been helpful at special dance events, whether weekends or weeklong camps. Good luck! David Millstone Lebanon, NH ------------------------------ _______________________________________________ Callers mailing list Callers(a)sharedweight.net http://www.sharedweight.net/mailman/listinfo/callers End of Callers Digest, Vol 56, Issue 8 **************************************