Headset microphones are versatile and may not be used only for singing, but also for the speakers, in churches, educational facilities, conference rooms, theaters, courtrooms. We actually talk about the places where one or more people speak in front of an audience. You need some practice before using it so that you don’t have any unpleasant surprises.
In some situations, the speaker doesn’t need to use a handheld microphone and might get some help from a lavalier microphone. This type of microphone requires more attention as the level may change as you turn your head while talking. You can avoid this by using a headset microphone instead.
Why get a headset microphone for your singing?
As a singer, while performing on stage with all the sounds radiating from musical instruments, monitor speakers and other devices, you need to pay attention and this might disturb your performance at times. You need to use a headset directional mic so that your voice still sounds great. Unlike the omnidirectional mic, the cardioid design of the directional mic picks up half the amount of the background sound. Let’s not to mention that the low-frequencies sounds from loudspeakers, drums may be minimized to a tenth or less.
When using a wireless system, there are several good things to take in consideration. The microphone is close to the sound source and there’s not much need for gain and this is a good thing especially when using several microphones at once. You also get the total freedom on the move, no matter your type of performance.
Omnidirectional handheld microphones are not that popular for the stage and the headset gain popularity in conferences, theaters. A headset mic for singing is always close to your mouth and you can’t miss it, also.
Get the best out of your headset microphone
Even though you got the best model out there, you still don’t get the best performance out of it. This is because you need to follow some tips. It’s important to pay attention to proximity effect, wind sensitivity, rejection individualities of various types of directional microphones. The course of a directional headset’s rejection, while observing the most sensitive path of the microphone. You need to see if the rejection points towards the sources you want to minimize, for instance.
An omnidirectional headset is the better choice for a controlled environment (stage set) as it has a more natural tone and there is no proximity effect. The placement accuracy is not that essential just as well.
In the case of directional head-set microphones, you need to perform quite close to the microphone, which has a say on the bass level. A good headset comes though with proximity effect tailored and works within a good distance.
Omnidirectional headsets are sensitive to sound from all around. The timbre of the sound remains the same no matter how far/close the sound is from the microphone. The positioning of the Omni-directional is not that important and it’s not very sensitive to wind, breathing or other noises. You don’t need highly prepared when using an Omni-directional either.
Keep in mind that you can choose a single ear or a dual ear headset microphone. The single ear headset automatically adjusts to each wearer with the help of a steel-spring construction as it applies a constant pressure, no matter the size of the ear. You can put it on/off and the piece adjusts every time just the same. You can install it on your own and even if you wear glasses, the headset isn’t uncomfortable to wear.
When you move a lot, you might need a dual ear headset as it secures better to the head. Typically, it has a flexible size and it can slim fit around any head.
Making the choice
You need to take consideration your skills, where you’re going to use it, how much you’re going to move.
Get an omnidirectional if positioning is not important and you’re not highly trained. It’s also a good choice if the background noise and feedback doesn’t count much.
And, if the last two are important, go for the cardioid type instead.