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<blockquote data-quote="Paul Johnson" data-source="post: 217632" data-attributes="member: 2643">We can certainly use the inverse square law to describe what happens but realistically, the key feature is gain before feedback. The sensitivity is pretty irrelevant when it comes to radio systems as they&#039;re designed to cope with an untrained quiet voice with no power or an opera singer, capable of shattering a glass! A clip on mic is simply too far away from the source (the mouth), so while of course the Inverse Square Law applies, gain will simply be dictated by distance. A good stage side A2 will detect changes in the sound and be able to fix them. Maybe the talent knocked the headset when sticking a wig on, or putting a costume over - that sound checked and tweaked mic position just behind the corner of the lips, out of the breath air stream needs to be maintained - a movement toward the ear by as small a distance as an inch can lower the level significantly, requiring a fader prod, which could go over the stable feedback point, or just run out of level in a loud show.&nbsp; Have a look here for some comments about mounting mics on performers.[MEDIA=youtube]RtIPz2MiclM[/MEDIA]</blockquote>

[QUOTE="Paul Johnson, post: 217632, member: 2643"] We can certainly use the inverse square law to describe what happens but realistically, the key feature is gain before feedback. The sensitivity is pretty irrelevant when it comes to radio systems as they're designed to cope with an untrained quiet voice with no power or an opera singer, capable of shattering a glass! A clip on mic is simply too far away from the source (the mouth), so while of course the Inverse Square Law applies, gain will simply be dictated by distance. A good stage side A2 will detect changes in the sound and be able to fix them. Maybe the talent knocked the headset when sticking a wig on, or putting a costume over - that sound checked and tweaked mic position just behind the corner of the lips, out of the breath air stream needs to be maintained - a movement toward the ear by as small a distance as an inch can lower the level significantly, requiring a fader prod, which could go over the stable feedback point, or just run out of level in a loud show. Have a look here for some comments about mounting mics on performers. [MEDIA=youtube]RtIPz2MiclM[/MEDIA] [/QUOTE]

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