Choosing a Mic Style, Boom Length and Color
Earset, headset or hairline/lavalier?
| Style | How it's worn | Best for |
|---|---|---|
| Earset | Hooks over one ear; a thin boom runs along the cheek | Most musical theatre roles; consistent sound when performers turn and sing |
| Headset | Band behind the head (dual-ear) with a boom to the mouth | Choreography and dance-heavy roles, where the mic must not move |
| Hairline / lavalier | Taped at the hairline, mounted in a wig, or placed in the costume | Wigs, period shows, straight plays, and when the mic should be close to invisible |
Earset boom length
Boom length sets where the mic sits relative to the mouth. Smaller faces need shorter booms.
- Standard (about 4.2"): full-length placement for most performers
- XS (about 3.3"): smaller faces and younger performers. See XS fit guide
- About 2.6" and 1.6": more discreet placement
- Variable: adjustable, handy when mics are shared across a cast
Color
Choose the color that disappears best against the performer's skin tone, hair, wig or costume. Lighter (cream/beige) suits many lighter skin tones; brown suits darker skin tones, brown hair and wigs; black suits dark hair, headwear or when the mic is meant to look like equipment.
Strain relief
Strain relief reinforces the point where the cable meets the microphone, one of the most vulnerable spots on a body-worn mic. It's an optional add-on for earsets and headsets, recommended for student casts, dance-heavy shows and mics shared across productions.
Full guide: How to choose a Bodymics theatre microphone.