Make a scene-by-scene microphone plot
Use a copy of the running order or script to list the principal speaking and singing parts in each scene. Mark entrances, exits and costume changes. The busiest scene shows the maximum number of simultaneous individual microphones you may need; the rest of the plot reveals whether sharing is practical.
Do not count an offstage actor’s microphone as available for an immediate handover. They need time to reach the change point, remove it, pass it over and check the next fitting. A lower hire quantity can create more backstage work. Discuss that trade-off before setting the budget.
| Scene / moment | Record in the microphone plot |
|---|---|
| Opening number | Named soloists, ensemble and who speaks immediately afterwards. |
| Dialogue scene | Speaking roles onstage together and any offstage voice. |
| Costume change | Time available, pack position and who helps. |
| Finale | Peak simultaneous use and the plan for ensemble sound. |
Choose a practical fitting for each performer
Discuss microphone type alongside costumes and movement. Headsets and other worn microphones need to fit comfortably, remain positioned during the scene and avoid clothing contact. Handhelds may be suitable for a concert presentation but can be awkward for a scripted scene with props.
Agree who is allowed to assist pupils and how fittings will follow the school’s safeguarding arrangements. The sound plan should fit that process. Do not leave delicate equipment fitting to an unbriefed person seconds before an entrance. Allow the performers to practise with the arrangement before the show.
Plan ensemble sound separately
A chorus is not automatically a collection of individual radio microphones. The best approach depends on the room, accompaniment, staging and what is already audible naturally. Discuss whether the aim is a little reinforcement, featured soloists, or a recording as well as sound in the room.
Tell the sound team if the show uses a live band or backing tracks. The balance between performers and accompaniment affects how much useful reinforcement is possible. Turning up every microphone will not solve an accompaniment that overwhelms the voices.
Coordinate the radio systems and the desk
Give the supplier the model and tuning range of any radio equipment already owned by the school, including systems elsewhere in the building that will remain in use. Do not assume that two separate sets can be combined because they work individually. Frequency coordination and applicable licensing need checking for the actual equipment.
Count mixer inputs and confirm how the operator will identify each performer. Use consistent names across the script, receiver labels and desk. Agree the battery or charging routine for the supplied equipment and the process for reporting a damaged cable, connector or microphone.
Rehearse handovers and microphone cues
Set aside a technical rehearsal with the actual performance order. Test entrances, exits, costume changes and quiet dialogue, not just a loud song. The operator needs to know when microphones should be active and when they should be muted offstage.
Nominate a backstage microphone lead and a sound operator, with a clear way to communicate. If a performer changes role or a scene is cut, update the plot and tell both people. A labelled plan used by everyone is more valuable than three different versions in separate notebooks.
Put it into practice
Your school-show sound brief
- Show dates, technical rehearsal and performance schedule.
- Cast / scene plot with the busiest simultaneous microphone use.
- Music or backing-track requirements and existing sound equipment.
- Costume changes, fitting arrangements and backstage support.
- Who operates the sound and whether you need additional technical help.
Technical references
Manufacturer and official guidance behind the technical points in this article. Follow the instructions for the specific equipment and the arrangements agreed with your venue.
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