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I have been using RF microphones for 15 years. Half of my life I have been putting mics on other people for theatre, TV and film. When I worked at a children’s theatre, I was the go-to for mic-ing up dozens of kids. I got really, really good at the under-shirt swoop because kids are wiggly and I can’t ask them to hold still for long.
I’ve had other women tell me that they were relieved to see a female working backstage, so they didn’t have to worry about someone behaving inappropriately. The likelihood of me sexually harassing someone is apparently far less than many of my male counterparts (sorry guys?) It’s an issue that celebrities are even coming forward about in recent times.
For years I have run workshops and taught labs detailing proper RF usage and lav placement. More importantly, I discuss etiquette and “how to not be creepy.” I look each person in their eyes and say “Do not be creepy. Ask before doing. Check for understanding before reaching down someone’s shirt.” Perhaps you should begin with introducing yourself and asking their experience level, would they feel more comfortable putting it on themselves, or having help? In my experience, people are a lot more comfortable with you being in their personal space when they know your intent. The key here is to be cordial and talk it through.
As an actor or artist, your body is the focus of the show. Empower yourself and reclaim some personal space by learning some basic skills. For a lapel style mic, make a small loop and wrap it around the clip, this helps keep your mic in place even if the wire gets pulled. Run the cable under whichever layer you won’t take off. The transmitter/belt pack can go inside a safe pocket or mic belt.
If you’re wearing the other style, you may need to employ some extra tricks. I use a variety of supplies that are easily found in a grocery store or pharmacy. Moleskin is excellent when you need to secure a mic to skin or fabric. It is sticky on one side and flannel soft on the other. Make a moleskin sandwich for your lav, place it wherever is out of sight. I also like to use medical tape to secure lavs; it’s hypoallergenic and readily available. You can also use straight pins to secure, but I avoid making holes in costumes. I’ve run moleskin through the wash, and it held up without even leaving a residue once removed.
If you are a female artist who needs to wear a body mic and feel uncomfortable with a guy reaching down your costume, have a female dresser, or someone else place it for you. Asking gives you more control, and it isn’t rude. Everyone has a right to feel safe in their workspace. If you’re an A1 and your talent wants to do it themselves, relinquish the need to invade their space. Check their work, but leave their bodies to themselves.
Article by SoundGirl: Susan Williams
Another great article by SoundGirls: Sound Effects: A Crash Course in Foley
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The mission of SoundGirls.org is to inspire and empower the next generation of women in audio. Our mission is to create a supportive community for women in audio and music production, providing the tools, knowledge, and support to further their careers. SoundGirls.Org was formed in 2013 by veteran live sound engineers Karrie Keyes and Michelle Sabolchick Pettinato and operates under the Fiscal Sponsorship of The California Women’s Music Festival, a 501(c)3 non-profit organization. In 2012, Karrie and Michelle participated in the “Women of Professional Concert Sound” panel at the AES Conference in San Francisco. The panel was hosted by the Women’s Audio Mission (WAM) and moderated by WAM founder Terri Winston. Terri brought together five women working in live and broadcast audio. The groundbreaking panel (which also included Jeri Palumbo, Claudia Engelhart and Deanne Franklin), provided young women and men a glimpse into life on the road, tips and advice, and a Q & A with the panelists. More importantly though, was how incredibly powerful the experience was for the panelists. We had all been in the business for 20 years or more, yet most of us had never met before that day and within minutes we bonded like long-lost sisters. We were struck by how similar our experiences, work ethics, and passions were and wondered why our paths had never crossed and how our careers would have been different had we been there to support each other through the years. Each of us are strong on our own, but together we were even stronger and a powerful force. We were empowered. Each of us had been asked hundreds of times in our careers: Are there other women doing sound? How did you get into sound? How would a young woman go about getting into sound? Through creating SoundGirls.Org, we hope to establish a place for women working in professional audio to come for support and advice, to share our success and failures, our joys and frustrations, and for empowerment and inspiration.
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