You’ll find a hearing assist system in almost any venue nowadays and quality and ease of use vary by style. Hearing assistance in public address systems are a must and it’s important to understand the different types of setups you might encounter.

Hearing assist systems are usually a separate piece of hardware that is separate from the mixer or amplifiers. It can be fed with the same mix as the amplifiers or a completely dedicated mix which can be compressed and EQ’d for optimal clarity. Hearing system mixes should include not only the microphones present in the room but also any computer playback and teleconference audio that migh be used. Let’s review the different types of hearing assist systems currently available.

Receivers – Included with all systems and customized to pickup whatever audio delivery method the venue uses. Devices are usually handed out to users upon request and range in size from a credit card to a necklace or lanyard worn by the individual. Receivers will include a 3.5mm audio jack for any earbuds or dongles for integration with hearing aids.

RF (Radio Frequency) – Same technology as a two-way radio or baby monitor and has been dependable for years. The system uses a small transmitter with antennas to transmit RF signals to receiver devices given to the end users. RF systems are generally the cheapest but systems range in price depending on the features. Some venues transmit multiple channels of RF for different languages or different rooms and this can easily be accomplished. Common frequencies found can be 2.4GHz, 5Ghz, and 72MHz just like wireless microphones and IEM systems.

IR (Infrared) – Same concept as RF only uses IR radiators to flood infrared light into a space for receivers worn by the user. It has better security than RF because the infrared can be contained to one room and cannot leak through walls. Each room in facility will need it’s own IR radiator and cabling which can add to cost.

Induction Loop (T-Coil)  – Hearing Loop in the newest technology and uses a magnetic field from the building to transmit audio to a receiver or T-Coil compatible hearing aid. These systems use copper wire installed in the floor much like a heated flooring system and can span an entire venue. For obvious reasons this is usually only done for new construction or remodel and can also be the most expensive. T-Coil ready hearing aids are becoming more popular and users prefer the ability to connect to a system without any additional hardware. Induction technology seems to be the favorite as long as a well calibrated system is in place.  

Here is a quick list of things musicians can do before arriving at a studio session. Performing these tasks before you begin recording can save you valuable time and headaches in the studio. This is a list I compiled after seeing the same problems repeated over and over again. Although most of these apply to the recording studio, you may find that these are useful for live gigs as well. If you are headed to the studio and are bringing your own hard drive or files you should read this separate list specifically for transferring recording sessions between locations.

• Put new strings on your guitar or bass a day or two prior to the recording session. Drummers are recommended to use new heads for recording session. Make sure you play with them for awhile to “break-in” the sound and ensure your are familiar with the new feel.
• Guitar and bass players – bring a tuner. Drummers – bring a drum key. I have seen an hour wasted as a single tuner makes its way around the room. By the time it gets to the bass player, guitar lead #1 is already back out of tune. Each musician should have their own tuner.
• Make sure all your equipment (amps, guitars, pedals, cords, drums, etc.) is in proper
  working order before the session begins. If you are getting a hum from your amp, squeak
  from your bass drum pedal, or your guitar cord has a short in it please get your gear fixed
  beforehand!
• Bring extra batteries for your guitar/bass pedals and active instruments. Bring extra
  sets of strings, picks, and drum sticks. Most recording studios will have this stuff on hand but the price really adds up! 9-volt batteries and extra cables are a must for any musician gig bag.
• Don’t forget your guitar and keyboard stands. Also, any power supplies for
  keyboards, guitar and bass FX processors.
• Arrive to the studio early and account for load-in time. this will differ between studios and how they accurately bill for a session so talk to them first. At most studio the clock starts at the time the session was scheduled/booked so arriving early will give you time to set up your instruments and warm up your vocals. In cold or humid climate you should let your instruments acclimate to the studio environment
• It is recommended to have your guitar or bass guitar’s intonation set up and general
  maintenance performed by a professional before entering the studio. This is just routine maintenance and to keep your instrument in top shape you should have it inspected annually.

What are Polar Patterns?

Polar patterns describe how a microphone picks up sound. Specifically, it is a standardized measurement that describes the sensitivity of the microphone from all directions. The polar pattern is one of the most important specifications for a microphone and can be helpful determining the right microphone for the job as well as achieving optimal performance.

Each microphone has it’s own polar pattern which is unique to its design and characteristics. However, most polar patterns can be placed into 5 different categories of microphones. Although there are many other poplar pickup patterns found in microphones I will only cover what I feel is the most common and can still be applied to microphones that you might sometimes place in a different category of polar pattern. I’ll describe the five most common microphone polar patterns found in the industry today.

Omni-Direction

Omni microphone pick up from all directions equally. The pattern is usually represented by a full circle. Commonly found in lavalier and lapel microphones for TV and film as well as hi fidelity studio situations and measurement tools.

Bi-Directional

Bi-Directional microphones are also sometimes called figure 8 microphones. Sound pickup is equally sensitive in the front and back of the microphones. The sides of the microphone will generally have a high rejection of audio which makes this style of microphone perfect for precise application. The polar patter resembles an 8 and shows equal pickup on opposite poles of the microphone. Most ribbon microphones are bi-directional and almost only used exclusively in the recording studio environment.

Cardioid

The most common pickup pattern is undoubtedly the cardioid microphone. Strong presence in the front of the microphone with a -6db drop at 90 and 270 degrees respectively. This is an ideal pattern for any broad use microphone and can be used in any situation and has excellent gain before feedback. The polar pattern is represented by a heart shape and is one of the most common styles for microphones.

Super-Cardioid

These microphones usually have a specific use in film and TV. They are more directional than cardioid microphones but also pickup directly behind the microphone at 180 degrees while having a steep roll-off of sensitivity on the sides. Commonly found in shotgun microphones and the pattern tends to look like a mushroom.

Lobar

Lobar pattern is also commonly called shotgun pattern because you generally only see this polar pickup pattern in shotgun microphones. These microphones are as unidirectional as it gets and are intended to block as much background noise as possible. The polar pattern is represented by what looks like a stick and is much thinner than a figure 8 polar pattern.