A radio mic plot built by working theatre sound engineers
This free mic plot and cue sheet builder is the document a sound operator lives by during a show. Add every radio mic channel, who is wearing it, the mic type and where they are on stage, then map who is live in each scene and the exact line each mic comes on and goes off. It is built by the live-event crew at Enchant Entertainment, who run radio mics for school productions, musicals and corporate shows across Perth and WA.
How to use it
1. Name your scenes across the top (Act 1 Sc 1, songs, whatever your script uses). 2. Add a mic for each radio channel. 3. Add the performer on each mic with their character, mic type and stage position, then set the scene range and the cue line the mic goes on and off. To share one channel between two performers, add them both to the same mic with different scene ranges. The Scene grid shows the whole show at a glance and the Cue sheet lists every on and off cue in order. It all saves in your browser, and you can print or export it for the bio box.
What a radio mic plot includes
A complete radio mic plot is the master document that maps every wireless channel in your show. At minimum it lists each channel number against the performer and the role(s) they play, the mic or transmitter type and its physical position on the body (forehead, cheek, hairline, chest), and the receiver/transmitter pairing so the desk, the RF rack and backstage all agree. A working plot also tracks shared packs and handovers (who wears the mic in which scene, and where the swap happens), battery change points, the RF frequency or channel group assignment, and any colour-coding or numbering used on tape and pack labels. Good plots pair with a cue sheet noting mute/open points, mic swaps, and quick-change moments, so the operator, the dressers and the stage manager are all reading off the same page.
Microphone types for theatre
The right mic depends on the role, the choreography and the look. These are the workhorses for live theatre.
| Mic type | Best for | Notes |
|---|
| Headset / head-worn mic | Principals and anyone who sings hard, moves a lot or needs consistent level | The boom sits at a fixed distance from the mouth, so level stays even through movement and choreography. Match the element colour to skin tone, run the boom to the corner of the mouth (not dead-centre, to dodge pops and breath), and keep a little gap off the lip. |
| Lavalier / lapel mic | Spoken-word roles, naturalistic drama and quick-change ensemble tracks | Usually rigged at the hairline or forehead in musicals (close to the mouth, even tone) rather than on the chest, where clothing rustle and a duller, more distant sound creep in. Smaller and easier to hide than a headset, but more prone to costume noise. |
| Earset | Performers who want a near-invisible look but more stability than a lav | Loops over one ear with a short boom toward the cheek, so it tracks head movement better than a hairline lav and is less bulky than a full dual-ear headset. A good middle ground when a headset reads as too obvious on camera or under tight wigs. |
| Handheld wireless | Concerts, cabaret, soloists, MCs, awards nights and stand-and-deliver numbers | Gives the performer mic technique and control, and is fast to hand off between acts. Less suited to staged drama where hands need to be free; have a spare capsule or whole handheld ready, as drops and knocks are common. |
| Boundary / float mic | Down-stage pickup of un-mic'd ensemble, dance feet, or filling gaps at the stage edge | Sits flat on the deck along the front edge ('floats') to grab whatever happens above it. It is ambient by nature, so expect more stage and band spill and a real feedback ceiling. Treat it as fill, not a substitute for body mics. |
| Choir / hanging mic | Full chorus, school choirs and large ensemble numbers where individual packs aren't practical | Hung from bars or flown in a spread above the group to capture the block as a whole. Wide pickup means lower gain before feedback, so keep them clear of the main speakers and ride them down whenever the principals are carrying the scene. |
Stage positions explained
Positions are read from the performer's point of view facing the audience. Upstage is away from the audience, downstage is toward it, and left and right are the performer's own.
This map is drawn the way the audience sees the stage. Upstage is the back (away from the audience), downstage is the front (nearest the audience), and stage right is the performer's right, which falls on the audience's left.
Audience left= Stage Right
USRUp Stage Right
USCUp Stage Centre
USLUp Stage Left
SRStage Right
CCentre
SLStage Left
DSRDown Stage Right
DSCDown Stage Centre
DSLDown Stage Left
▼ Audience ▼
Audience right= Stage Left
Running radio mics in a live show
Running radio mics live is an active job, not a set-and-forget patch. Before the house opens you should have your RF coordinated and walk-tested across the whole stage and wings, fresh batteries in every pack, gains set with real headroom under your loudest singer, and every channel labelled to match your plot. From there the show is mixed in real time: you follow the script line by line, opening the person who is speaking or singing and pulling everyone else down so the stage stays clean and feedback stays away. Mute discipline is half the battle, the fewer mics open at once, the more gain-before-feedback and clarity you keep.
The other half is anticipation. Watch the plot for mic swaps, quick changes and shared packs, and be muted and ready at every handover so a pop or a costume rustle never hits the PA. Keep one eye on battery meters and your spare pack patched and ready, because something will eventually fail mid-show, a sweated-out element, a dropped handheld, a flat cell, and the operator who has a hot spare and a rehearsed recovery turns a disaster into a non-event. Stay ahead of the script, ride levels for the moment, and treat every performance as a fresh mix.
- Set gain for gain-before-feedback, not just loudness: bring each channel up until you hear the room start to ring, then back off a few dB and leave headroom there. The loudest belt in the show, not the quiet dialogue, sets your ceiling.
- Mute channels you aren't using. Open mics add spill, costume noise and feedback risk and burn battery. Ride faders or use VCA/mute groups so only the people speaking or singing are live, and pull packs down the instant a performer goes off.
- Plan every mic swap on paper before the show. For a shared pack, note the exact scene, the offstage position for the handover, who does the rigging, and how long the performer has. Build in a buffer, never schedule a swap with seconds to spare.
- Keep spare mics rigged and ready. Have at least one fully fitted spare pack (or a hot-swappable channel) patched and frequency-coordinated so a dead element, a sweat-out or a snapped boom doesn't kill a principal mid-scene.
- Manage batteries on a schedule, not a hope. Fit fresh cells before every performance (don't carry yesterday's over), log run hours, and watch transmitter battery meters. For long shows plan an interval swap rather than risking a dropout in Act Two.
- Coordinate your RF before you coordinate anything else. With three or more channels, run a scan, assign frequencies in a clean intermod-free group (coordination software does the maths), keep IEMs and comms clear of mic frequencies, and do a walk test covering every part of the stage and the wings to find dropout spots before doors.
- Rig and tape for sweat and movement. Strain-relief the cable so a tug pulls on tape, not the connector, use skin-safe tape or clips at the hairline, protect the element from make-up and perspiration, and dress the pack so it survives choreography and quick changes.
- Ride levels actively through the show. Follow the script: push the person with the line or the solo, pull everyone else back, and ease principals up over big ensemble or band moments. A radio mic show is mixed live every night, not set-and-forget.
Frequently asked questions
What is a radio mic plot?
A radio mic plot is the sound operator's master document for the whole show, tying every wireless channel to a real person, a mic and a moment. At minimum it lists each mic number, who is wearing it and the role they play, the mic or transmitter type, the body position the element is rigged in, and the receiver or frequency assignment so the desk, the RF rack and backstage all agree. Most plots pair this with a scene-by-scene grid showing who is live in each scene, plus a cue sheet listing the exact line every channel comes on and goes off. It also tracks the things that quietly cause disasters: shared packs and handovers, battery-change points, and any colour-coding or numbering used on tape and labels. In short, it is the single page the operator, the dressers and the stage manager all read off so a busy multi-mic show stays under control. Build it before you ever touch a fader, because in performance there is no time to work it out on the fly.
How do I track a mic shared between two performers?
When two performers share one transmitter, treat them as two separate entries on the same mic number rather than one combined line. Give each performer their own scene range and their own on and off cue, so the plot and the grid show exactly who is on that channel in each scene. The cue sheet then lists the off cue for the first performer followed by the on cue for the second, which makes the handover obvious to whoever is calling and mixing it. Critically, record the offstage swap point: which scene the pack changes hands, where backstage it happens, who does the rigging, and how much time the performer actually has. Mute the channel before the swap and reopen it only once the new wearer is set, so nobody in the house hears the handover. A shared mic is one of the most common places a show falls apart, so the more detail you write down, the smoother it runs.
What mic type should I use for theatre?
For musicals the workhorse is a head-worn (headset) microphone such as a DPA or Countryman, rigged at the hairline, forehead or out to the corner of the mouth, because the element stays a fixed distance from the mouth and holds an even level through movement and big singing. That consistency also buys you the best gain before feedback, which matters when many mics are open at once. Lavalier or lapel mics suit spoken-word roles and naturalistic drama, and in musicals they are usually rigged up at the hairline rather than on the chest for a brighter, more even tone. Handheld wireless is the right tool for concerts, cabaret, MCs and stand-and-deliver soloists who want mic technique and a fast hand-off between acts. Boundary or float mics and hanging choir mics fill in ensemble and chorus coverage where individual packs are not practical. Match the mic to the role, the choreography and the look rather than reaching for one type for everyone.
What do positions like USL and DSR mean?
Stage positions are always read from the performer's point of view as they stand facing the audience, not from the audience's seats. US is upstage, meaning toward the back and away from the audience, while DS is downstage, toward the front and nearest the audience; the terms come from old raked stages that literally sloped up at the back. SL is stage left and SR is stage right from the performer's perspective, so stage right actually falls on the audience's left, and C is centre. Combine them and USL is upstage left, DSR is downstage right, DSC is downstage centre, and so on. On a mic plot, noting a performer's position lets the operator anticipate where the sound is coming from, predict coverage and level changes as people cross the stage, and spot any dead spots near the wings. It is shorthand that keeps everyone, including the stage manager calling the show, on the same map.
Does it save, print and export?
Yes. Your plot is saved in your browser automatically as you work, so it survives an accidental refresh or a closed tab without you pressing anything. You can print the scene grid and cue sheet to clean paper copies for the bio box or the prompt desk, which is still how many operators run a live show. You can export a CSV to drop the plot into a spreadsheet for sharing, sorting or merging with a rehearsal schedule. You can also save the entire plot as a file to back it up, archive it for the next time the show runs, or hand it to another operator who can load it straight back in. Because everything stays in your browser, your cast names and channel details never leave your machine.
How many radio mics do I need for a musical?
There is no fixed number; it depends on cast size, the venue, how loud the band is, and your budget. The usual approach is to mic every principal individually so the leads are always covered, then share a smaller pool of packs across featured and ensemble roles who appear in separate scenes. A small show in a forgiving acoustic room might get by on a handful of channels passed between the leads, while a large, band-heavy production can comfortably run well over a dozen. Count your principals first, then add shared packs for the supporting roles, then add at least one or two spares so a failure mid-show does not silence a lead. Hanging choir mics or a couple of floats can lift full-ensemble numbers without giving every chorus member a pack. Plan the sharing carefully on the plot, because a clean swap schedule often saves more channels than simply buying more radios.
Is there a radio mic plot template I can use?
Yes, and the core of any good template is a row per channel with the same handful of columns. List the channel number, the performer and the role(s) they play, the mic or pack type, the body position the element sits in, and the receiver or frequency assignment so backstage and the desk match. Then add columns for shared-mic handovers, battery-change points, and free-text notes for anything unusual about that channel. Pair that with a scene grid showing who is live each scene and a cue sheet of on and off lines, and you have everything a real plot needs. This tool gives you that whole structure ready to fill in, then save, print and export, so you are not rebuilding the same spreadsheet from scratch for every production. Start from the structure and adapt the scene names and channel count to your show.
What is RF coordination and do I really need it?
RF coordination is the process of choosing a set of frequencies for your wireless mics that will not interfere with each other or with other signals around your venue. The reason it matters is intermodulation: once you run two or more transmitters, the radios combine to create extra phantom signals at the sums and differences of your frequencies, and if one of those lands on a channel you are using, you get dropouts, crackle and noise. Coordination predicts those clashes mathematically and picks a clean, intermod-free group before you ever turn the mics on, and coordination software does the heavy arithmetic for you. For anything beyond a couple of channels it is genuinely essential, not optional polish. On the day you confirm the plan with a scan of the local spectrum and a walk test that covers the whole stage and the wings. Keep in-ear monitors and comms systems clear of your mic frequencies, since they are radios competing for the same air.
How do I mic a school musical on a tight budget?
Spend your channels where they count: put body mics on your principals first, since the leads carry the show and need to be reliable. Then share a small pool of packs across the smaller roles who do not overlap on stage, planning the swaps carefully so a mic is free when the next performer needs it. Use hanging choir mics or a couple of float mics along the front edge to lift the full-ensemble numbers rather than trying to give every chorus member a transmitter. Rig elements up at the hairline or forehead for the most even tone, and mute aggressively so only active performers are open, which protects your gain before feedback. Always fit fresh batteries before each performance and keep at least one fully rigged spare pack ready. Honestly, a clear mic plot and a rehearsed swap schedule will do more for a tight-budget show than simply renting more channels.
Headset vs lavalier, which should I use for theatre?
A headset keeps the element a fixed distance from the mouth, so it holds level and tone through movement, choreography and big belting, which makes it the safer choice for principals and anyone singing hard. A lavalier is smaller and easier to hide, so it suits spoken-word and naturalistic roles where the look matters more than maximum level. In musicals a lav is normally rigged up at the hairline or forehead rather than on the chest, because up there it sits closer to the mouth, sounds brighter and even, and picks up far less clothing rustle and chest thump. The trade-off is that a hairline lav still moves with the head and is more prone to costume noise than a fixed boom. As a rule of thumb: heavy singing and dance lean headset, discreet looks and dialogue lean lav, and an earset sits neatly in between when you want stability with a near-invisible look. Many shows happily mix both across the cast depending on each role.
Where should I position a lavalier mic on a performer?
In musical theatre, lavs are almost always rigged up high, at the hairline, the centre of the forehead, or out at the temple, rather than down on the chest or lapel. Up there the element is much closer to the mouth, so you get a brighter, more even sound, more level before feedback, and far less of the clothing rustle and dull chest thump that a chest mount invites. A centre-of-forehead position under a wig or hairline gives the most consistent tone as the head turns. Wherever you mount it, strain-relief the cable with a small loop taped down, so any tug pulls on tape rather than on the connector or the element. Keep the capsule clear of make-up, hairspray and sweat, since moisture and product are the usual killers of a lav mid-run. For spoken drama where the look has to read as natural, a discreet chest or costume mount is acceptable, but expect a duller, more distant sound.
How do I stop wireless mics dropping out during a show?
Dropouts almost always trace back to one of three causes: RF clashes between channels or with local signals, weak radio coverage in part of the space, or flat batteries. First, coordinate your frequencies into a clean, intermod-free group and run a scan of the room so you are not fighting other transmitters. Then do a walk test covering the whole stage, the wings and any far corners to find dead spots, and position your antennas with clear line of sight to the stage, raised and away from metal and other gear. Fit fresh batteries before every performance, log run hours and watch the transmitter meters rather than hoping. Keep in-ear monitor and comms systems well clear of your mic frequencies, since those are radios that can swamp a nearby channel. Finally, keep a frequency-coordinated spare channel ready so that if one radio still misbehaves you can swap to a known-good pack without stopping the show.
How do I track a mic that moves between scenes or performers?
Write it down explicitly rather than trusting it to memory, because a moving mic is where most shows come unstuck. On your plot, record which scene the pack changes hands, the offstage position where the swap happens, who does the rigging, and exactly how much time the performer has between exit and the next entrance. On the cue sheet, mark the mute point before the swap and the open point after it, so the channel is dead the whole time it is being moved and nobody hears the handover, the rustle or the tap test. If the mic stays on one person but they leave and return, simply set the scene range and the on and off cues so it is muted while they are off and reopened when they return. Always build in a time buffer and never schedule a swap with seconds to spare. A rehearsed handover with a clear plot turns a frantic quick-change into a routine, invisible move.
How do I tape and rig a mic so it survives sweat, movement and quick changes?
Good rigging is what separates a mic that lasts the whole run from one that dies in Act Two. Use skin-safe medical tape (or purpose-made clips) at the hairline and dress the cable so it follows the contour of the head and neck, then strain-relief it with a small loop taped down so any tug pulls on tape rather than the connector. Protect the element itself from make-up, hairspray and perspiration, which are the usual causes of a muffled or dead mic; a tiny foam windscreen or a fresh cap helps, and wiping sweat away at interval is normal practice. Mount the transmitter pack somewhere flat and secure, in a mic belt, a pouch or taped to the body, where choreography and a quick change will not rip it loose, and route the antenna so it is not coiled tightly against the body. For costumes with fast changes, plan the cable run so the performer can get in and out without snagging the pack. Rehearse the rig on the actual performer in the actual costume, because what works in the chair often fails under stage heat and movement.
What should I use for the chorus or choir when I can't mic everyone?
When individual packs are not practical for a large group, reach for hanging choir mics or float mics rather than trying to body-mic every chorus member. Choir mics are hung from bars or flown in a spread above the group to capture the whole block as a single source, which suits school choirs and big ensemble numbers. Float or boundary mics sit flat along the downstage edge to grab whatever happens above them and help fill the front of the stage. The catch with both is that they have wide, ambient pickup, which means lower gain before feedback and more spill from the band and the room. Keep them clear of the main speakers, ride them up only for the full-ensemble moments, and pull them down whenever your mic'd principals are carrying the scene. Treat them as fill that thickens the sound, not as a replacement for body mics on anyone who has to be heard clearly.
What do I do when a mic fails in the middle of a show?
First, stay calm and quiet: a failure is only a disaster if the audience hears you reacting to it. If you have a frequency-coordinated spare pack ready, the cleanest recovery is to bring up the spare and have the performer swapped over at the next offstage moment, which is exactly why a hot spare should always be patched and labelled before doors. In the meantime, lean on whatever coverage you have: float mics, choir mics, a nearby colleague's mic, or simply the performer's natural projection downstage can carry a line or two. If the failure is a flat battery or a sweated-out element, the swap is quick once they are offstage; if it is a snapped boom or a drowned capsule, the spare is your only fix. Note what failed and when, so you can fault-find at interval rather than mid-scene. The operators who handle this well are the ones who rehearsed the recovery and have the spare ready, so a dead mic becomes a non-event rather than a stop.
Where should I place the receiver antennas for the best coverage?
Antenna placement often matters more than the radios themselves, because a clean signal path prevents most dropouts. Give the receiving antennas clear line of sight to the stage, raised up and out in front of the gear rather than buried in a rack behind metalwork, people or other equipment. Keep them away from large metal surfaces, lighting dimmers, LED walls and other RF sources that can shadow or swamp the signal. For wider or deeper stages, remote or paddle (directional) antennas mounted out front, fed back to the receivers, dramatically improve reach into the wings and upstage corners. Maintain a sensible spacing between the two antennas of a diversity receiver so it has two genuinely different signals to choose from. Always confirm your placement with a walk test that covers the whole stage and the wings before doors, and adjust if you find a dead spot.
Should I hire or buy radio mics for my production?
It usually comes down to how often you run shows and how many channels you need at once. For a one-off production, a single annual musical or a sudden jump in channel count, hiring is generally the sensible path: you get current, well-maintained gear, the right number of matched channels, and often coordination support, without a large up-front spend or the burden of storage and servicing. Buying makes more sense for groups that stage shows regularly through the year, where the gear pays for itself and you build familiarity with one system. Bear in mind that wireless is not just the mics: you also need a coordinated set of frequencies, antennas, plenty of batteries and spare elements, and someone who knows how to run it all. Whichever route you take, a clear mic plot and a competent operator matter as much as the hardware. If you are unsure, a hire company can often advise on the right channel count and even supply an operator to run the plot for you.
How does wireless mic licensing work in Australia, in general?
In Australia, the radio spectrum that wireless microphones use is regulated, and only certain portions are available for wireless mic operation, with the available bands shifting over time as spectrum is reallocated. The practical takeaway for a production team is that you should use equipment designed and tuned for the bands currently permitted for wireless audio here, and follow the current rules and any licensing arrangements that apply to your gear and venue. Reputable hire companies and manufacturers keep their stock aligned with the permitted bands, which is another point in favour of hiring if you are unsure. Beyond the legal side, coordinating your own channels into a clean, intermod-free group is what keeps them working reliably night to night. Because the specifics change and vary by situation, check the current requirements for your equipment and location rather than relying on old information. When in doubt, ask your hire supplier or a local AV professional who keeps across the current rules.
Need radio mics, headsets and an operator for your show? Enchant Entertainment hires and runs PA systems, school musical AV and theatre sound and lighting across Perth and regional WA. See all free AV tools.