Small, discreet lapel microphones attached directly to an actor's clothing. Captures primarily the wearer's voice with minimal room reflections and background noise. Often used as backup mic or primary solution for tight camera framing or mobile scenes.
A lavalier microphone (also called "lav", "body mic", or "wireless mic") is a small, lightweight clip-on microphone that is attached directly to the actor's body. Unlike a boom mic, which captures sound from a distance, the lavalier sits close to the mouth (typically 10-20 cm below the chin) and primarily captures the wearer's voice.
| Property | Standard Value | Remark |
|---|---|---|
| Size | 3-6 mm diameter, 2-3 cm length | Discreet, can be hidden in clothing |
| Weight | 1-3 g (capsule only) | Barely noticeable for actors |
| Frequency Response | 50 Hz - 16 kHz | Optimized for human voice (not bass) |
| Pickup Pattern | Omnidirectional or Cardioid | Omnidirectional captures more ambient sound |
| Sensitivity | -35 to -42 dBV/Pa | Typically lower than boom mics |
| Maximum SPL | 130+ dB SPL | Can handle loud shouts |
| Self-Noise | 20-30 dB-A | Slightly higher than boom (acceptable close to mouth) |
| Cable Weight | Fine nylon/plastic, 1-2 mm | Barely visible under clothing |
The lavalier system consists of three components:
A typical lavalier microphone has a shaped frequency response to provide optimal dialogue quality:
This presence peak is intentional: a lavalier needs to sound aggressive to leverage its proximity to the source.
Standard Position:
Alternative Positions (depending on the scene):
The thin lavalier cable needs to be routed from the microphone to the transmitter:
Since the lavalier is close to the mouth, it needs protection:
| Problem | Audible Result | Cause | Solution |
|---|---|---|---|
| Clothing Noise ("Rustling") | Scratchy noise with movement | Cable rubbing against clothing, or lav moving | Secure cable with tape/Velcro, use windscreen |
| Cable Clicking ("Handling Noise") | Clicking sounds with movement | Transmitter moving in pocket | Secure transmitter in a rigid holder, not loose |
| Proximity Effect (Bass Boom) | Muffled, bass-heavy voice | Microphone too close to mouth | Position 5-10 cm further away, or apply EQ later |
| Sound Too Quiet | Whispers barely audible | Weak transmitter or lavalier too far away | Check transmitter battery, move microphone closer |
| Radio Interference ("Dropouts") | Short interruptions, "glitch" sounds | RF interference or poor range | Reposition antenna, change frequency, move receiver closer |
| Overload on Loud Dialogues | Distorted, strained-sounding voice | Transmitter input level too high | Reduce transmitter input level |
| Voice Sounds "Thin" and High | Incorrect pitch, unnatural | Incorrect crossover or lack of bass | EQ adjustment in post-production, or position closer |
Sennheiser EW 500 Series (Industry Standard)
Shure ULXD Wireless (Premium, digital transmission)
Audio-Technica 3000 Series (More affordable, solid)
Sennheiser MKE 2 (Omnidirectional, neutral)
Shure WL93 (Cardioid, aggressive)
Audio-Technica AT831cW (Condenser, modern)
The sound mixer saves the lavalier signal on a separate channel as a backup. In editing, the sound editor will later choose: boom mic or lavalier, depending on the recording quality.
| Scenario | Best Choice | Reason |
|---|---|---|
| Static Dialogue Scene | Boom Mic | Better sound quality, less clothing noise |
| Action Sequence with Running | Lavalier | Boom cannot follow, lavalier provides consistent levels |
| Extreme Close-Up | Lavalier | Boom would be in frame |
| Outdoor Shooting with Wind | Boom Mic | Better wind protection possible |
| Tight Interior Spaces | Boom Mic | Better control over room reflections |
| Scene Start with Multiple Actors | Both (Mono) | Boom for wide sound, lavalier as backup |
The lavalier microphone is an indispensable tool in professional audio workflows, but with compromises:
Advantages:
Disadvantages:
Best practice: Always use both systems (boom + lavalier). This gives the sound mixer maximum flexibility and security against bad recordings in post-production.
Das Lavalier ist wunderbar, weil ich nicht auf die Tonangel achten muss. Ich kann extreme Nahaufnahmen machen ohne Boom-Angst. Aber: Die Lav-Kabel müssen unter der Kleidung versteckt sein. Das erfordert Kooperation mit dem Kostüm-Department und nimmt Zeit auf der Set vor Drehbeginn. Bei jeder Kostüm-Änderung muss der Lav re-mikrofon werden. Das ist nicht ideal, aber akzeptabel für moderne Blockbuster, wo Zeit oft knapper ist als Qualität.
Lavalieres kosten extra: Funk-System (Transmitter und Receiver), die Mikros selbst, und ein Ton-Techniker, der die Geräte anpasst. Aber sie ermöglichen es uns, schneller zu drehen, weil die Boom-Ops nicht bei jeder Kamera-Richtung neu positionieren müssen. Im Low-Budget-Film: nur Boom. In höher budgetierten Produktionen: immer Boom + Lavalier. Das gibt der Post-Production maximale Flexibilität.
1. Zu welchem Department gehört „Ansteckmikrofon / Lavaliermikrofon"?
2. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
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