Microphones How to fix Countrymen Mics

No lav mic is immune to broken cables and sweat. Thicker cables might last a bit longer in some cases. Even a big, clunky Audio Technica AT831b breaks cables.

As we've discussed before, there are two choices. Buy the expensive ones that last awhile but eventually fail, or buy cheap ones and replace frequently, before they fail.
Well I have both. but they still end up being expensive both ways. Also the cheep ones we buy are headsets and im not a fan of them and they get stuck in actors hair a lot. Know of any good cheep ones that can be used as teardrop?
 
Yes I have used a body pack the doesn't crack/pop. The mics have just been put through 5 years of abuse accidents and pulling and am just looking for a way to fix them. They are DEF the mics. It is the connector part where the cabled is soldered or it is the connector into the pack. They are the Shure standard 4 pin mini I don't know the technical term. The wireless mics are shure SLX and ULXD-1. I have a soldering iron and some solder but am not good with it.
The wires and connections are really fine pitch - only workable by someone with pin pitch tips and a good deal of soldering experience.

And while that describes me, I always write off worn out Countryman mics; it's not worth the effort, because even if your repair it, it's then running on borrowed time.
 
The wires and connections are really fine pitch - only workable by someone with pin pitch tips and a good deal of soldering experience.

And while that describes me, I always write off worn out Countryman mics; it's not worth the effort, because even if your repair it, it's then running on borrowed time.

+1 for this. I have the tools and experience to fix them, but generally choose not to. It's simply not worth it for something that will inevitably have to be repaired again in near time.
 
Having a micro-electronics background, doing work on very small units does not bother me, but yea, there are limits!! I will still repair Sennheiser ME2 capsules, but these days they are considered big and chunky! Newer capsules are much smaller and beyond my ability. Sad, but for better or worse, we live in a disposable world, even regarding expensive devices.
 
I'll echo what others have said although we use E6's rather than B3 or 6's. We have an inventory of about 6 E6's with Shure ULX-S, and during shows the problem we have the most often is with the cables. I prefer the 2mm cables because they seem a little more durable, but more importantly they don't seem to get tangled nearly as often or as badly. I try to keep an inventory of 4 spare cables on hand, so I have a spare or two left when it comes time to order them.

A little off topic, I thought I'd just throw our our best practices when it comes to E6's, and what I tell any new actor being mic'd for the first time (or the yearly reminder)

1. DO NOT wrap the cable around the beltpack. I'd much rather you handed me the beltpack and a bunch of loose cable than wind it tightly around the beltpack. When I lay mics out for users, I loosely coil the cable (maybe 6" loop?) then set the belt pack unconnected atop the mic and cable.

2. Put the mic on and run the cable down your shirt WITHOUT THE BELTPACK attached, then connect the beltpack and clip on your clothing. Removal is opposite of installation, turn the belt pack off, GENTLY disconnect the microphone, then take the microphone off. I have watched actors drop the connected beltpack down their shirt using the weight of the pack to pull the cable down and I just cringe and demonstrate the proper technique!!

3. Do not stuff the cable in a pocket or other place where it will bunch up. We've found that actors who sit on a bunch of cable in their pocket inevitably end up with broken, popping cables.

4. If the costume permits, use collar clips whenever possible. Short of that, a short piece of skin tape on the inside of the collar is often preferred by the actors to actually taping the cable to their skin. Normally, if we can get the strain relief right, the E6's tend to stay put without having to tape the face.

5. Once you have the beltpack on, turn it on and leave it on! The sound crew will be responsible for muting it when you're not on stage. Sure, we burn through a little more battery that way, but we don't have problems with actors going on stage with their pack off. If I have a particularly troublesome actor who likes to turn their pack off, I force them to pick up the pack from me, and I tape the switch on for the run and turn the pack on and off by removing the battery. I know, it probably makes me sound like a control freak, but if they won't abide by my suggestions, I will force the issue.

6. For child actors: Do not touch the microphone, period.. If it's bothering you, or sliding down, ask a stage hand for help when you go off stage.

7. For most actors: If you'll take the time to have me help you fit the mic correctly, chances are very good it will stay in place without tape. If you can't be bothered to take the time, then I'm going to tape it every night. On the other hand, particularly with child actors, there are some times I just can't bend the E6 enough to keep it in place, and then it's tape anyway.

8. For stage hands: When you see an actor backstage, take a quick peek to be sure the microphone is in the right place. If not, try to quickly readjust before the actor goes on. The actors can't really see the position of the microphone without a mirror, so they sometimes don't know their mic has shifted.

9: Makeup first, then microphone. If we have to tape the face, I generally ask the actor to avoid putting makeup there (right in front, or behind and below the ear) then touch up the makeup over the tape.

Since we only do 2-3 shows with a short run per year, we ask the actors to come out on stage 10 minutes prior to open of house to do a quick mic check. Understandably this wouldn't be practical for long runs or lots of shows, but it certainly helps find problems/errors before the show starts.
 
5. Once you have the beltpack on, turn it on and leave it on! The sound crew will be responsible for muting it when you're not on stage. Sure, we burn through a little more battery that way, but we don't have problems with actors going on stage with their pack off. If I have a particularly troublesome actor who likes to turn their pack off, I force them to pick up the pack from me, and I tape the switch on for the run and turn the pack on and off by removing the battery. I know, it probably makes me sound like a control freak, but if they won't abide by my suggestions, I will force the issue.

Rather than taping the switches every time, the ULX series does offer persistent Power Locking by holding down the "SET" button then the "MODE" button simultaneously for a few seconds. Disabling is the same combo. RF freqs can be locked by turning the pack on while holding the "SET" button I believe.
 
I'll echo what others have said although we use E6's rather than B3 or 6's. We have an inventory of about 6 E6's with Shure ULX-S, and during shows the problem we have the most often is with the cables. I prefer the 2mm cables because they seem a little more durable, but more importantly they don't seem to get tangled nearly as often or as badly. I try to keep an inventory of 4 spare cables on hand, so I have a spare or two left when it comes time to order them.

A little off topic, I thought I'd just throw our our best practices when it comes to E6's, and what I tell any new actor being mic'd for the first time (or the yearly reminder)

1. DO NOT wrap the cable around the beltpack. I'd much rather you handed me the beltpack and a bunch of loose cable than wind it tightly around the beltpack. When I lay mics out for users, I loosely coil the cable (maybe 6" loop?) then set the belt pack unconnected atop the mic and cable.

2. Put the mic on and run the cable down your shirt WITHOUT THE BELTPACK attached, then connect the beltpack and clip on your clothing. Removal is opposite of installation, turn the belt pack off, GENTLY disconnect the microphone, then take the microphone off. I have watched actors drop the connected beltpack down their shirt using the weight of the pack to pull the cable down and I just cringe and demonstrate the proper technique!!

3. Do not stuff the cable in a pocket or other place where it will bunch up. We've found that actors who sit on a bunch of cable in their pocket inevitably end up with broken, popping cables.

4. If the costume permits, use collar clips whenever possible. Short of that, a short piece of skin tape on the inside of the collar is often preferred by the actors to actually taping the cable to their skin. Normally, if we can get the strain relief right, the E6's tend to stay put without having to tape the face.

5. Once you have the beltpack on, turn it on and leave it on! The sound crew will be responsible for muting it when you're not on stage. Sure, we burn through a little more battery that way, but we don't have problems with actors going on stage with their pack off. If I have a particularly troublesome actor who likes to turn their pack off, I force them to pick up the pack from me, and I tape the switch on for the run and turn the pack on and off by removing the battery. I know, it probably makes me sound like a control freak, but if they won't abide by my suggestions, I will force the issue.

6. For child actors: Do not touch the microphone, period.. If it's bothering you, or sliding down, ask a stage hand for help when you go off stage.

7. For most actors: If you'll take the time to have me help you fit the mic correctly, chances are very good it will stay in place without tape. If you can't be bothered to take the time, then I'm going to tape it every night. On the other hand, particularly with child actors, there are some times I just can't bend the E6 enough to keep it in place, and then it's tape anyway.

8. For stage hands: When you see an actor backstage, take a quick peek to be sure the microphone is in the right place. If not, try to quickly readjust before the actor goes on. The actors can't really see the position of the microphone without a mirror, so they sometimes don't know their mic has shifted.

9: Makeup first, then microphone. If we have to tape the face, I generally ask the actor to avoid putting makeup there (right in front, or behind and below the ear) then touch up the makeup over the tape.

Since we only do 2-3 shows with a short run per year, we ask the actors to come out on stage 10 minutes prior to open of house to do a quick mic check. Understandably this wouldn't be practical for long runs or lots of shows, but it certainly helps find problems/errors before the show starts.
I read that you are using ULX-S. Im almost positive they have a power lock feature where no matter what you cant shut it off. Also I beleive these are going illegal as well just a heads up.
 
I read that you are using ULX-S. Im almost positive they have a power lock feature where no matter what you cant shut it off. Also I beleive these are going illegal as well just a heads up.

The model itself is not illegal - though any operating in the M1 band will be. That said, anything in G3 or J1 will continue to be just fine to use.
 
The model itself is not illegal - though any operating in the M1 band will be. That said, anything in G3 or J1 will continue to be just fine to use.
Ok. I thought UlX was only in the M1 band. My bad. I must have been thinking of something else
 

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