Short reviews of our Stage Floor Mics
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In the reviews below, the TM-125 is now the Stage Floor Mic. This is an unsolicited testimonial from a school music teacher. To amplify young actors and singers he tried stand-mounted mics, hanging mics, and wireless mics. They all were disappointing, but the TM-125C floor microphones did an excellent job for him. Click here to read his story. It's full of interesting details about all the approaches he tried. "We used three TM-125C mics for junior-high and high-school choir and vocal ensemble numbers, and the microphones performed superbly. We were able to hear all of the voices with remarkable clarity." -- Jim Hughes, Chalfont, PA "A single TM-125 performed flawlessly on our school's 18 foot wide stage. We experienced no feedback at our first concert even though our speakers were mounted directly above the microphone. It helped that we also employed a Behringer DEQ2496 to enhance our pre-gain levels and reject feedback. The entire school community is extremely pleased that we parent-volunteers installed such an effective system to cure chronic sound reinforcement problems. We helped make five beginning violinists fill up a room with 300 audience members. I heartily recommend the Bartlett product to people looking to optimize their auditorium's sound system." -- Ishak Kang, Point Richmond, CA "Our show was in the local Town Hall. In the past we have used a couple of [hanging mics] overheads and a couple of condenser mics across the front of the stage. We have tried radio mics with very mixed results. Your floor mics were excellent, two across the front of the stage, speakers arrayed down each side of the hall on delays. Everyone involved was blown away by the sensitivity and the wide capture. It is fantastic to get an audio product that does what its manufacturer claims it will do." -- Anthony Irvine, Australia "The sound quality was exceptional and the gain before feedback was extremely high. We were able to use the TM-125Cs to create a natural sounding production. The only amplification used were the 3 TM's. Superb product. I was afraid that the TM's were going to be very similar to the PCC-160, but they weren't, they were head and shoulder better. Our speakers are placed slightly in front of our proscenium opening mounted on the side walls (no center cluster)." -- Jac-que Robinson, Director, Dunn Performing Arts Center, Rye Country Day School "We tried the TM-125C floor mic in our sanctuary with a portable PA system and a separate powered mixer. I am so thrilled the children will actually be heard this year during their play. We initially tried the house system, and just like you said, the feedback was awful. The problem was easily solved with the portable system and we were able to turn the mic up without the nasty feedback. We placed the speakers far out from the stage into the audience." -- Ginger Deaton
"We used three TM-125C mics across the front of stage - could have got away with two, but I'm more comfortable with a mike downstage center. We also were able to put some shotguns overhead in the lighting truss - these were great for the chorus singing top up. Most dialogue was via the floor mikes. My colleague at the sound desk rejoiced at not having 18 radio mikes. By the third night, we just used the TM-125C floor mikes for most of the show. Less feedback, less noise from the Bartlett mikes. And absolutely no floor vibration noise." -- Roger Paul Rassool, Australia
"We used two TM-125C mics for a kids' musical on our stage and were very pleased with the amount of gain and frequency response. The mics seemed very natural sounding with not much EQ. The coverage was better than we expected with the supercardioid pattern and I was very impressed with the rear rejection." --Ken Robertson, Pastor of Technical Arts, Hillside Community Church, Alta Loma, CA "We needed three TM-125C mics for an elementary school play. Your mikes did a good job of picking up their voices and carrying them out to the audience and remaining intelligible." -- Fred Katz, Washington DC. "I have been directing theater for nearly 30 years. We would battle with 20+ headset mics, and there was always an actor who would unplug his mic while changing, break the mic while changing, unplug the mic from the belt pack while changing, decide to turn the mic off and not on again, switch to the wrong mic and then walk on stage, battery failure, feedback from actors walking in front of our backstage monitors, some one would just happen to have a cell phone in the audience that was the same frequency as one of our mics...once we heard a conversation between two CB truckers in the middle of act one. I spent hours soldering broken mics, managing mic frequency numbers, manipulating broken pieces so that there were enough mics for a show, changing batteries, making sure everything was labeled so that the right mics came on as the actor entered the stage, train actors on how not to abuse our mics, making sure my backstage assistant would understand enough to be able to fix issues during the show... "As the vocal director and sound engineer of our High School musical, I highly recommend the Bartlett TM-125 floor mics. I used 3 of them across the stage for our production of 'The Music Man' with a cast of almost 200. The mics were positioned only 8 inches in front of the orchestra pit, but thanks to the rear rejection of the mics, I still had a great deal of control over the vocals on stage without worrying about the orchestra being too loud. In addition, no amount of dancing or stomping on stage was ever a problem. The clarity and gain before feedback from these mics are terrific! I like them better than the Crown PCC-160’s, and they are less expensive." -- Dan Lauritzen, Hempfield Area School District, Greensburg, PA "We used three TM-125C stage-floor microphones in a live production ("Grease") and they performed brilliantly. The sound was clear and full, and the rear side rejection (audience noise) was greatly reduced." -- Bill Warshaw, TheatreSHOTS, Brea, CA "...the directionality and floor noise rejection are great, and they sound quite natural. I'm running them through a Behringer Ultracurve DEQ-2496, which in feedback suppression mode does a really nice job of notching out very narrow frequences as you'd want for stationary mics." -- Larry Wall, New Life Church, Mountain View, California. "We are running all of our singers with no wireless mics and they sound great. We have a 30 piece live orchestra (not in a pit) and the mics do not pick up any of the orchestra. My stage is 24 feet deep and 36 feet wide and I could actually do the show with two mics, but I've got a third for balance in a couple of scenes. The mix of the chorus singers is great. No more worries about batteries and wireless hassles. And if the wireless mics on the lead actors cause us any trouble, we'll turn them down and only use our trusty Bartlett's. Plus I've already had kids step on them...they're indestructible as far as I can tell. -- Mike Shaffer, Littleton, CO "Thank you for all the help you gave me ! I used one microphone for the performance and the audience of parents noticed the difference right away. Some comments were "I finally heard my daughter" "I love the sound!" -- Neal Fischer, South Loop Elementary, Chicago, IL "I used the TM-125 at our last show and I loved it. I placed it in the center of my dance stage flanked by two PCC-160s. Man, I could actually tell the difference. A lot less noise, less bounce, less EQ needed, better rejection, and what I thought was a much cleaner sound." -- James Dunlap, Rhythm in Shoes "The TM-125 is just what we needed. Even the soft talkers and the stage whispers were audible." -- Kathy Morris, Community Theater, Canandaigua, NY "We have a less than ideal situation in our church, as far as loudspeaker placement goes. We have a pair of SLS line arrays flown over the stage, just at the edge of the front apron. Fortunately, they are quite directional, and we don't have a huge problem with feedback. I came into our auditorium, fired up the sound system, and strapped a 31 band EQ across the channel the mic was feeding. I spent about 15 minutes ringing out frequencies, and afterward, I couldn't believe how much gain I could get from just one TM-125C mic! I walked around back and forth, and it would pick me up just fine. And best of all, my voice still sounded very natural — I was worried that with some fairly serious EQing, I would get that either 'scooped' or 'thin' sound, but neither was the case." -- Tom Coyan, Calvary Community Church, Manteca CA.
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