Author Topic: on the other end of the headset spectrum  (Read 22291 times)

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isha

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on the other end of the headset spectrum
« Reply #15 on: Mar 24, 2005, 09:28 pm »
got it..thanks guys! I think we might just get the wireless. We don't have enough of a crew to have anybody hooked to one spot. And we (amazingly) get a fairly decent budget from the highschool(with some major prodding and manipulating), so we might be able to take it out from costumes, and borrow from the college for next years play. I'll check up on it.  
funny story about headsets:
It was in the middle of the show and I was having trouble hearing my techie/director, even though we checked the headsets at the beginning of the show. So I decided at that point we had enough time before the next cue to find a better channel. I tell the boys to switch to channel 2. It was even worse, so then I tell them to switch to channel 1. Channel one was perfect. So, since we still had a while till the next cue I took the time to ask the director/techie a technical question. I interrruppted him to give the lights a one page "warning" if you will. Jared didn't respond, which I thought was a little odd, but I wasn't too concerned. As the cue got closer and closer I started asking for jared (lights guy) who still wouldn't respond. I'm beginnig to panic (in my head) and I ask the techie/director to run to the light booth and fix it. (I have to stay in the sound booth to call mic cues, because the sound guy didn't have a headset , and wasn't confident enough to do it himself. )So he's(director/techie) totally booking it from backstage all the way up the stairs to the light booth. I'm sitting there praying that he'll get there in time for the cue. As soon as the cue comes I just start yelling GO over the headset. At the very last possible second the cue "GO's."
turns out that the light booth didn't hear me tell them to change from channel 2 to 1, because of how staticky channel 2 was. It gave us all a good scare, but I would have payed 300$ to get a tape of jacobson sprinting down the hall and up the stairs to the light booth :lol:

wow...that was really bad writing..but I'm too lazy to go back and edit it to the right tense, and I think you get the point...
~isha

centaura

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headset nightmares
« Reply #16 on: Mar 24, 2005, 09:52 pm »
I just had a really fun one.  I was at an old vaudeville, at the sound position at the back of the house on the main floor.  The light board was at the back of a really high balcony.  Things were working okay at the start of the show, but then the light board operator was starting to have a hard time hearing me.  I could hear her, but she lost some of my calls.  So, she had another headset up in the booth with her, as they thought it was a bad cable on the headset she had on, at the next break in the cues she was going to swtich it out.  The union guys also sent someone to get walkie talkies to both her and me.  So, we're coming up on the fastest lighting sequence, a series of fast black-outs, lights up, and a couple of effects.  As we're getting closer, I'm calling into the headset "Lights, are you back yet?  Lights?  Lights??"  She doesn't answer.  We're getting closer and closer to the sequence, and still no word from lights, nor has the crew guy with the walkie gotten to her yet.  Then the moment arrives.  I play the sound cue that has the first black out at the end of it.  The two actors in the sequence are onstage, there's no way to tell them that there might not be a blackout.  The cue ends.  Still no word from lights.  I had kept up a running monolouge on headset, to try to catch her the second I had communication back.  The only thing I can think of is to play the cue again, as it was mainly a musical interlude.  Still no word from lights.  Thankfully the actors took the hint from the cue played twice and just went through the scene, though it looked terrible without the blackouts.

I had to spend my next show at that venue calling all my standbys twice as early, as we got some communication back with the headsets, but the only alternative was the walkie, which took a hand I was too busy using for running sound.  So I called my standbys early, and if I didn't hear a response, I then repeated the standby on the walkie.  Made life interesting.

isha

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on the other end of the headset spectrum
« Reply #17 on: Apr 03, 2005, 02:59 pm »
that would have been interesting..I'm sorry.....good thing you worked it out tho...
you came up with a really good alternative working solution. You must be a really good stage manager :)
~isha

loebtmc

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on the other end of the headset spectrum
« Reply #18 on: Apr 04, 2005, 12:49 pm »
I have worked in a theater that consistently has headset problems, and we worked out a system where if they go out (as in, they can hear me but I can't hear them) we have been able to use the nasty sound that accompanies the click as acknowledgement - a single for all ok, multiples for holy-crap -problems. And the advent of cellphones has given us some interesting options - where producers have negotiated either none or the wrong kind of headsets/walkies, we end up phoning each other (on vibrate) for calls and info. Weird.

Didaskalos

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on the other end of the headset spectrum
« Reply #19 on: Apr 22, 2005, 09:40 pm »
Production Intercom
www.beltpack.com
all the toys
Do it right the first time;  do it right every time.

erin

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on the other end of the headset spectrum
« Reply #20 on: Apr 23, 2005, 12:59 am »
Quote from: "FallenRain"

Wireless headsets are certainly the ideal.  I work at a theatre that has wireless headsets on its older stage and yet the brand spanking new theatre they just opened 2 seasons ago was built with hard wired headsets.  Budget reasons I know, but boy does it make life on that deck difficult!  You either stay on headset as much as possible and trip everyone with the cord running 20 feet behind you or you leave headset anytime you have to walk somewhere...  sometimes it's a very tough choice.


We're still working on that....it's just  matter of time before we erode all resistance.  Muahaha.

And to pitch in my $0.02 my lightweight clear com is only useful when i'm stationary.  The boom is too heavy for the headband, and it tends to flap around when i move lot (like when calling rail cues while moving scenery) and makes a really annoying fhwappa fwhappa throughout the system.  I've sent it back twice for repairs, and right now a cleverly knotted length of tie line keeps it in place.  I rarely use it backstage now, it just isn't sturdy enough.  

Next time i'm going with the telex.

wade

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on the other end of the headset spectrum
« Reply #21 on: Jan 08, 2006, 04:02 pm »
I don’t know if any of these have ben mentiond yet, but if your locking for a cheaper way

1. clearcom makes a box that you plug your two way into and connects it to the clearcom system

2. Beltpack.com makes a 4-rackunit system that includes a two way repeater and a inter-connect system that allows connection between clearcom and such

3. Eartec.com makes a that allows 40 users in full duplex system with a add on to one of the packs that connects system to a wired system such as clearcom

All are cheaper solutions than what clearcom or telex offers for full systems

prizm

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on the other end of the headset spectrum
« Reply #22 on: Jan 08, 2006, 09:29 pm »
I just got the telex p-88 it is amazing and I also got adapters to go with all the common belt packs ect. as for wireless vs wired ther is no need to be wireless unless you need to move. the more wireless you have in a space the more signal issues youare going to get. The theatre I work for has on the main stage hard wired pendants in the boots, on the rail ect and the Stage Ops are wireless. Our second stage is all wired so when we run shows we page over the intercom system all the shifts for the Stage Ops, this only works because the backstage waiting area is behind sound locks it sounds complicated but its not really

Mac Calder

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on the other end of the headset spectrum
« Reply #23 on: Jan 09, 2006, 01:02 am »
I REALLY do not see the reason for most crew to be on wireless. There are only two people I would really think about giving wireless headsets. They are my asm's P and OP. Maybe a third if I have a dressingroom runner. Other than that, wired for everything. Wireless is often quite hit and miss - what works one minute may not the next. Especially when you have wireless mics, wireless dmx and a wireless network. And the 2.4gHz spectrum (the location of the vast majority of wireless systems) is getting rather chockers. No.

Wires where possible is my advice.

wade

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on the other end of the headset spectrum
« Reply #24 on: Feb 06, 2006, 10:40 pm »
Quote from: "mc"
you have wireless mics, wireless dmx and a wireless network. And the 2.4gHz spectrum (the location of the vast majority of wireless systems) is getting rather chockers.


the frequency range for consumer type devices such as frs two ways, wierless network and the such are at the lowest end of the spectrum. the wierless mics and such all operate on the highest end. most grs or uhf profecinal wierless systems are in the middle you might get some bleed if a cop car goes by or form beltback into the wierless mic but thats why they make diversity systems

Mac Calder

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on the other end of the headset spectrum
« Reply #25 on: Feb 07, 2006, 01:37 am »
I find the biggest problems are phones/pda's with bluetooth really. A theatre I regularly work in has wireless coms (unbranded, quite good quality, frequency is adjustable). Every night of a certain show we were getting short bursts of really annoying hiss. This theatre is great because the entire building has been turned into a farahdays cage so we knew that the interferance was from within the venue. After much tracking down, we found that it was the playwrites mother, who had her PDA and mobile in her bag both of which were bluetooth enabled and she always sat front row prompt side. Those who do not know - bluetooth hops frequencies like nobodies business, and whilst it is low power, with minimal rage (10m IIRC) it is just enough to be an annoyance.

I am still a fan of wires though. Good quality cables and a bit of practice and you dont notice them. I have SM'ed a 2 month run with 30m of cable on my cans and been running from one side of the stage to the other, dealing with props etc due to lack of an ASM and not had a problem. All I needed to do was remember the cord.

Che

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Re: the lightweight ones!
« Reply #26 on: Feb 11, 2006, 10:01 pm »
Quote from: "centaura"
When I win the lottery and can afford to buy my own, I'm going to find out who makes those light weight ones and get one for myself!  
-Centaura


You can get a decent lightweight headset from Barizon (barbizon.com) or many other places for around $150.  It works on many systems - I take mine with me anywhere there aren't lightweight headsets for use.  

It'll be the best money you've spent - and remember that it's deductable come tax-return time!!     :D
Che

Melugin

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on the other end of the headset spectrum
« Reply #27 on: Feb 16, 2006, 03:13 am »
Ha! what do you do if your head sets get feedback from your high school radio station. i don't understand how it works, my sound guys do though...
-liz
If All the World's a Stage, i want to operate the Trap Door!

Mac Calder

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on the other end of the headset spectrum
« Reply #28 on: Feb 16, 2006, 05:19 am »
If you are a smallish theatre - chicken wire. You turn your building/rooms into a fahraday cage - basically, mesh all arround the room - even on the doors. Then when you close the doors you are issolated from those rogue signals. It has the added advantage that mobiles phones will all have no signal within the space...

Or if you are on wireless - change frequencies.

Melugin

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:)
« Reply #29 on: Feb 16, 2006, 09:50 am »
way cool! if our school district allows me to, of course it will happen!  :wink:
-liz
[/b]
If All the World's a Stage, i want to operate the Trap Door!