Comms

[dominicgross]

me again... just a quicky

 

I just wanted some feedback on what you guys think are the best comms makes and layouts (duel or single channel, single or double ear, what brands...)

 

cheers

[Big Dave]

IMHO. it always worth buying a dual channel system. I normally use RTS as you get 3 rings which are paired off (1/2, 1/3, 2/3) and the wireless version if full duplex.......which is nice

[Brian]

RTS is good but is probably the least popular of the two systems on the market. The other is the Techpro/Canford/Metro system. Burt, as Big Dave said, go with the two channel system. Even if oyu don't need it now you will later and it's not that much more (certainly not twice the price).

[dominicgross]

with the duel channel how do the connections work??

 

would you put LX, SX and SM on channel 1 and DSM, BS and SM channel 2 or what?

[Bryson]

Whatever works for you. Stage on one, technical (lx, sound, video) on the other is pretty normal...but it depends on what you need to do. Maybe you need to talk to the flyman a lot and the others not so often...perhaps the video and the sound need to closely co-ordinate cues. Just re-do it for the needs of each show.

[James]

What is is that you want from your comms setup?

 

What crew do you normally have and how would you like them to be able to communicate.

 

For example - would it be worth giving the lighting crew a circuit to themselves - so they can communicate internaly but still be able to hear the DSM?

 

Does the DSM need to hear talkback from backstage or would a simple (cheeper) 100v system be more economical?

 

If you don't need dual packs is it worth buying them?

 

But if you have funding assured then I'm sure you could find a use for them

[Big Dave]

Most dual Channel systems actually have more than 2 channels, but each belt back can only see 2 of those channels.

 

Example of Fashion show I did today

Channel 1+2 - FOH Sound & LX, Audio system Enginner & Dimmers, Producer

Channel 2+3 - Wardrobe, SM, Producer

 

Therefore Producer could talk to either technical or Model area or both and each area could also talk without annoying the other (unless LX wanted to comment on the makeup)

[Martin]

As others have said it obviously depends entirely on your requirements and personal preference. As a theatre example, we use dual channel beltpacks for LX and follow spots. Then single channel beltpacks for everyone else. This enables the LX designer to plot with the operator on ring B during a rehearsal without disturbing everyone elses cues on ring A.

 

Regarding headsets, make sure you get ones with noise cancelling mics like the Beyer DT series. Your ears will thank you! Also a mix of double and single ear headsets are good. Probably double for most people and single for the DSM and other people who need to hear the stage clearly for cues. But again this is down to personal preference.

[Matt]

when we did a fashion show, we were sat in the box laughing at the makeup, and the clothes, I think we should have been able to tell them, looked like monkies had put it on them... oh dear is all I can say

 

to add my words to this, we have a pacth system using XLR's for the comms, one backstage, on in the lx box and one in the make-up room/dressing room, we just patch up whatever we need to use.

[Martin]

to add my words to this, we have a pacth system using XLR's for the comms, one backstage, on in the lx box and one in the make-up room/dressing room, we just patch up whatever we need to use.

A patch system is the most flexible (we have one). But if you are only using 2 channels of comms, it's easier to have two sockets at each point (A+B), which all paralleled together. So you can just plug in what you need, be it single or dual channel beltpacks, without having to worry about the patch.

[smeggie]

I had a system with a fixed installed net of patch points around the venue, and there was a power supply in the lx booth that powers the whole kit+caboodle.

the second channel is used for the followspots and lx booth using XLR cables direct to stations. this is a semi fixed installation with the control being on the power supply to bridge them both.

 

if you get the noise cancelling mics, the whole crew will thank you in a rock show as there is the possibility of feedback between the stations without the n/c system.

 

go for the most flexible system possible and then you will never have to bodge it when you are caught out.

 

I have found the tecpro networks to be the most comfy headsets using single cups as the second ear can be used for foh monitoring when s'm ing/ lighting. when I'm on the sound deck, I prefer to use an Iem system that is passive when not in use. the tecpro can do this whith a bit of fiddling.

 

cheers

andrew

[robloxley]

A spare channel, or ability to patch a couple of outstations to a different circuit, is very useful for troubleshooting - e.g. the noise boys wittering away trying to get rid of the buzz from the system.

 

Our cans has single outlets/ fixed stations at various locations, terminated onto a b-gauge patch, normalled to their respective ring but also easily patchable to another ring. Also the LD and board op can be split off for times when they want to replot during rehearsals.

[Brian]

the noise boys wittering away trying to get rid of the buzz from the system

 

which invariably gets blamed on lighting....