Assisted Listening Headset options

[TeeJay]

 

I can't recall having seen stethoscopes offered by other manufacturers - but to be fair as most of the assisted listening stuff I do is for deaf/hard of hearing rather than audio description, it may be that I simply wasn't looking!

 

If you were wanting to upgrade an IR system, I'd suggest looking at the Listen Technologies gear (sold by Ampetronic in the UK). Their receivers seem to work much better than Sennheiser's and I believe are also compatible with the latter's transmitters. The Listen transmitter devices have excellent coverage, but I think all their receivers are beltpacks with neckloop/headsets - so sadly not what you need.

 

To be honest, I suspect the Sennheiser 2020D system ticks the most boxes for you. With two transmitters you could have ALS and AD running together, and the receivers are available in both stethoscope and neckloop/headset versions. I have tested coverage in the local velodrome and couldn't get far enough away inside the building to induce a dropout...

 

With regards to having a desk mix for ALS rather than a (usually ineffective!) overhead mic, I know that most engineers say "this can't be done". Some don't want another task or HoH people complaining to them. Some just say "there aren't enough outputs on the desk". I suspect if they were asked to provide a cue feed to an IEM they'd happily do it. An ALS mix shouldn't even be as onerous, and can make things so much better for ALS users.

 

Simon,

 

thanks for the considered responses - much appreciated.

 

One other thing to note with regard our show relay is that we don't often have spoken word - the vast majority of our programme is dance. I fully agree with you that separating word and music is vital for those who require hearing assistance but this for us is only a consideration _some_ of the time. And with regard incoming engineers, whilst you are probably right, it's our experience that it can be tricky to explain the idea of an ALS feed to someone who does not speak English. And even on some shows, the audio is run from the video playback and there is no engineer and a minimal desk. Hence why we have chosen to compromise with a set output that we know is running.

Our next task on this will be to set up a simple repeating track that is played before the describers preamble which explains as simply and clearly as possible how the headsets work, have this running as soon as the house opens and fade it out when the describer starts, and ideally simple enough that the describer can operate it (fade this channel down before you bring your mic up)

I do take your comments on hearing aids - I do wonder if we need to be clearer that we offer both options but we do check in with the patrons and the describers, and have a good relationship with Vocaleyes and the headsets remain the asked for choice here.

 

 

Oddsocks

 

further to timsabre's comments, it's also sometimes not physically possible to run in enough of a loop to work in a space. For our main venue, the circle levels have a double array loop set under the carpet which provides excellent coverage but the front stalls space the seating is on removable platforms resting on carpeted concrete. The heights of the platforms varies front to back in line with the raked seating. Whilst it isn't physically impossible to work out how to install a loop there, it is certainly impractical, would likely slow-down the times when seats are removed/restored and definitely goes beyond the 'so far is reasonably practicable'. There is a perimeter loop covering that area but it's noticeably poorer in quality and signal strength than the Ampetronic designed loop paths in the same space.

[Simon Lewis]

It's certainly true that the audio from a loop is deliberately frequency limited. However, by the time a user really needs a loop, upper frequency response isn't the most important thing to them! In fact, in many cases they may not even hear too much difference.

If the system is being used for audio description, translation or tourguide purposes, sound quality is an issue.

 

A properly designed loop can give defined, even coverage, but often they get fitted to venues with "awkward" shapes and layouts, and may not provide proper coverage because of poor design, poor installation or simply the laws of physics won't let a ground floor loop cover two tiers of balcony...

There's also the issue of modern buildings and magnetic attenuation due to building steelwork or rebar loaded floors.

 

As Timsabre states, deliberately creating a strong audio frequency magnetic field in an environment full of technical systems which can pick it up, can lead to all sorts of headaches. Again, there are techniques for minimising this, but they often require some form of array or cancellation loop on the floor, which isn't an easy retrospective fit in most theatres.

Also, there are ways of getting the loop out of audio and video systems, but many would argue, 'why put it there in the first place?

 

Therefore, use of IR took off as a solution to these headaches, and it tends to work well as there are front of house staff available to manage the distribution and return of receivers.

Loops work well in situations such as counters and ticket offices and in houses of worship (although of course there are caveats in both situations).

Radio systems aren't as popular, as most theatres would rather maximise available spectrum for radio mic use, but the 2020D system mentioned above is a) a digital system and b) in channel 70, which few would now consider using as a reliable bit of spectrum.

 

With regards to users and their experience, a loop system means the user simply flips a switch on their aid and they get sound direct from the system (or possibly from a cheap shotgun mic 10m above the stage and placed next to a moving light's exhaust fan ;-) ). With other systems, they need to book out a receiver, hope it's charged, hope it works, take it back at the start of the show if it's not, and wear a largish device that effectively shouts, "LOOK! I'M DEAF!!". Venue staff have to maintain, issue and collect receivers and deal with confused hard of hearing patrons.

 

There isn't a perfect system that suits all needs, but I would push induction loop where it is technically appropriate. Where it's not, IR/FM etc. does the job.