Talk Back Systems

Talk Back Systems were touched on by Dave Allen and others in his recent "Understanding Radio Mics" article. Our theatre currently uses some UHF CB radios with headsets, sometimes with mixed results. Accidentally locking mics open, interference from outside public users, time delays in signal transmission, loose connections... the list goes on. A wired in system would be a great alternative. Unfortunately from what i have seen the commercially available ones are a little out of our reach for what i consider a basic set-up, 3 maybe 4 headsets in a small theatre. 2 either side of stage, 1 possibly 2 for the Bio Box. I have often thought about designing and building a set-up based on an old amplifier. I'm an electrician with an interest in electronics and can visualize a simple design. But would it work? Is it possible and has anyone built their own wired in Talk Back system?

Credit for the Wireless Mics article should have been give to David Ashton not Dave Allen. Apologies David.

Well early talkback systems were simply an amplifier with each headset mic feeding into an input on the amp and the headset earphones connected to the output with a resistor to limit the power. The only problem is the wiring, as long mic runs need to be balanced to reduce noise, so you need to run a balanced line and a speaker line to each headset. The modern talkback amplifies the mic signal in the beltpack and feeds a high level signal around the system which reduces the noise ratio. If you're handy you can buy the kits from Altronics and put them together yourself. I do sell an imported unit, Altair, from Spain, which is lower cost than some others and has some nice features like the ability to turn off all the headset mics remotely from the main unit, a good idea if you get too much chatter, the operator can press the button to talk again but it gives the SM some over-riding control.[end of ad] Either the built units or the home made ones can now take the computer style headsets or the more conventional type. Unfortunately Dave Allen is dead, but you can have Dave Ashton or Don Allen.

Altronics sell a talkback kit for $79 http://www.altronics.com.au/index.asp?area=item&id=K5250 and the power supply is $69 http://www.altronics.com.au/index.asp?area=item&id=K5255 This talkback system is interchangeable with some commercial units and is not hard to build if you have good soldering skills. Interconnection between units is with mic cable and 3 pin xlr connectors. If you wire up a daisy chain ring with two sockets per point in parallel you have maximum flexibility. When considering how many units to use, I would suggest a minimum of : Lighting Sound SM - one side of stage ASM - other side of stage FOH - for FOH clearance Even if you want wireless for SM, it is more reliable and cheaper to have wired for other points. Do not expect your audio operator to wear talkback cans during a show, they need two ears to hear their stage sound. It is handy to have talkback and dmx sockets available for plotting in the hall for your lighting desk.

A thing that Don brought up is the 'FOH Clearance', which nearly always in most comeatre, never seems to do normally as part of the performance. Invariably it is anything from someone waving a signals to start the show, from the house or the SM Going Up by the clock. Which also brings up another topic of does your SM call the Light & Audio cues or leave it up to the bio box to initiate them? I have seen a lot of productions where the SM is really the pseudo prompt/props & the lighting techie calling the show, as a normal situation. It's not a question of demarcation but more a lack of show control. Invariably the techie has done only the Tech &/or Dress rehearsal, while the SM has been with the show from the beginning of rehearsals - possibly. Are we diminishing the SM's job & dumping it on the techie. Or is it the SM has become superseded & only an after thought? Or one of the "Sorry you didn't get the part - so how about being the Stage Manager" cancellation prises. I believe it is more the latter in most cases, where by the Director takes over the SM role during rehearsals, and gawd forbid also for the show. I agree with the audio tech being able to hear the performance, but most tend to wear a half set of cans & at least have a stage monitoring relay speaker in the bio box. Which is not hard to rig up cheaply, as some venues it is in possibly to hear dialogue on stage from the box.

TOI TOI TOI CHOOKAS

[May you always play to a full house] Hear the lights & see the sounds. 

The lx person calling cues - I've only seen the lx person calling cues when they're also acting as SM, and usually only because it's a co-op show with a small crew/cast anyway. Fun puppet patterns to make at home! Puppets to buy at Puppets in Melbourne

Thanks mate! "Dimmer Boys' - Ah yes I remember it well! Down in the dungeon, under the stage sweating your box off, operating the good old Piss Pots' [Salt water Lighting dimmers] & then doubling as a "Call Boy'. Hurtling up & down half a dozen flights of stair. In between cues to 'Call' the performers. All for the princely sum of Half a Crown & the occasional packet of 'Tudor' Crisps &/or a bottle of 'Jes Dene' POP at interval. I always recollect while everyone back stage was complaining about it being freezing when it was snowing outside. There was I sweating away, down to my bathers. looking forward to getting hosed down after the show, to get the salt off me. Anyhow back to Ian's topic. I agree in some venues, it is better for the Lighting Tech to get the the newer SM's past the the initial House to half, curtain warmers, house out cues. Because with the House Rag In, most of the SM"s can't see what's going on. So in these cases visual cues from the BOX are usually the order of starting up the show. I feel this could be a whole new topic on the forum, about SM's & calling a show. Anyhow many years ago the 'Electronics Australia' had an article project, of making your own 'Talk Back' system. As Don suggested it was similar to the 'Altronics Kit, that you could put together yourself or they would do it for you. Which was much the same as with "EA' projects, in the days when Dick smith would do the same thing. I messed about with a few of these latest gadgets, when the 'Light Organ' & 'Light Pipe' first came into vogue. Also modified Intercom units, that utilised the general purpose Power Circuits installed in the building. To transmit & receive. Rigging up Mic/headsets to them was a fairly easy step, making the units more usable in theatre. But of course it was fraught with erroneous noises, because of the types of dimmers used in those days. Which I'm sure Don & especial David Ashton would have very fond memories of. {if the old rubbish between my ears, serves me correctly? {David actually produced & engineered one of the first 'State of the art' - (40 odd years ago!) dimmers available & made here locally} . With the great opportunity given by the State Government Grants & the good offices of our Aunt ITA, this is the time to have to update the show coms gear. These days you can have wireless & wired Com's sets working together, if you that is your want. I can't count the number of times I have almost had my ears ripped off, when someone inadvertently stepped on the headset cable trailing behind me. But with our situation at Phoenix, in our newly refurbished 'COCKPIT' [unofficially named] Venue. I have been reassured by David of 'All Things Theatre' ;- http://allthingstheatre.net.au/intro.htm that wireless is the better way to go

TOI TOI TOI CHOOKAS

[May you always play to a full house] Hear the lights & see the sounds. 

Ian you being a Sparkie, I doubt you would have any problems. Even looking at rigging up an installed wire system. There again you could augment the system with wireless belt pack headset units as well, cheaply enough.

TOI TOI TOI CHOOKAS

[May you always play to a full house] Hear the lights & see the sounds.