John Steigerwald

The most popular (in the states anyhow) sports announcer headset is the Sennheiser HMD-2x. The HMD-25's have been in use for years and are still the model found on most TV trucks, although their production has been discontinued. The HMD-26's were introduced about a year ago with some improvements, but most A1's preferred the sound of the 25's. The HMD-26 MkII's were subsequently released due to much feedback from some predominant A1's in the industry, and are now the current model. They better match the tonal qualities of the original 25's, but retain the ergonomic improvements of the 26's. You should be able to rent them from Bexel or VER in Atlanta.

Anyone else notice that the logo looks like a facepalm?

The interviewers open mic @ around 3:38 is a nice touch as well. That's about as far as I got.

Wayne Hale, who worked on the shuttle project, has been writing about this for a while on his blog. After Ten Years

It depends

A lot of times the tube gets some condensation in it, which causes the user to crank up the volume to hear anything. This makes the transducer connection at the bottom of the tube 'bleed' due to the volume it's being driven at.

+1 Definitely an acquired skill. It's not uncommon to be mixing in a truck with your mix in front of you, a directors PL coming out of a speaker behind you on your left, the AD out of a speaker behind on your right and a bit of comms traffic in front of your face on an KP panel.

Because a lot of us are wearing a rig most of the time, we can't get up as quickly when thrown under the bus.

Here's a few of em: Seems he refuted your assertion, which itself was related to the topic, right?

Hey, Rush says it's safe:

Are you thinking of the Klover dish? IMO, much better than the Big Ears.

Yeah.. No.

Seems so simple, doesn't it?

While obviously not for the same application, you may find some good ideas for modifying the interior from this thread: http://advrider.com/forums/showthread.php?t=715683

Looks nice. Depending on price point, could be some serious competition to the G3 stuff. Props to the fanatics.

The wheeled, hard sided ones that say "Anvil" on them have been working pretty good.

Adding to the real-world usage info.. I'm on a production now using 5 Dante nodes. The hub of the system is a Yamaha CL5 with an accompanying rack containing 2 network switches (Main path, Redundant path), Big Ben for system clock, UPS and an EtherCon patch panel wired to the switches. The RF Rack has a RIO 3224 which takes all the RF audio into the system and spits out some feeds to the PL rack next to it. The Field Rack also has a RIO 3224 that takes in all the FX mics and outputs VOG, SA and Playback to a Mackie 1604 in the back of the rack, which in turn feeds powered speakers around the set. There are two additional network switches and a second set of EtherCon jacks in this rack to allow another to be 'daisy-chained' into the network when more inputs are needed. There's also a small rack with a RIO RO8 and 4 Comtek BST's to drive the (dreaded) Phonaks. The purpose of making this rack stand alone was to be able to put it near the talent and place the antennas nearly up their backsides, thus ensuring the maximum possibility of somewhat reliable operation of the cursed devices. There's also a comm panel in there for the A2, but it's not running over Dante. Lastly, there's a MBPro running Virtual SoundCard and Boom Recorder to capture the whole affair. All the external racks, with the exception of the 2nd Field Rack, patch directly back to the console rack via ruggedized CAT5 with EtherCon connectors. The Dante integration on the CL5 is wonderful. I can bring any RIO input up on any fader on the desk, or send any signal to any RIO output, in four button presses or less. I shudder to think what this arrangement would be like if it was all conventional copper. (Yes Mike, I know UTP is copper too... )

This looks to be the 'little brother' to the CL5 I'm currently using. So far it's been my favorite digital Yamaha desk in terms of setup, channel organization and routing flexibility. I think it's one of their better sounding digital desks as well, though it still wouldn't be my first choice for music mixing.

Not directed at the OP, but $350/12 should be billed as an "Audio PA" at best. It's generally what they are in the reality world anyhow. I get that it's a different market, but no broadcast A2 would pick up the phone for that, and calling it an A2 position is disingenuous, IMO. /$.02

http://www.radioshackcatalogs.com/

Win. I think I might still have one of their 'battery club' cards in a drawer somewhere.

But it only accepts PETSCII input...

Cue cards.

Developed in response to their constant exposure to RF. These are cam ops, not 'get rich quick' hustlers. In a thread titled "Is RF radiation a concern?" I linked to one group of people who feel it could be. There's no big conspiracy here, relax.

As these are people who work directly in the field with hi powered microwave transmitters directly next to their head for hours on end, I doubt "scare mongering" is their motive.