Jeff New Jersey Posted September 27, 2012 Report Share Posted September 27, 2012 Hello, Looking for any tips on headphone technique when you have to wear headphones such as a sony 7506 to hear your mix, but you also need to have a intercom headset on in order to hear cues and communicate with others when needed. I have owned a clearcom partyline system for about ten years and when ever I use it I am always bouncing between both headsets, or wearing half a headset of the audio mix on one side of my head and the clearcom on the other. It just seems wrong how I have been doing it and would like a better system.... Im sitting behind a panel mixer for a live event or webcast, im never floating around unless I need to take a few steps from the mixer.... Thanks for any help. Jeff Happy impending winter.... Quote Link to comment Share on other sites More sharing options...
Jeff Wexler Posted September 27, 2012 Report Share Posted September 27, 2012 It seems that the logical solution to this would be the get the signal from your communications system (whatever that is) routed into your main mixing panel so you can monitor program material (your mix) and the comms. Quote Link to comment Share on other sites More sharing options...
Johnny Karlsson Posted September 27, 2012 Report Share Posted September 27, 2012 Not knowing what mixer you are using - is there any way that you could patch the intercom to a monitor return on your board? That way you could balance the level of the two would be able to hear both the mix and the cues in your Sony's. - Of course you want to be careful that it's not patched to an Aux that goes to the master mix. (Jeff beat me to it while I was typing) Quote Link to comment Share on other sites More sharing options...
Jared Detsikas Posted September 27, 2012 Report Share Posted September 27, 2012 I've been getting annoyed wearing an earpiece for walkie's under sennheiser hd25's which are already tight. Soon as I get some time off I've been planning on wiring a cable to put the walkie output into one of my Nomad's return and then using the onboard slate mic and routing that to a spare output to go back to the walkie. I've yet to need all 6 outputs or 10 inputs so it shouldn't be a problem. Quote Link to comment Share on other sites More sharing options...
Jeff New Jersey Posted September 27, 2012 Author Report Share Posted September 27, 2012 Thanks for the quick replies, Im using either a mackie 1604 vlz-3 or a mackie onyx 1620 when I run into this situation and I have always been paranoid with mackies of bleed through of signals from one place to another, so for that reason I have kind of always been shy of injecting the intercom signal into the board approach..... but I do admit I am pretty paranoid........ Quote Link to comment Share on other sites More sharing options...
Marc Wielage Posted September 27, 2012 Report Share Posted September 27, 2012 I wonder if something as simple as a MixPre might solve the problem -- just taking the mono mix bus output of your board, and then add a second (fadeable) source from the intercom. That'd be a pretty inexpensive solution. I agree, I have run into instances where the 1600-series Mackie's had crosstalk under certain circumstances. Heck, we used to struggle with timecode bleed in the 1980s, when we sometimes had to route unbalanced timecode and balanced audio into analog lines, resulting in much chaos. Quote Link to comment Share on other sites More sharing options...
Philip Perkins Posted September 27, 2012 Report Share Posted September 27, 2012 I can only see a submix of com and the mix if you have a headset that has a mic that can talk to the com system in use--you have to be able to answer if they call you etc.. About 30 years ago I made an isolating split headset audio/com the com side of which can plug into any normal video PL system--it works pretty well. I go back and forth between this thing (which is heavy) and just normal 7506 on one ear and whatever PL one-ear headset they have on the other ear, mostly so I can dump the com and go both ears on the mix if I need to for a moment. I've gotten used to the split moni thing I guess, that doesn't bother me any more. Some directors want to hear from you all the time, others don't care if you ever talk back, that kind of determines what sort of com monitoring I use. phil p Quote Link to comment Share on other sites More sharing options...
johngooch Posted September 27, 2012 Report Share Posted September 27, 2012 Shure FP-22. You can use it to create a mix between your comm and your program monitor. It works good enough. Quote Link to comment Share on other sites More sharing options...
Bash Posted September 27, 2012 Report Share Posted September 27, 2012 SD302 - I used just this on X Factor!! There was, however, little need for me to talk back, just to be able to listen. 302 also allowed me to pan the comms feed to one ear or the other, so that I knew where to listen for it!! Kindest, sb Quote Link to comment Share on other sites More sharing options...
chris_bollard Posted September 27, 2012 Report Share Posted September 27, 2012 I had this "request" on a show I was doing at the start of the year. As it was a brand new show and we were trying out some new things we went with it, as in all the sound crew, and everyone on the show. The style was taking a studio production out into remote locations. We had directors that wanted to be able to talk to everyone as needed. It worked but it took so getting used too, as each mixer had up to 8 talent going at the same time. I had grand ideas of wiring the feed into my mix but never found the energy on my days off. I managed to get "used" to the in ear Comms feed with secondary talent in the same ear and main talent in the "free" ear. Amazing what you can get used to if you have to! Quote Link to comment Share on other sites More sharing options...
Hartley Posted September 27, 2012 Report Share Posted September 27, 2012 I have always created a separate mix breaking out the RTS and adding Program with a dedicated mixer but that was for sports remotes. I would think it would work as well on a cart. I recomend the Remote Audio HN-7506 with boom mic. It has Sony drivers with a David Clarke type Headset. These are the best for loud environments. I think you can still buy a boom mic for the 7506 headphone as well. Quote Link to comment Share on other sites More sharing options...
studiomprd Posted September 27, 2012 Report Share Posted September 27, 2012 I prefer to have and use a "Biscuit box" for the PL... Quote Link to comment Share on other sites More sharing options...
Hartley Posted September 27, 2012 Report Share Posted September 27, 2012 +1 on the Biscuit Box. It's nice not to have the PL in your ear as long as the box does not bother anyone else. The Whirlwind Q box makes a good emergency Biscuit Box in a bind. Quote Link to comment Share on other sites More sharing options...
Jeff New Jersey Posted September 27, 2012 Author Report Share Posted September 27, 2012 Thanks for all the input, its making me think outside the box..... I was just brainstorming and one idea I may have come up with is stick this guy http://www.unifiedco...shs1720-01.aspx on the side of my standard mixing headset. And maybe drill out a little spot in the mixing earcup to allow the ear piece tube to go inside the earcup, not sure if it will allow enough volume to hear the intercom if it isnt stuck directly into ear. ..... Quote Link to comment Share on other sites More sharing options...
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