Well, the system that SNL used in that video probably cost in the neighborhood of $250k. A simple, wired Clearcom system with 4 wired headsets is in the neighborhood of $4000. Not only is that too expensive for our community theater budget, the wires are a no-go for our constantly changing configuration. and the need for several of us (stage manager, tech director, some backstage crew) to be moving back and forth through the lobby, to the box office, dressing rooms, green room, etc.
The cheapest 4-set wireless is around $10,000.
I have about $200 to make this happen.
I did some digging and I think I only need one RPi which I would mount in the amp rack for a permanent com in the green room (which, if some of you don't know is like the common room by the dressing rooms where actors hang out when not on stage). The main server can function off the laptop in the tech booth and the folks who need to be mobile can use their phones and a cheap earbud or bluetooth thing paired to their phone.
So, using my old, donated laptop, my two old smart phones (a Galaxy S5 and an S3) plus my current phone (google pixel) and my skull candy headphones, I have a good start for the Mumble route. My IT guy dropped off an old wifi router, so I at least have enough to cobble together proof-of-concept and give it a whirl for a current investment of $0.
ProDarwin said:
Organized chaos!
Surely this is a common problem and others out there have been working on solutions for it. Whats the expensive part of the analog setups? Everything?
I recall you had a thread a while ago regarding running Cat6 all over the place with some patch panels in your theater... was this the reason?
I might give a dedicated client device using the pi/mumble route a go. Might up your cost a bit, but even if you had a Pi at each location, it would still be cheap. A quick googling shows people doing this with a headless setup on each one.
The cat6 will be designed for nearly anything I throw at it, but yes, I will use one node of that system to get a router up to the grid for maximum wifi signal spread. That node could also carry signal to the green room RPi, to a second access point if one won't cover things, or I may discover a LAN-based system that would work.
I discovered the RPi/Mumble as it seems to be a solution that many theaters are trying. Google shows some ideas, and theater discussion boards often talk about "this is how you do it," but I haven't found any follow-ups that say "I tried it and it sucks," or "Ohemgee, it's the greatest ever."
I'd be really tempted to throw together a plug-in 12V or 24V DC power adapter, a resistor, and a couple jacks from amazon. Connect up a few phone base-stations to your own powered but not switched network, and see if they work as you need them to. You could pick up phones from goodwill for SUPER cheap to test, and then buy good ones on amazon that have a headset port once you've validated that it works how you want.
See here:
https://electronics.howstuffworks.com/telephone4.htm
SVreX said:
In reply to Curtis :
There are probably ones with headphone jacks.
The operator’s manual for mine shows many different model numbers (and that’s just Panasonic)
Bought a set of these at Sam's yesterday. I'm impressed. My old set would ring in the shop, but I had to open the door and walk outside to actually talk on it/connect. These will ring and talk in the shop with the door closed. There is an intercom feature where you can ring any or all the other handsets.
Don't think they would work for your ap, Curtis, but if you wanted phones, these are good.
I didn't read the whole thread, but I gotta ask:
Why are you just not using the kind of walkie/talkies made for hunters?
Would the budget allow for one of these sets?
Headset & Hub
Brett_Murphy said:
I didn't read the whole thread, but I gotta ask:
Why are you just not using the kind of walkie/talkies made for hunters?
Our communication has to be duplex like a phone. Having the ability to interrupt is essential to prevent death and dismemberment. It's also technically illegal to use FRS for commercial purposes. All it would take is one person who doesn't like us on "their" channel and calls the FCC. First offense can be up to $25,000. It is also public, meaning anyone could chime in during a show causing us to scramble and have some of that death and dismemberment.
No Time said:
Would the budget allow for one of these sets?
Headset & Hub
It wouldn't, but I could see if a board member wants to pony up the cash. I did look at those with interest. My only concern is that it is fully proprietary and not able to be integrated with other systems. The industry standard for theater is a wired Clearcom or Telex. A Pi/Mumble should be able to link to an oldschool comm system (although I'm finding that some people have had echo issues with that interface)
Thank you for the link. It is very much on my radar.
ProDarwin said:
Organized chaos!
Yes, that is my life.. well, at least on the weekends. The week is spend setting stuff up for the chaos or sitting in Comedy running the lights. Thankfully I am usually the "deck electrician" during shows, so my job is just to plug stuff in and make sure nothing gets unplugged.
Curtis, Have you thought about some of the Motola Walkie talkies with headsets or mics? We use them when setting shows up when we are not tied to one place.
mad_machine said:
Curtis, Have you thought about some of the Motola Walkie talkies with headsets or mics? We use them when setting shows up when we are not tied to one place.
Yup. I have some FRS hanging around for non-show things, but truth is, we can yell. I really need duplex com for running shows. At the other theater (that has wired clearcom) we use the facility's fancy radios. So I carry a radio during pre, post, and intermission, but it is a bit frustrating to have the second tier of com. An example; the SM was in the booth firing up the light console and talking with backstage crew on headset. I happened to be backstage near the wall squawk box and I heard her mumble, "why aren't the movers lighting up?" In that case, I was right near the box and just answered "did you capture group 1 and lamp on?" If I hadn't been there, she would have had to find a radio and call me. Its just so nice if you have everyone on the same channel. It's surprising (as I'm sure you know) how much time it saves for dumb little things.
The real answer is that what should happen is, as of opening night, the show belongs to the crew, a master carpenter, and the SM and the TD (me) should be in Cancun, but this is a 501c3 non profit community theater based in education. I teach em good, but they're not always totally ready for prime time in a 700-seat theater with our very high expectations and production quality (I brag sometimes). So I like to be at every show monitoring things in case someone loses an appendage or their boyfriend breaks up with them during act 2.
Truth is, I just love my job and I can't stay away 
