# Left, Right, or Swivel?



## Charc (Nov 11, 2007)

I'm not sure if this has been discussed bore, but what's your headset preference?


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## Charc (Nov 11, 2007)

I really wish I had a swivel mic boom. We have left earmuffs, and left side micbooms, so I have to wear my headset there, which creates many unfortunate circumstances, like trying to stay on headset and look down a followspot sight.

Also, it makes hearing people talking on your left extremely difficult.


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## derekleffew (Nov 11, 2007)

Really depends on what I'm doing and next to whom I'm sitting. If I'm wearing a single-muff (stop snickering because that's _really_ what they're called)<and stop="" snickering="" because="" that="" s="" really="" what="" they="" re="" called=""></and> while programing a show, I want the mic boom and muff on the opposite side from the designer or stage manager. If I'm alone, being right-handed, I generally want the mic boom on my left ear.

You didn't mention double-muff headsets <and stop="" snickering="" because="" that="" s="" really="" what="" they="" re="" called=""></and> but they're a must in loud environments, like rock concerts, and some musical theatre. A double can temporarily become a single just by pulling the non-boom side off one's ear, but it's annoying to have to wear one disposable ear plug in the non-muff side. I've posted before about some people who will wear disposable ear plugs under their double-muff headsets for extremely loud concerts--I've done it and it works. I understand David Clark makes some excellent headsets, but I've never used them. I prefer the Beyer DT-108 (single-muff) and DT-109 (double-muff). I also own a ClearCom CC-26 "designer" headset, which I sometimes use for corporate shows where I know it's not going to get too loud.

One more thing--I "grew up" with ClearCom headsets that would turn the mic off when you swung the mic boom over your head. I was surprised to learn that most other brands don't do this. So try _not_ to get into the habit of _not_ using the beltpack's mic on/off switch. The rest of the crew will chastise you endlessly if you forget. I know someone who was terminated from his position because he said something "inappropriate" in person to someone thinking his headset mic was off.

Hope this answers your question. Not really the best choice for a poll, as you should add at least 3 more options (single vs. double), maybe more if you count (lightweight vs. standard).


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## Raktor (Nov 11, 2007)

Do the Beyerdynamic DT-108's let you choose what side to wear it on; as in the mic boom will work from the left or right ear?

Looking at getting one myself.


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## derekleffew (Nov 11, 2007)

Yes, completely bi-ear-ial. Available in Grey or Black. Be sure to get the proper version for your system. I believe ClearCom uses the 200/400 ohm, but double check me on that before purchasing.


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## Footer (Nov 11, 2007)

I have had a PH-88 made by telex for about the last 6 years and it still works great. I can wear it for hours on end without issue. I do need to buy a double muff headset for lound shows, probably going to go with a David Clarke.


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## Hughesie (Nov 12, 2007)

my school have 5 Beyerdynamic DT 108's
which have been great, they haven't been problem free but normally they have been great, but i would like to add something else to the mix 

we i am running sound and don't normally have to have comms on me all the time i use a phone can handset



(it's the one on the left)

note the connection it has, it's the oppisite on our comms boxes, so we need to always use a "gender bender" or gender changer to it, to connect

wow derek, single muff, my gender benders, where turning this into a circus of sexually suggestive language


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## avkid (Nov 12, 2007)

This might work a tad better.


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## Logos (Nov 13, 2007)

In the UK I built my own out of bits of different makes of broken ones. I wanted a swivel mike and left ear muff (i'm a bit deaf in my right ear) and I have a quite large diameter head and couldn't find a head band that fitted comfortably so after a particularly bad run I spent a morning in our electrics workshop and built one. It looked like s**t but it was really comfortable.


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## Hughesie (Nov 13, 2007)

pictures, logos?


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## Logos (Nov 13, 2007)

Sorry, left it in the UK and don't think I have any pictures. I will look through my album of pre digital and see if I have a picture of me wearing them.


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## gafftaper (Nov 13, 2007)

Like several other people, Van's been really happy with his Production Intercom gear and I'm about to become a customer myself. I'll let you know how it works out. I've had some bad experiences with poor quality from Clear-com lately.


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## icewolf08 (Nov 13, 2007)

I use an Eartec Monarch headset, it is a light-weight dual muff with mic boom on the left. I love it, especially on 10/12 tech days, as it is so light that I often forget it is there. Also, it isn't hard to hear people talking to me who aren't on com, or to hear the show during a performance. They are kind of like the "swoop" style headphones. Here is a photo:



If I use a regular CC style headset, I also usually wear it over my left ear.


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## derekleffew (Nov 13, 2007)

Icewolf08, I like it! Especially the part about "...offers a unisex fit." But this link, shows the mic boom on the right. Do you know if it can be ordered either way, or did they just "print" the picture backwards? I'm guessing it wouldn't be very effective in loud environments though, right?


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## Charc (Nov 13, 2007)

derekleffew said:


> Icewolf08, I like it! Especially the part about "...offers a unisex fit." But this link, shows the mic boom on the right. Do you know if it can be ordered either way, or did they just "print" the picture backwards?  I'm guessing it wouldn't be very effective in loud environments though, right?



Okay... okay... rub it in that you're in Vegas and your shows are loud.


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## icewolf08 (Nov 14, 2007)

That is interesting. I bought mine from Markertek who have it pictured with the boom on the left. I was not asked if I had a preference when I bought it, only what I wanted it wired for. At the time, they had a better price than Full Compass, but apparently that is no longer true. I suppose it may be worth calling and asking. It certainly doesn't have the sound isolation properties of an "over-the-ear" style headset, but you can make them pretty loud. I usually only have to touch the volume a little way up from nothing on my CC beltpack and I can hear just fine, and here what is going on around me. I would venture to guess that it may not be the best choice for working a rock concert, it is a great all around headset.

Eartec has a full line of headsets, you may find another style that you like. My SM uses the Slimline Single, and is very happy with it. The Proline Double, may be a better choice for louder environments. You get the over-the-ear style in a mid-weight headset.

There are lots of headset choices out there, but in terms of one company offering lots of options, I have found Eartec to be the best. All of the comms manufacturers like Clear-Com, Telex, Prod. Intercom, etc., have a few headset offerings, but I have found them to be bulky and heavy, or super light and flimsy, plus they just don't have as wide a selection. I suppose the other big thing is that if you are going to spend $80+ on a headset, it ought to be one that you like, so everyone has to make their own decisions.


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## derekleffew (Nov 14, 2007)

charcoaldabs said:


> Okay... okay... rub it in that you're in Vegas and your shows are loud.


Down boy! I'm not "rubbing it in." There's nothing to rub in. I would prefer that the shows I work not be as loud as they are, but the level of the PA is, almost always, beyond my control. And I've done plenty of rock musicals not in Las Vegas where double-muff headsets were a requirement, or I could never have heard the SM.


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## kwotipka (Nov 14, 2007)

The Senheiser HMD410 production intercom headset. There is NO other.
kw


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## icewolf08 (Nov 14, 2007)

kwotipka said:


> The Senheiser HMD410 production intercom headset. There is NO other.
> kw


I'm talking on comms, not giving the play-by-play at the World Series. $300 seems excessive for a comms headset, and you don't even get a connector for that price. Yup, seems like it would be great to hear all the superfluous comm noise in crystal clarity.


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## derekleffew (Nov 14, 2007)

I have to agree with Icewolf08 here, kwotipka. (And _really_ I don't mean to keep bringing this up) but the HMD410 would not work for concerts. The Sennheiser HMD280 is the preferred headset for sportscasters, and for broadcast, one needs the superior quality of the mic and earphones. But to be able to hear better that slight buzz inherent in every intercom system? Only if you're in a rich private school like Charc's!


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## kwotipka (Nov 14, 2007)

Ladies and Gentlemen,

Let's not limit our imagination here. Just because the thread is about PL (tv speak for intercom), doesn't mean that our headsets have to be a single use. If you are an audio person or a vidiot why would you want to have to deal with two different headsets?

Depending on how creative you are, a simple toggle switch or headphone mixer will allow you to listen to multiple sources at once. For example, I have built cables that allow me to listen to PL and listen to VTR playback when I cue up a tape. In the audio dept, I don't know of many audio ops that wear their headset unless they have to because they are "soloing" the various channels. A simple A/B toggle would works great here since you can jump over to the pl trace when you see the light flash. While this can work with just about any type of com headset, It works better when you have a decent set of cans on your head.

In this business, it is about being creative AND flexible when it comes to finding solutions. Don't just think out of the box but stand on top of it and look at the bottom as well.

BTW, I got mine on ebay for $100. They fit better then any headset I have ever worn and I have gone through a lot. After a 10 hour day, the last thing you want is a smashed head.

kw


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## icewolf08 (Nov 14, 2007)

ok, now, I am not trying to pick a fight here, after all, I did say everyone needs to pick what works for them, but I am trying to wrap my head around your reasoning. You have valid points, and I m sure they are situations you have been in, and maybe I just can't relate.

1) Sound op- If I was a sound op, and I have been, I would rather spend $300 on a great set of cans then on a set of cans that is decent, and has a mic. Also, as you said, most live mix sound ops don't want to have cans on unless they are specifically checking things because they are more interested in how the sound is in the space, your double duty idea kinda defeats that purpose, hence why most sound ops have a handset.

2) TV- My experience in TV comes from the live production and field production side of things. For live, in studio work I haven't run across a situation where I would need that. Sure, a sound engineer has to be listening to the PL, but more often then not, they are sitting in a control room where they can talk to the producer. In the field, coms are very often radios, in which case, you don't benefit from the nice headset, and since you are already carrying an audio package, you probably don't want to have extra gear to switch around your headset.

3) Cueing tape- Do you really need the high end audio quality to cue a tape? In theory you are only listening to snippets to find the right spot.

If you are happy with them, that's good. I certainly agree that the last thing you want at the end of the day is a headset headache, but that is why I have a headset that you barely know is there. If I need superior audio quality, I'll pull out the nice cans that I spent good money on.


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## kwotipka (Nov 14, 2007)

I think that my point in all of this was not about the price but the diversity of the headset in question. I was trying to give some examples of being able to multitask a piece of equipment.


> 1) Sound op- If I was a sound op, and I have been, I would rather spend $300 on a great set of cans then on a set of cans that is decent, and has a mic. Also, as you said, most live mix sound ops don't want to have cans on unless they are specifically checking things because they are more interested in how the sound is in the space, your double duty idea kinda defeats that purpose, hence why most sound ops have a handset.



I have yet to see a sound guy walk in with $300 headphones. Normally they are the same ole crappy sonys. When you are doing corporate theater it is a balance between what the room sounds like, soloing the individual channels and listening for cues coming down the headset. As I painfully watch sound engineers try to wear two different headsets so they can follow the action and do their job, this seems like a perfect application to me.


> 2) TV- My experience in TV comes from the live production and field production side of things. For live, in studio work I haven't run across a situation where I would need that. Sure, a sound engineer has to be listening to the PL, but more often then not, they are sitting in a control room where they can talk to the producer. In the field, coms are very often radios, in which case, you don't benefit from the nice headset, and since you are already carrying an audio package, you probably don't want to have extra gear to switch around your headset.



Ever seen a boom operator with a nice talkback headset so he can communicate with the audio guy? Makes things much easier for the boom operator. Also, when you are running iso tapes in camera, it's one less set of headphones you need to wear.


> 3) Cueing tape- Do you really need the high end audio quality to cue a tape? In theory you are only listening to snippets to find the right spot.



Yes you do. They are also helpful when you are monitoring your record signals. Having a good set of headphones is essential for tracking down oddball noises in the signal. The extra cord that the adapter provides allows one a greater field of movement in the immediate area as well. I have a nice clearcom base station and the 6' of headset cord isn't always enough.

On a side note, I know many ham radio ops who have various switch boxes to switch one nice mic / headset or speaker across multiple radios. Basically (without a whole other post on level and impedance matching) it's the same thing.

kw


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