Backstage communication headsets are vital for maintaining clear communication backstage during events. From live performances and theater productions to corporate gatherings, effective communication is key to ensuring smooth coordination among essential team members. This article will delve into backstage communication headphones, including their definition, types, buying tips, and basic use rules. Let’s get started!
What are backstage communication headsets?
Backstage communication headsets are communication devices that allow the stage manager to coordinate various roles in the booth and backstage. Typically, they are worn by the stage manager (SM), the assistant stage manager (ASM), the spotlight operators, the light board, and the soundboard. Additional headphones can be used as needed for a particular show, each assigned to a specific, designated role.
Which type is right for you: Wired or wireless backstage communication headsets?
Communication headsets for backstage come in two main types: wired and wireless, each powered differently. Both types have their advantages, so it’s best to choose based on the specific requirements of each stage role to meet various backstage needs.
Wireless communication headsets for backstage
Wireless backstage communication headsets use radio frequencies (RF), Bluetooth, or Wi-Fi to transmit signals between intercom stations and the central control unit. Powered by DC, typically through batteries, they eliminate the need for physical cabling, offering greater flexibility. They are particularly useful for backstage personnel who need to move freely, as cables would be impractical in such scenarios.
Wired stage communication headsets
Wired stage intercom systems depend on physical cables to link the system’s components. These cables, such as CAT5, CAT6, and coaxial, are connected to the theater’s wired network, allowing the central control unit to communicate with intercom stations throughout the building. Powered by AC, they do not require batteries, making them ideal for backstage personnel who remain in a fixed location during operations.
Who should use wired or wireless type?
Which backstage communication headset you should choose depends on the specific roles. Here’s a guide to which type is best for each position:
Stage manager: They need both types. A wired one is ideal if calling the show from the booth, while a wireless headset is better for calling the show from backstage.
Lightboard operator: They can typically use a wired type, but a wireless one offers more flexibility and is preferable.
Sound board operator: These people, positioned in the house, can manage with wired types most of the time. However, a wireless headset is the optimal choice.
Flyman/fly rail side of the stage: A wireless backstage communication headset is the way to go here to prevent tripping hazards.
Followspot operators: They generally remain stationary in their positions, such as beams or catwalks. Wired types are suitable for them, but ideally, they should each have their jack to plug into, even if they are positioned close together. The headset cables must be carefully secured to avoid any tripping hazards.
Stage right or left (opposite the fly rail): This depends on whether the person will be stationary or need to move around for tasks like set changes. A wired model works but a wireless option provides better flexibility for various situations.
Center of the house (tech table): At least two jacks are optimal here, and wired models are ideal. It’s not critical if someone needs to step away from their headset during rehearsals, but leaving it during the show could risk the performance.
How to choose the best one for your stage and theater?
When selecting a reliable communication headset for backstage, you can follow these tips:
Check user capacity to ensure backstage communication headsets support your entire team
First, assess how many users the system needs to support. For instance, if you have a crew of 6 but opt for a headset system designed for only 4, communication will be limited. Choose a system that matches the size of your team for seamless collaboration.
Prioritize comfort for extended wear
Look for headsets with adjustable headbands and padded ear cups to ensure a comfortable fit, particularly for individuals wearing them for extended periods. Lightweight designs and breathable materials also contribute to greater comfort, reducing fatigue.
Focus on audio quality to ensure clear communication
Select headsets that offer high-quality audio, including noise cancellation and echo reduction to eliminate background noise. Also, test the microphone’s quality to ensure clear, undistorted transmission.
Assess their compatibility with your current backstage communication systems
Ensure they are compatible with your existing communication platforms. Choose wired or wireless models based on your workspace needs—wireless provides mobility, while wired ensures a stable connection in some environments.
Invest in durability for long-term reliability
Opt for ones with robust construction and reliable components to withstand daily wear and tear. Check customer reviews and product ratings to ensure longevity and dependability.
For example, if you’re looking for professional backstage communication headsets for a team of fewer than 13 people, the SYNCO Xtalk XPro is an excellent choice. This two-way intercom system is equipped with two external antennas to enhance signal strength and ensure reliable communication over a 500-meter range. Made from lightweight ABS and smooth leather, the headsets provide comfort for long hours of use. With AEC 2.0 noise cancellation and a 3.5mm monitoring port for real-time audio feedback, the Xtalk XPro guarantees clear communication in noisy environments. Its 24-hour battery life and durable build make it a reliable solution for smooth collaboration in theater performances and live events.
How to use: Basic rules for talking on backstage communication headsets
Here are some basic rules for using communication headsets on backstage:
Identify yourself by stage position, not name
Always introduce yourself by your role, not your name, when speaking on the headset.
Announce when you come on or go off the stage communication system
Always announce when you are joining or leaving the headset communication. For example, say “ASM on headset” when you join, or “ASM off headset” when you leave. This helps others know who they can communicate with and who they cannot.
Turn off the mic when not talking
When you are not speaking, make sure your microphone is off. Any noise around you will be picked up by the active mic and could interfere with other communication.
Acknowledge cues from the stage manager properly and concisely
There are three stages to a cue from the stage manager: warning, standby, and GO. When a standby or warning cue is given, immediately acknowledge it and relay the message to other crew members as necessary. You should acknowledge the cue by responding with your position, sometimes along with the cue called.
Proper responses are:
- “Lights”
- “ASM standing”
- “Deck warned”
Which response to use depends on what you and your stage manager prefer, and how many others are responding to the same cue. When multiple roles (lights, spots, sound, and deck) are called on the same cue, it’s common to use a brief response so everyone can reply quickly.
Maintain your backstage communication headset silence during standby cues
Do not talk on the headset when any cue is on standby. A standby cue means there’s about 1/4 page or less before the cue goes to GO. Unless it’s a true emergency, the line should remain silent to allow both the cued positions and the SM to maintain focus for the GO call.