Comms system hire — wired talkback for show positions
Wired talkback is how shows are called. The base station powers one always-open party line, a beltpack and single-ear headset sit at each operating position, and everyone hears everyone, hands free, with nothing to press. The four-way system covers prompt corner, lighting, sound and a followspot, wired on ordinary XLR microphone cable. It hires at £40 per day, dry or with a technician, and more positions can be added.
A party-line comms system puts the whole show team on one open channel. The base station powers the line, and a beltpack sits at each operating position, looped together on ordinary three-pin XLR microphone cable — the same cable your vocal mics use. The beltpacks draw their power down that cable, so there is nothing to charge and no battery to die during act two. Plug in a headset, set your listen level, switch the mic on, and you are talking.
This is why wired comms still call almost every show. The line is open in both directions all the time: the stage manager gives a standby, the operators acknowledge, and nobody presses a button, waits for a channel or talks over anyone mid-cue. The headsets are single-ear with a noise-cancelling boom microphone, so an operator keeps one ear on the stage and the show can be called at a murmur from the prompt corner. Every station has a call light for getting the attention of someone who has slipped the headset off.
Four positions come as standard, which covers most productions: prompt corner, lighting and sound at the back of the hall, and a followspot or the fly floor. The wiring is a daisy chain, so one run goes from the base station to the nearest position and loops onward, and a spare line in an existing multicore will carry it. Distances across a theatre-sized building are no trouble. More positions can be added — tell us where they are and we will price them.
Be clear about the scope. This is one channel shared by everyone on it, which is exactly what a show team wants: everyone hears the standby, everyone hears the go. It is not multi-channel touring comms with separate rings for stage, lighting and sound, and we will say so if your production has grown to need that. The only discipline it asks is mics off unless you are speaking.
What you get
The base station and its mains power supply
Four beltpacks
Four single-ear headsets with noise-cancelling boom microphones
Not included as standard: the XLR cable runs between positions. It is ordinary microphone cable — use your own or hire it from us; tell us the distances and we will make up the runs
A technician to rig the line, test every position and sit on comms for the show, if you want one
Good for
School and academy productions where cues have been shouted from the wings until now
Am-dram weeks in halls whose steel frame or thick walls defeat radios
Dance school showcases: the stage manager, both wings and the followspot on one line for tight number changes
Pantomime and musical runs where the fly floor needs to hear the same standby as lighting and sound
Churches and concert venues coordinating platform, sound desk and lighting without a word reaching the audience
Adding proper show comms to a hired hall for one production, with nothing installed and no marks left
What you need to know
What it does
One always-open talkback channel linking the stage manager to every operating position. Nobody presses anything; everyone on the line hears everyone else.
Positions
Four as standard — enough for prompt corner, lighting, sound and a followspot or the fly floor. More can be added; ask when you book.
Wiring
Ordinary 3-pin XLR microphone cable, daisy-chained from the base station to each position. A spare line in an existing multicore will carry it.
Power
The base station runs from a standard 13A socket. The beltpacks are powered down the intercom cable, so there are no batteries to die mid-show.
Headsets
Single-ear with a noise-cancelling boom mic: one ear on the line, one ear on the stage, and cues called at a murmur.
Check availability
See whether this is free for your dates. This is an indication from our current bookings, not a reservation.
Alternatives
Mitex two-way radios — the answer for mobile staff — car parks, front of house and everywhere a cable cannot follow.
Base station plus four beltpack and headset positions; more can be added on the same line
Line wiring
3-pin XLR, standard microphone cable, looped station to station
Beltpack power
DC fed down the intercom line from the base station; no batteries
Headset connection
4-pin XLR at the beltpack; single-ear headset with dynamic boom microphone
Signalling
Call light on each station
Mains
Base station power supply on a standard UK 230V 13A plug
Common questions
Because calling a show is a conversation, not a series of transmissions. A party line is open in both directions all the time: the stage manager gives a standby, the operators acknowledge, and nobody presses a button or waits for a channel to clear. It also works in steel-framed and thick-walled buildings that swallow radio signal, and there are no batteries to manage. Radios are the right tool for mobile staff — stewards, car parks, front of house outdoors — and for those we hire Mitex two-way radios.
Ordinary 3-pin XLR microphone cable, the same as your vocal mics use. The system daisy-chains, so one cable goes from the base station to the first position and loops on to the next, and a spare line in an existing multicore will carry it. Runs across a theatre-sized building are no trouble. We hire cable too — tell us where the positions are and we will send made-up lengths.
Yes. Extra beltpacks and headsets loop into the same line, so adding a second followspot or a position in the band is simple. Tell us the positions when you enquire and we will price the additions.
Quite possibly. Pro Intercom's party line uses the same industry-standard two-wire format as Clear-Com and similar systems, so compatible wall stations and beltpacks usually work together on one line. Tell us what is installed and we will confirm before you book rather than leave you to find out at the dress.
Yes, and for a show team that is the point: everyone hears the standby, everyone hears the go, and nothing gets said twice. The only discipline it asks is mics off unless you are speaking. If your production genuinely needs separate rings for stage, lighting and sound, that is multi-channel comms and a different conversation — ask and we will advise honestly.
