At my school theater, we have two intercom systems. One of them is an Telex Audiocom PS2000L system, and the other is a portable system with no brand name, which I'm pretty sure is made by Eartec. The Eartec is the one that we use, the Telex is a legacy system that we no longer use most of the time. The Telex uses regular XLR3 mic cable, and the Eartec uses XLR4
Eartec system
Supposedly, they "upgraded" because of the wireless capability of the Eartec system and because it allowed us to have four stations in the booth instead of three. The wireless base unit is now broken, and we don't have the budget to fix it. That leaves us without wireless capability. We also have a bad shortage of XLR4 cable, which makes it a challenge to hook up all four headsets in the booth, especially when we have two spot-ops.
We also don't have enough com stations backstage. One stage right and another stage left, that's it. We need one in the orchestra area, and we'd like another in the green room.
Splitting the feed from the Eartec unit is difficult: It requires a special piece of hardware that contains a lot of circuitry. It doesn't seem to be digital, though, the circuitry is comprised mostly of op-amps and passive components, no microcontrollers.
The base unit is set up so that the four coms plug into the bottom row of connectors, the one labeled "master" goes to the now-defunct wireless unit, and the other connector next to the master connects to the splitter box backstage.
During musicals, we have to use the Telex system because it has a jack right in the orchestra area. Of course, we also have to use the Eartec system because we need four coms in the booth. It ends up that the SM wears two headsets at the same time, one Eartec and one Telex.
I want to figure out how to combine these two systems so that audio from either one can reach the other one. That way, I can put coms in the green room, orchestra area, and have more in the booth and backstage.
From what I can tell from the manual and from testing, the Telex system uses balanced audio in the same fashion as mics do, with 24 volts applied equally to pins 2 and 3.
The Eartec system is different: It uses XLR4, and from what I can tell it uses 12 and 6 volt power, applied on pins 1 and 3, and 2 and 4 respectively. I highly doubt it is balanced, because of the buzz on the line from the dimmers. (you can always tell when a light cue changes from the sound of the buzz)
In this system, I'm not quite sure how the audio is actually carried. Due to its size, weight, and the fact that it's practically built into my workbench, it wouldn't be all that easy to take my oscilloscope into school to really analyze this system.
So, any suggestions as to how I can do this on a spare-parts budget? I've considered just using two beltpacks, one from each system, taking the sound output, bringing it down to mic level and feeding it into the other mic input. But I don't want to lose two beltpacks. I'm sure there's a way to connect them simply, all I need to do is figure out how to send/receive audio from the Eartec system.
Eartec system
Supposedly, they "upgraded" because of the wireless capability of the Eartec system and because it allowed us to have four stations in the booth instead of three. The wireless base unit is now broken, and we don't have the budget to fix it. That leaves us without wireless capability. We also have a bad shortage of XLR4 cable, which makes it a challenge to hook up all four headsets in the booth, especially when we have two spot-ops.
We also don't have enough com stations backstage. One stage right and another stage left, that's it. We need one in the orchestra area, and we'd like another in the green room.
Splitting the feed from the Eartec unit is difficult: It requires a special piece of hardware that contains a lot of circuitry. It doesn't seem to be digital, though, the circuitry is comprised mostly of op-amps and passive components, no microcontrollers.
The base unit is set up so that the four coms plug into the bottom row of connectors, the one labeled "master" goes to the now-defunct wireless unit, and the other connector next to the master connects to the splitter box backstage.
During musicals, we have to use the Telex system because it has a jack right in the orchestra area. Of course, we also have to use the Eartec system because we need four coms in the booth. It ends up that the SM wears two headsets at the same time, one Eartec and one Telex.
I want to figure out how to combine these two systems so that audio from either one can reach the other one. That way, I can put coms in the green room, orchestra area, and have more in the booth and backstage.
From what I can tell from the manual and from testing, the Telex system uses balanced audio in the same fashion as mics do, with 24 volts applied equally to pins 2 and 3.
The Eartec system is different: It uses XLR4, and from what I can tell it uses 12 and 6 volt power, applied on pins 1 and 3, and 2 and 4 respectively. I highly doubt it is balanced, because of the buzz on the line from the dimmers. (you can always tell when a light cue changes from the sound of the buzz)
In this system, I'm not quite sure how the audio is actually carried. Due to its size, weight, and the fact that it's practically built into my workbench, it wouldn't be all that easy to take my oscilloscope into school to really analyze this system.
So, any suggestions as to how I can do this on a spare-parts budget? I've considered just using two beltpacks, one from each system, taking the sound output, bringing it down to mic level and feeding it into the other mic input. But I don't want to lose two beltpacks. I'm sure there's a way to connect them simply, all I need to do is figure out how to send/receive audio from the Eartec system.