Luvvies make last ditch appeal for radio mics
Save Our (wireless) Sounds
A new campaign backed by everyone from professional footballers to Shakespearian actors is trying to get Ofcom to rethink its Digital Dividend auction.
Campaign group Save Our Sound represents 21 organisations opposing Ofcom's plan to shift radio users in the entertainment industry to smaller accommodation, at a different point on the dial, despite the regulator's promise of cash to ease the transition.
Groups including the Professional Footballer's Association and the Royal Shakespeare Company, as well as the expected sound-engineering groups and unions, are all agreed that news gathering is "likely to become impossible", companies will go bust and the UK's balance of payments "severely affected" if Ofcom goes ahead.
At issue is Ofcom's plan for the Digital Dividend, part of which involves moving the PMSE (Programme Making & Special Events) crowd down to Channel 38, allowing expansion into the neighbouring white space, while paying them off for the equipment they can no longer use.
That proposal was open for comment until the middle of September, and comments there were: 58 people responded anonymously, while 212 were happy to be identified. They range from the Paraiso School of Samba to Autograph Sound (providers of kit to 70 per cent of the West End).
The first problem with the regulators plan is that Ofcom intends to recompense users for the estimated value of their redundant kit, not its replacement cost. Autograph reckons it has £5m worth of radio kit, 80 per cent of which will be made redundant but much of which is pretty old:
"A Sennheiser SK50 body transmitter purchased for £1300 in 1992 has appeared (well hidden) in Crazy for You, Sunset Boulevard, Les Misérables, Putting it Together, Alice in Wonderland, The King and I, Simply Heavenly, Pacific Overtures, Thoroughly Modern Millie, Anything Goes, Mamma Mia (Madrid), We Will Rock You and most recently The Lion King."
Being 17 years old makes the estimated value pretty low, not to mention Autograph might not still have the receipt, but if the proposals go ahead then the company will have to buy new kit.
The other problem is no-one can buy that new kit until Ofcom decides where they are going to be allowed to operate. Many of them are already knocking about in Channel 38, so that doesn't represent the green-field expansion Ofcom promised, and there aren't yet any national white space maps (showing frequencies unused by local digital transmission that might be usable).
The problem with fighting the proposal is the difficulty of drawing the public's eye to the problem before it's too late. Andrew Lloyd Webber complaining about radio mics engenders as much sympathy as Madonna complaining about music piracy, but when small bands complain about piracy, or sound technicians complain about radio mics, no-one listens.
The idea of Save Our Sounds is to bring more groups into the mix and bring the issue to the attention of those who care about the gig taking place in the local pub, or play on at the nearby theatre. If Ofcom is going to reserve frequencies for wireless entertainment, then it will cost money, and we're going to have to decide if it's worth it. ®
Yes, wired is okay for a lot of bands. Hell, in my local live-music venue the stage is so small it'd be pretty pointless to go wireless.
But take the example given of the show "We Will Rock You" (I've seen it, so I know what sort of movement is involved). It wouldn't have been anywhere near as good if it'd included "is this the real lif... oh, bugger. Give me a second, guys- the wire's snagged on the stairs..."?
While it's not absolutely required for purely musical events, the use of Wireless mics is a definite requirement for stage-shows, anything with a bit of flair or audience interaction and anything else people would actually want to see.
You are attempting to switch the argument to one about how well people can play without with or without wireless.
The point is rather about the convenience of wireless v wired. Wired is not as convenient as wireless, and wireless enables additional things to be done that cannot be achieved when wired.
Loss of the wireless affects single performers and groups as stated above, and in my view people who use those facilities are being treated shabbily.
@ AC & Graham Bartlett
"Stone age people managed very well with stone wheels, but they aren't really practical today are they?"
Hardly a fair comparison to a guitar cable, is it? The greatest and most innovative players have come and gone and they all managed just fine with a cable. I can't recall any of them saying that if someone invented a wireless connection that they would have played any better. It was usually a desire for more sex and drugs that was top of the list.
"a large part of the stage act for bands like Metallica is the on-stage running-around, and that's impossible without radio kit."
I just consulted my copy of Bert Wheedon's Play in a Day and he doesn't mention on-stage running around once. I think you're confusing guitar playing with some kind of track sport.