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 11 
 on: Yesterday at 08:34:33 pm 
Started by Dan Mortensen - Last post by Tim Gurske
Keep it high and know that a person with a laptop between you and the access point may disrupt the connection. Since you are using low bandwidth it should always be pretty reliable though.

Radio waves like line of sight but can actually bounce around and travel around objects a little bit to get the job done.

They sell more directional radios and antennas that you can use if you ever have problems: https://www.flyteccomputers.com/wireless-networking

 12 
 on: Yesterday at 07:53:24 pm 
Started by Shane Dawson - Last post by Jerome Malsack
I have the two T's able to be run on car battery and power inverter (400 watts) for plays and bands in the park at evenings. 
Also with the DMX wireless connections.   Lights come with a pattern of light 5 degrees to 60 degrees.  I have the 8 on the truss with 5 degree beams.
and the 4 on each T have 30 degree beams.   I typically operate with the T's at 20 feet to 30 feet out on 45 degrees to center stage.
 
The white lights allow the artist to be seen and not getting lost in the darkness.  as you move from one color to another blues and reds you will see some of the bands tend to be lost in the dark.   pick what you like and work that.   

 13 
 on: Yesterday at 07:42:54 pm 
Started by Frank Koenig - Last post by Jonathan Johnson
It's a work of art. I love looking at vintage electrical gear. I have a drafting board what was probably made in the early 1900's and the castings are simply beautiful. Shame that we can't spend that much time and care on modern gear, but it's just not cost effective. But there are still boutique shops for those willing to pay for detail work.

There's a local panel shop (Prairie Electric in Vancouver, Washington) that does excellent work. Granted, the parts themselves aren't things of beauty, being run-of-the-mill, off-the-shelf parts, but the workmanship in the finished panel is top notch.

A nearby industrial facility had two large control panels built by Prairie Electric when the facility was built. A few years later they expanded, and had the new panels built by another panel shop. The panels are mostly "identical" in design.

If you were to first look at the panels built by the second shop, you would probably say they were done neatly with decent workmanship. But when you open the cabinets for the panels built by Prairie Electric, the difference is noticeable: Prairie's panels are works of art in comparison.

There still is pride of workmanship out there.

 14 
 on: Yesterday at 07:31:45 pm 
Started by Shane Dawson - Last post by Jerome Malsack
Here is my setup on the cheap.   10 foot DJ I beam truss,  Two T stands out front of the band.  top of the T is 4 white LED Par 38 on Dimmer pack set to relay mode on or off  Universe 1.  LED does not dim well.   Bottom of the T is two par64 LED DMX  on Universe 2.  10 foot DJ truss has 2 sets of 4 halogen Par 46 on dimmer packs each on universe 1.  (flood the audience or blinders).  Under the 10 foot truss is 1 master to 3 slave moon lights.  Near each leg of the truss is two short T tops with one Par56 LED DMX pointing down to a drummer or center stage Universe 2.  One  ADJ  Accu Spot 250 mover on Universe 2. One Dome led on Universe 2. 

The controller is Universe 1  Stage Setter 8 to control the white lights on top and manually follow solo or leads.  Works like the DJ mixer sliding from x to y.
 
the Unverse 2 is computer driven with usb to dmx.  running the smart lights.

Universe 3 is another controller but running the effects.  Hazer,  Fog, and fans on dimmers.

Universe 4 is a strobe on a chauvet 751 strobe control that gives me audio strobe, single shots, and flash rate control at the control desk.  One 70 watt strobe on the top center of the truss.   Computer can stobe some of the smart lights also but not as much freedom on the controls during a live show.  If I find 2 more of the 70 watt strobes they will be on the two T's in front of the stage facing the stage and not behind the stage facing out. 

I have found that some of the cheap wireless DMX is workable to remove some of the long cable runs.  1 to 3  and 1 to 4 receivers in use on universe 1 and universe 2.   

I use terminators also.   Look up http://www.elationlighting.com/dmx-101-hand-book
Universe 3 is DMX Operator from elation. 

each universe is running on its own cable chain.  The universes are not connected together. 

I also have in my gear a cheap DMX splitter.  MCM electronics.   http://www.newark.com/stellar-labs/dmx-split8/8-way-isolated-dmx-splitter-3/dp/65W3273
This has worked for me but it is not 19 inch rack mount.  Also the incoming signal is on the side, with a pass through output that must have a working DMX light plugged into it. 
I can put this near my truss and connect other smart lights to the splitter and reduce error and trouble shooting. 



 15 
 on: Yesterday at 07:05:44 pm 
Started by Bob Faulkner - Last post by Tim McCulloch
The DSR112 is 18mm deeper and 25mm taller than the DXR12 - those covers would have to be a very sloppy fit on the DXR to still fit the DSR, unless they've got some kind of removable insert.

Ah, the Ivan quote:   It depends... on exactly where the 18mm depth is.  It would be snug.  Height would come up short, though.  Only about 1 cm of overhang on the bottom.

 16 
 on: Yesterday at 06:58:07 pm 
Started by John Roberts {JR} - Last post by Jonathan Johnson
You, sir, are fast on the irony uptake. ;)

But is your irony plugged into a groundedy outlety?

 17 
 on: Yesterday at 06:51:23 pm 
Started by Jonathan Goodall - Last post by RYAN LOUDMUSIC JENKINS
I have one going in an install and I e been told late January arrival.

 18 
 on: Yesterday at 06:44:40 pm 
Started by Dan Mortensen - Last post by Dan Mortensen
This post is going to stretch the boundaries of gear deserving to be on the LAB, as opposed to what should go in the Lounge, but I hope the circumstances make it appropriate. And sorry I don't seem able to express myself in 25 words or less.

For the last few years I've been doing corporate-event concerts in a coffee shop chain here, sponsored by both the corporate chain and a local theater-owning/restoration/operating nonprofit which also mentors and presents young artists. This concert series, which started out as 4 events/year, then 9/year, now closer to 20/year, provides a performance space for the young artists to perform for an hour to ad-hoc audiences, with hopefully decent sound and sound operator. I have been able to see, hear, and work with some astonishing talents who are still in many cases in high school. Plus, it pays like a corporate and they treat me nice, so it's a very good gig.

To do this gig in its various locations, I've spent a lot of time coming up with a PA that takes up as close to no space as possible, both at the "stage" and at "FOH". In fact, the initial spec for PA was "we need to provide PA for these kids to perform but we don't want to either see or hear it", so that the performance wouldn't interfere with the business operations of the shop du jour.

Since I've been providing PA for the corporate part of this chain off and on for nearly 30 years in all kinds of situations and previously primarily with literal international music stars, I was grateful for the opportunity to take this project on and try my best to meet their needs.

Initial PA was one Meyer MM4/side (~4" cube self-powered) with a ground stack on one side of two little Meyer 8" (I think) subs that each have internal power supplies for two MM4's.

That worked adequately, but for several reasons as time and familiarity went on, we have graduated to one Meyer UPJ-1P per side on tripods, with no excessive volume complaints but much better throw (as I define it) and plenty of juice for the times they've had bands and not just solo performers.

At the beginning, Behringer had just come out with the Air series, and the XR18 rack mount unit was perfect in size and capacity; a primary mixer and a spare fit with some coaxing into a 4 space narrow rack, which itself sat on top of the subs and so took up no floor space. The rack is also just big enough for a little UPS, which has been fine for 3+ years and also powers the Wifi gear.

Getting closer to the point of this post, the internal wifi in the XR18 was quickly discovered to be a joke for security, so I used my reliable Airport Express/Netgear Ethernet switch combo, which I long ago discovered seemed to be the only way to get Behringer mixers and Airport Expresses to reliably work together. Without the switch, it's a crap shoot in our experience getting them to connect; with the switch it's instantaneous connection Every Single Time, and the connection maintains until the gear is powered down after a gig of any length.

As you may know, the XR18 has no onboard controls and all mixing must be done on an outboard device. I primarily use an iPad Air 2 with about 128 Gigs, which has a fairly large music library in it, and use Airplay to test the PA and for break music when needed.

Last night I had another of these shows in a location where they've successfully been many times (15?), realized that I hadn't looked at the Wifi environment of this space for a long time, and did a scan with Airport Utility in my old iPhone 5. Needless to say I was surprised to see 129 visible wifi networks. Many originated in the space, with the expected public wifi but also wifi networks for particular coffee machines that are part of the attraction of this very large store which is much more than a coffee shop and maybe closer to a tourist destination/coffee museum. Other networks were clearly coming from nearby clubs and businesses, as well as apartments/condos and other sources.

During all the shows in this environment, there has never been one peep of a problem with connecting to my wifi and mixing the shows, and I started to wonder why and thought posting this might help other people.

Some more background before getting to that:

1) My Airports have my company name plus a number as their name and are not hidden at all. I've found that when scanning, if mine is not named, I can't tell which one it is of the unnamed networks.

2) They are set up for both 2.4 and 5 GHz.

3) The iPad is also set up for both 2.4 and 5 GHz, but I can't tell which is operational at any given moment or if it is changing back and forth. Both have the same name.

4) Early on with the X32's, I had problems connecting with DHCP, so always use Static since then, with great success so far. It takes a little bit to set up the iPads, but it's just another step. Once it's set for a network, the iPad remembers and you don't need to redo it until iOS upgrade wipes out all saved info.

5) I think we set up the Airports to seek the best channel, but I don't have any active role in what they do and never know what they are doing. It does seem like they are on different channels when I look at them at different times, but I may also be looking at different Airports on those different occasions (different Airports for different rigs). I've not bothered to document channel connection since it seems to work when I need it.

6) I have a WiPry but don't take it to many gigs. I'm now thinking I'll take it late next month when there's supposed to be another show in the same place and see what activity there actually is on all these networks.

7) For the record, my 2.4 network was stronger than the 5 Gig network, and that seems to almost always be the case when I look at the scanner. When I first started looking, my networks were down in the list but when the scan finished (45 second duration) the 2.4 was at the top of the list, and 5 Gig was down in 5th place or so. Don't know why they moved up from initially being down.

8 ) Signal strength for the top 25 or so networks seemed to be within about 10-15 db of the top network, IIRC.

9) FWIW I take spare iPad, power and Ethernet cables, Ethernet switch power supply, and Airport Express to every gig, along with spare XR18. But no laptop, since I don't want to be onstage with the mixer and don't want to run a control cable through the crowd. So far so good on that.

10) The other relevant bit of information is that "FOH" in this space is about 30' from the stage, and I sit on some steps with iPad on my lap so there is a clear line of sight to the Airport, which is hanging from the bottom of the speaker (7' up?) with a loom to reach the mixer down below.

So why does this combination work in an environment where there's so few channels but so many networks?

The main thing that jumps out is that the Airport is up in the air so there's no bodies between it and the iPad. The other is that the digital connection must by design be robust in the face of interference and is still able to communicate through the thicket.

Those are my big insights. If you have some, I'd love to read them.

Incidentally, the singer/songwriter/keyboardist was really terrific, and had just turned 15 the day before. A few rough edges, but geez....

 19 
 on: Yesterday at 06:38:25 pm 
Started by Jonathan Goodall - Last post by Peter Morris
Our rep now says that it will be mid January before an SQ appears.   :(

And that's how the Grinch stole Christmas !

I have two on order and was promised mid December after the first delay ... and now it appears mid January. Not happy at all.  >:( I have work requiring a small mixing desk that I don't have over that period. 

I suspect I will be able to find another solution but luckily M and X 32's are in stock if I get stuck.

Very disappointing the way the release of this desk has been handled.

 20 
 on: Yesterday at 06:35:49 pm 
Started by Ben Mehlman - Last post by Ray Aberle
Yeah, except some wireless providers (like T-Mobile) have already started rolling out testing on their 600MHz devices. Wouldn't it just be lovely to buy a 600MHz kit, only to find enough interference to make the gear unusable?!?

-Ray

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