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 1 
 on: Today at 12:53:04 pm 
Started by Mark Stanger - Last post by Mark Stanger
Thanks everyone for the helpful thoughts. We were able to get it working- mostly. My first issue was the cards were mis-labeled in Dante controller, (slot 1 vs slot 2) which causes lots of issues with which card is the one I designated as the clock master, and such. The second and persistent issue is that while Slot 1's card is solid and working well now, slot 2 is intermittent, losing sync often, making the inputs that are connected to it cut out completely for several seconds. We are running on 16 channels only now and haven't had any issues with the rest of the system after that. I tried using another cable for the slot 2 card, but is there any other thing to try to get it to stop losing sync? I'm assuming at this point I just have a bad my16 card, unless there's something else to try. Thanks

 2 
 on: Today at 12:31:11 pm 
Started by Zaharescu Mihai - Last post by Ray Aberle
So are you saying you have 2 amplifiers ganged together with different inputs? Model numbers might help.
Model numbers are posted in the initial post of the thread. :)

-Ray

 3 
 on: Today at 12:22:39 pm 
Started by Richard Penrose - Last post by Richard Penrose
Thanks. The Shure SE535’s are a strong consideration at the moment.

 4 
 on: Today at 12:14:47 pm 
Started by Justin McInvale - Last post by Keith Broughton
This mixer would allow for 1 input to be sent to separate outputs with separate volume
http://www.music-group.com/Categories/Behringer/Mixers/Rackmount-Mixers/MX882/p/P0056

 5 
 on: Today at 12:05:22 pm 
Started by Alex Davis - Last post by Mike Caldwell
Both of the units I mentioned have adjustable hold times on the relay and adjustable relay activation thresholds.

I am very much a DIY type of guy and have had a soldering iron in my hand since the 6th grade (about 1973) but when something like the Bogen VAR1 is available and worked perfect for my strobe light project why try to reinvent the wheel. I just package it with the strobe light using a project box, I also needed to build eight of them.



 6 
 on: Today at 11:59:04 am 
Started by Justin McInvale - Last post by Justin McInvale
It's more or less their A/V guy wants it extremely simple basically something to where no one has to figure out how to work the S-zone and can just connect their input and with one knob control the volume. In fact if it could be done without a level control he would be even happier.

Trust me if it were up to me id use the S-zone like you said.


 7 
 on: Today at 11:40:20 am 
Started by Curt Sorensen - Last post by Dan Currie
...It's like trying to use a FSII 19 in an arena with DECT telephones - absolute disaster.

Pete,
  Do you have experience with the FS 214 in the already crowded 2.4ghz reange?  Are they more frequency resilient than the 19?

  Too bad there does not appear to be a network number and lockout key on the FSII.

 8 
 on: Today at 11:32:26 am 
Started by Bob Leonard - Last post by Bob Leonard
Maybe it's my age, but once again the world has lost musicians who have contributed to their art and to our enjoyment. RIP Malcolm and Mel. God bless you both.

 9 
 on: Today at 11:26:12 am 
Started by Brian Strike - Last post by Alec Spence
I think you are opening up a world of pain and expense for little gain.  The ls9 is as outdated as it gets and even more limited than the X32.  To throw money into one now is a really bad investment, I’d bite the bullet and get either an X32 or one of the new Yamaha’s such as the TF.  There are both far more capable consoles and will likely do all you need.
That was what I was waiting for all through the thread.  For you to get remote monitor mixing and a digital snake, your LS9 is never going to cut the mustard, and will cost you a packet.

Bizarrely, LS9s still pick up decent money used - so you might even be able to replace it with an X32 on a cost neutral (or even profitable) basis.  After that, life gets easy - just add S16/S32 stageboxes and P16 monitor mixers - and ditch the big heavy multicore.  You'll be surprised by how much more capable the X32 is than the LS9 - and you'll settle into it pretty quickly...

 10 
 on: Today at 11:09:30 am 
Started by jesseweiss - Last post by jesseweiss
I have 6 Motorola RMU2050's and they work pretty well for that sort of application. The headset connector seats firmly, and there's a 6 bay charger available. They're public frequencies, so no license required, and they have decent range for only being 2 watts. I don't use mine much anymore, they've just been sitting around for a while, but they're nice little radios. If you can bump up to a 4 or 5 watt radio (which require licensing) you'll notice a huge improvement in range, but the RMU2050 is about as good as you can get without a license.

They're around $200 each once you include accessories, so they're not nearly as cheap as what you're using now, but their build more like "real" radios.

Do you currently have a wired intercom system (Clearcom or otherwise) in your theater? It sounds like you're relying solely on radios for communication backstage. If you don't have a standard wired intercom already, I think that would be a better use of funds than spending more on radios. Radios are great for lots of things, but intercom is much better suited to theatre applications.
We used to have TalkBack, but I don't think it's setup anymore.

The system was updated to an LS9 from the analog desk and the wiring was apparently done poorly.

Once I got involved I had a pro come in and try to clean up the install, but he was limited by budget, time, and having to leave the school PA interrupt patched in (announcements have to be able to override theater PA).

It's a good idea and something I'll look into.

In the meantime, we'll check out the better Motorola radios you mentioned.



Sent from my Moto G (4) using Tapatalk


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