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 1 
 on: Today at 07:58:46 am 
Started by Tom Bourke - Last post by Jean-Pierre Coetzee
We have an older install where the computer had died years ago. Install disks are long gone. Anyone know where I can get a copy? Nothing shows up on clearcom.com. Anything on Google looks sketchy.

Thanks.

I'm going to give the usual answer I know of around here, did you try to call clearcom support and ask them?

Quote
the RCS-2000 is programmable with a PC (Windows98/586 or better)


From a manual I found online. I would have very strong doubts that any optical media would have survived that long regardless so unless someone actually has a backed up copy not on optical media I would seriously consider look for other options. Also if it was designed to run on windows 98 I don't know if you are going to find something compatible with a modern operating system so you will likely need to find a windows 98 iso or install disk somewhere. Maybe windows XP can save the day but keep in mind that this is a very old piece of software.

Likewise unless you have a PC with a serial port you will need to look at getting a serial to usb converter and getting it to work since it does look like it is running RS-232...

 2 
 on: Today at 07:57:00 am 
Started by M. Erik Matlock - Last post by M. Erik Matlock
Church Sound: Own It
If my team has a success or a failure, it's on me to own it. All of it. Even the mistakes. Without excuses.
By Andrew Stone October 18, 2018


While traveling with a female entertainer many years ago, I experienced something that turned out to be a pivotal moment in my life and career.

Like many in production, I was a jack-of-all trades at the time, hired as both the audio engineer and tour manager. I had numerous details to handle, but I managed to keep all the plates spinning fairly well.

We did a lot of shows in those days with very little downtime, so I would try to make use of the time on plane flights meeting with the artist to make sure we were always on the same page. During one of these countless trips I was giving her the specifics of a problem we had encountered during a previous show...

Continue reading here: https://www.prosoundweb.com/channels/church/church_sound_own_it/

 3 
 on: Today at 07:56:06 am 
Started by M. Erik Matlock - Last post by M. Erik Matlock
Church Sound: Own It
If my team has a success or a failure, it's on me to own it. All of it. Even the mistakes. Without excuses.
By Andrew Stone October 18, 2018


While traveling with a female entertainer many years ago, I experienced something that turned out to be a pivotal moment in my life and career.

Like many in production, I was a jack-of-all trades at the time, hired as both the audio engineer and tour manager. I had numerous details to handle, but I managed to keep all the plates spinning fairly well.

We did a lot of shows in those days with very little downtime, so I would try to make use of the time on plane flights meeting with the artist to make sure we were always on the same page. During one of these countless trips I was giving her the specifics of a problem we had encountered during a previous show...

Continue reading here: https://www.prosoundweb.com/channels/church/church_sound_own_it/

 4 
 on: Today at 07:50:24 am 
Started by Matthew Parker - Last post by Jean-Pierre Coetzee
Is this all audio sources within the PC?  If so, an in-PC mixer might be the answer, such as the Voicemeeter, they have other models available.

I was thinking of this as a solution as well, but it would depend entirely on his use case. I can imagine in quite a few use cases having physical faders even if it's cheap ones would be great, you could probably get away with some midi device though if everything is within the same PC. I would rather spend the money on a scarlett 2i2 or some other decent soundcard like device.

 5 
 on: Today at 07:45:44 am 
Started by Rick Powell - Last post by Jean-Pierre Coetzee
I'm with everyone on passive speakers internally. When you install the speakon wall plates definitely make sure they get specced with dust covers and that they are used and get replaced if broken.

For the stage cabling and such may I suggest something with a remote stage box(x/m32 with dl stage boxes) but the stage boxes remain in the cupboard with the amps. You then install 2-3 multicores to each stage with a weather-resistant multipin connector, something probably bayonet type with water and dust proof rating so that you can just move 2-3 drop snakes between the two stages and connect a network cable to the console.

What is happening for lighting at this time?

What's happening for power?
If they want to do this properly then maybe they should be looking at having a california(or something to code, I'm in another country) at each and have a house distro that they just move between the two stages?

Convenience costs money, this needs to be made clear to them. I really think you can find some passive boxes that will work well enough as a compromise in both venues yet still sound good. The speakon connectors just need to be well labeled and they will be at least mildly idiot proof(although I've met enough people who do not know how to connect/disconnect a speakon connector that I cannot guarantee that)

 6 
 on: Today at 06:29:43 am 
Started by Kemper Watson - Last post by Kemper Watson
Had the same problem. My died during a show with 42% charge. 42 to 0. I had a backup. The following week I called Simply Mac in Athens, was told based on age I could send mine back to Mac and get a replacement with new batteries for $200.00. When I arrived at the store, after a test, mine was shipped and replaced for $99.00 and mine was older than yours. I think there is a Simply Mac in East Cobb. Mine is a cell version with max memory,
Thank you. I found out mine is less than 10 months old.. I'll se what they say ..

 7 
 on: Today at 03:56:24 am 
Started by jackmoore - Last post by Steve M Smith
A DI in its simplest form has about as many parts as you can count on 1 hand!!!!!

Di boxes are simple and not exactly rocket science.

Agreed.  The simplest DI I make has one transistor, seven resistors and five capacitors.




Steve.

 8 
 on: Today at 03:55:33 am 
Started by Bob Faulkner - Last post by Helge A Bentsen
The best sound I've heard from a camera recording was done using a Rode NT4.
It's really good value for money.

I used it as a drum OH for years until I got a deal on a pair of better mics.

 9 
 on: Today at 03:51:26 am 
Started by Steve Ferreira - Last post by Helge A Bentsen
If you go the Radius way, skip the 118 and go straight for the 218 sub.
More output and a nicer sound in a slightly bigger box.

Also, if you wish to bring out the best in a 208L system, it needs to be flown. First time we used it we stacked it, it was kinda meh, but once we got it into the air for a gig it was a whole different system.



 10 
 on: Today at 03:37:59 am 
Started by Peter Kowalczyk - Last post by Helge A Bentsen
Do not build a permanent FOH booth.

It's the nr. 1 PITA with small clubs.

I manage a small club that had a permanent booth, constant issues with space at FOH when someone decided to bring a console or two. Got rid of the whole thing, put the desk (Pro2c) on a small cart so it can be moved easily.
Now we use less space with a guest console in place even if I have to have our console up and running for the openers.
I also made sure we had a easy way of pulling multis from stage to FOH, didn't bother about installing any permanent extras, people ask for different things all the time. I tell them to bring their own and help them lay it down, so far people have been happy with that.

Second ting we did was building a stage with a heavy "sandwich" type floor and put a carpet on top of it. Dual layers of MDF and plaster board. Works wery well, the stage is totally dead even if the subs (SB1000z) is placed inside of it.

Third thing was putting a lot of sound absorption in the roof above the stage. Really helpful with drummers who play at "11". Sadly we can't put anymore in the roof in front of the stage. Makes it difficult sometimes during soundcheck but once you get about 1/4 to 1/3 of the crowd indoors, the room dies down.

Fourth thing. I'm lazy. I don't want to do the same thing over and over again just to get to the point where I can start rigging. So, all the mics live in drawers on stage R with the stands on a shelf beside the. The monitor amps and stage rack is also located there. There is a small drop snake with power, 2 monitor speakons and 8 inputs on SR, another one with 2 speakons and 4 returns for IEMs centered in the rear where the drummer goes 95% of the time. There is also a 12 channel drop snake there. Everything ends up at the amps/stage rack so I can wire and patch from stage. All this makes it possible to run the whole stage with short cables and be up and running for soundcheck really fast. That usually means a shorter soundcheck, happy musicians and more dinner time for me.

Fifth thing. Sort out all "DJ" needs in advance.
In this venue we have a Mackie mixer in the bar so the bartenders can play music. I made a multicore with two XLRs and power, it's long enough to reach everywhere on stage and in front of it if they wish to have the DJs on the floor. It's permanently wired to channel 1/2 on the desk so they can have a DJ show without a tech. If they put the DJ on stage and need a monitor they just rotate one of the outfills and use it as a monitor. I don't see any reason why they should have to bring in a tech to babysit two channels, so I gave them the option to invest some money in a solution now, or have to pay for a tech every time they put in a DJ. There is also a cheap wireless wired on ch 3 so every Sunday when it's movie night the presenter can talk to the audience without issues.

As a final touch, I wired the outputs from the Mackie in parallel to the house console and the PA inputs, so when I switch the PA to FOH mode (two switches on the wall, I think they cost me $2 each.) I can fade out/in the house music/DJ before and after the show.




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