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 1 
 on: Today at 01:16:53 am 
Started by Daniel Violette - Last post by Daniel Violette
Hi Dan,

Will it work - sort of?  Will it look good - no.  Can you not find something such as an Altman 360Q in your price range?  With the LED revolution they can be had for next to nothing these days!

Why won't a projector look good?  Trying to explain within the scope of my knowledge (which isn't great for projectors), the color temperature of the projector won't look anything close to the warm light of a halogen source, not to mention that most projectors can't do "black" really well - hence they tend to fail at replicating laser effects.  I also can't see how to use gel or diffusion with a projector...  Good luck!

Thanks for the reply Jeff,

I will possibly look at the Altmans; I took a quick look at e-bay and you are right, they can be had cheap. I am not a lighting tech, so I don't understand what you mean by doing "black" and "laser effects". I would just be using to light people from the front. I thought instead of using barn doors, just choose different pictures to project.

Dan

 2 
 on: Today at 01:09:30 am 
Started by Daniel Violette - Last post by Daniel Violette
Any LED or more likely, laser projector with enough output, that can be hung at any angle, with tight enough beam angle - will cost multiples more than a leko.   Look at the Chauvet DJ EVE50's as ultra-cheap option for shorter throws. 

To get lower in cost - Chauvet SlimParProW fixtures in quantity are very competitively priced, under $200 each.

Sent from my VS980 4G using Tapatalk

Thanks for the reply Caleb,

That is exactly what I mean. The EVE50s will cost me around $900 CAD, each with taxes and shipping. I would like two. That is a hell of a lot of money for me. However, I like the SlimParProW and the price is not bad at all. Thanks for the tip. I may also look at the Altman 360Qs as Jeff proposed. I wonder if anyone has successfully made an LED retrofit for these lamps?

Dan

 3 
 on: Today at 12:28:30 am 
Started by Mike Sokol - Last post by Stephen Kirby
If you can manage to stretch things out, anchoring one end and twisting with a drill can result in a pretty even wind.  A shop I was at made cables for the Bradleys.  We'd lay out the wires across several work benches, clamp one end and use a cordless drill to twist it.  You have to hold a pretty good tension on it so make sure the anchored end is solid.  Then we'd have one person shooting an air gun up one end of shrink sleeving while someone shoved the cables up the other end.  Then run them through turned down SMT reflow ovens to shrink the sleeving.  Fortunately we got to charge Mil-Spec prices for all this labor.

 4 
 on: Today at 12:16:05 am 
Started by frank kayser - Last post by Tim Weaver
FWIW, Gary P Nunn has been doing this for years. His IEM rig consists of a set of TX/RX beltpacks that get plugged into any aux you have available. With that and a little devil's lettuce he'll play for hours on end.....

 5 
 on: Yesterday at 11:36:29 pm 
Started by Franklin Benjamin - Last post by Rob Spence
Yes, I've also considered this option but without the switch  ;D.

I've been looking at the Audio Technica version.  I own one, it has a decent weight to it and has worked well for me in temporary settings. 

I was actually thinking about the base with a right angle connector on it to keep cable from sticking out too far.  I just don't know if it's aesthetically pleasing.  I might be overthinking it but some clients appreciate the look as well as the function.

I have the AT one as well. Since my use is temporary, I made up a mic cord with a right angle for the AT base and just long enough to make it to the floor. I gaff the cable to the inside of one side.



Sent from my iPad using Tapatalk Pro

 6 
 on: Yesterday at 11:33:36 pm 
Started by Peter Kowalczyk - Last post by Stephen Kirby
When in doubt, turn it down.

There is an odd paradigm that says you should be able to hear every instrument clearly.  Which pretty easily turns into everything louder than everything else.

In the recording world they talk about reference mixes.  Find a song in the target genre you like (or a few) and listen to the mixes.  How loud is the kick compared to the bass?  How loud are the background chords compared to the snare or lead vocal?  Most times there are a few things carrying most of the weight.  Bass, kick and snare, and then the lead, vocal or instrumental.  Then there is some pad of instruments that creates the harmony of the song.  Sometimes it's all blended together, sometimes a good arranger has given each individual parts to play in frequency and time (rare in a bar band where most folks are all trying to play the whole song as if they were doing it alone at home).

A number of times I've been asked to help and chopped 300Hz out of several things, and turned down everything that wasn't bass, kick, snare or lead.  It's nice when you can spread the sound evenly though the entire room but often the stage volume is enough and you just leave it at that.  Folks that go to the symphony and sit in the right front get to hear cellos and basses over the 1st violins, because of where they are sitting.  It's part of the experience.

 7 
 on: Yesterday at 11:20:27 pm 
Started by Frank Caridi - Last post by Mike Pyle
Right now the Yamaha DXS18 has a $200 manufacturer rebate. It does have a full crossover with selectable frequencies.

 8 
 on: Yesterday at 11:16:07 pm 
Started by Taylor Phillips - Last post by Stephen Kirby
MG mixers and GTD mics may be entirely appropriate for a school play...
Yep, I use one for dance company recitals and such when there aren't many inputs.  I have 6 and a 16 channel ones.  Throw and go.

Unless someone is getting sophisticated with scenes and such a fancy digital board could be overkill.  They aren't doing all kinds of fancy effects and mixing.  Just a few wireless lavs (all the same so no need for elaborate individual eq) and maybe some SFX off a laptop.

 9 
 on: Yesterday at 11:10:41 pm 
Started by Bill Hornibrook - Last post by Stephen Kirby
Maybe not as convenient but if there's a line in you could use a small recording pre.  Even something like a GAP 73 where you can overdrive it and get that nasty shouting sound that cuts right through.  ;)

 10 
 on: Yesterday at 10:28:46 pm 
Started by Helge A Bentsen - Last post by Matthew Knischewsky
I wonder if this is the start of a new trend for FOH people, instead of the double-wide outboard gear racks of ye olde analog days, the FOH person might have something like the guitarists pedal board, but on his bigger mixing desk. Think of all the sliders and knobs and blinky lights, oh my.

I've been known to use guitar pedals at FOH... I have done simple mods to make them more useful in some cases. Can never have too many knobs and blinky lights!

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