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 on: March 19, 2019, 06:34:09 pm 
Started by Kevin_Tisdall - Last post by Brian Jojade
I typically have a mic on stage for talkback purposes.  Having a switch on the mic is fine unless you have someone who's hands are full and needs to talk., such as a guitar player.  Having a monetary foot switch makes it nice for them to be able to step and talk.  A toggle on/toggle off foot switch invariable means that it's going to be toggled to the wrong position when trying to use it, which is pretty darned annoying.

Leaving the mic open isn't usually that big of an issue, but out of practice I don't like doing it, especially since I have that signal come back to my headphones at FOH as well, allowing them to talk to me if necessary.  The added noise of an open mic isn't something I like to hear in my headphones if I can avoid it.

 on: March 19, 2019, 06:21:09 pm 
Started by Tony Mamoh - Last post by Brian Jojade
In both scenarios, are you renting out gear, or are you renting out your service?

If you're renting out the hardware, there's plenty of online samples for equipment rental, and appropriate verbiage in the contract that covers you if the customer doesn't return the gear or damages it.  When doing dry rentals, we charge from the day it's picked up until the day it's returned.  I really don't care how long your event is. If the gear's in your hands, you're paying for it.

I don't do hourly rental for gear.  That seems a bit insane. Minimum rental is for a day which takes it out of availability for 3 days for others to rent, just because I don't want to have to scramble if something isn't returned on time.

For production services, that's a different animal completely.  While I'll line item everything to create the estimate, the actual details can be a little foggier.  Eg, if there's a production on Saturday and the venue lets me set up on Thursday when I've got free time, I may go in early. I won't charge an extra day rental for that, as it was to my convenience to make it happen that way.

 on: March 19, 2019, 06:10:34 pm 
Started by dave milton - Last post by Brian Jojade
What I don't get is why this is a problem only on the X-32 and its relatives. No other mixing system, so far as I know, suffers from this. I routinely hook up my A&H with 110 ft of unshielded CAT5 with floating connector shells and never have had a problem. In two venues (so far) I plug the control surface into a nearby receptacle (presumably on a different branch circuit, likely a different panel) in the back of the room to avoid having to run power to FOH. Never a problem. Why don't they just fix this? All they need to do is copy the design of the Ethernet interface used in any other network device on earth. And they have a reputation for being good at copying  ;D   (I know, they sell plenty of product as is, but really?)


The thing is, it's NOT using Ethernet as the protocol. It's using cat5e cable and RJ45 connectors, which is the same physical type of cable as Ethernet uses, but it's completely and totally different.  It's AES50 protocol.  This is a point to point protocol only and is ideal over standard ethernet type interfaces due to the extremely low latency of the connection.

However, due to the way that it sends clocking signal and data signal separately, it's somewhat susceptible to outside electrical interference.  Their only choice to solve the 'problem' would be to use a completely different protocol that didn't have this issue.

 on: March 19, 2019, 06:01:04 pm 
Started by dave milton - Last post by Tim McCulloch
Yes to both questions.

The room I speak of has very high levels of static electricity. You can usually experience a decent shock after walking from stage to FOH and touching the console. Performers often experience shocks from equipment and mics.

So what's up with that?

 on: March 19, 2019, 06:00:03 pm 
Started by Heath Eldridge - Last post by Tim McCulloch
I've never quite understood the aversion to modifying you own stuff to make it better / easier to use.
Maybe not a vintage J-bass, but a working tool like a sub is fair game in my book.
Just be careful that you don't drill into something important inside.

My concern is not what might happen to the sub, but what will happen when I put my own pole mount on a side of the box that JBL never intended to have one, it gets knocked down, pulled down, an earthquake topples it.... and because *I* made the modification, *I* now own the consequences of whatever happens, even if there's a drunk idiot swinging from the pole or the earthquake shakes the building.  I've raised the COG of the assembly in a way that JBL didn't plan for so they're mostly off the hook.

 on: March 19, 2019, 05:44:44 pm 
Started by Thomas Le - Last post by Thomas Le
Update: One contractor company is giving us a Yamaha solution. Anyone have experience on the MTX processors? Also how is the TF-Rack?

 on: March 19, 2019, 05:38:38 pm 
Started by Johannes Halvorsen - Last post by Johannes Halvorsen
In case someone comes here looking for the answer to this same problem:

It was all very simple. Holding down the input A button while powering up puts the unit in software flashing mode. Now the remote software sees the unit and is able to flash it.

Case closed.

 on: March 19, 2019, 05:36:10 pm 
Started by chris.brown.spe - Last post by Peter Kowalczyk
if FX returns are assigned to a DCA, make sure it's not muted / turned up

 on: March 19, 2019, 05:30:25 pm 
Started by dave milton - Last post by Jonathan Betts
Maybe I missed it, but are you using a UPS on the console? And your Ethercons are bonded to the metal RJ45's?

Yes to both questions.

The room I speak of has very high levels of static electricity. You can usually experience a decent shock after walking from stage to FOH and touching the console. Performers often experience shocks from equipment and mics.

 on: March 19, 2019, 05:25:39 pm 
Started by Bob Cap - Last post by Bob Cap
We have a Mackie TT24 mixer that was in a church. Along with it is the digital stage box DS3232.

Everything was working when we pulled it from the church.

Make me an offer I can't refuse.

Bob Cap
Advanced Audio Inc.
Gilbert, MN

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