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 on: Today at 02:24:26 pm 
Started by Sam Costa - Last post by Tim McCulloch
Hi Sam-

Your rig, your gig, but my inclination is to loom up things that go out on stage identically, EVERY time, and only those things.  If that's what your doing, great.  If you're doing one-offs you'll end up with a big tangle of spaghetti on the mic end of things in a couple of gigs or you'll need some really anal-retentive crew to keep it free of tangles (a cream rinse, perhaps, or a nice marinara? ;) ).

We build a lot of looms, both from multi like Rob's and from individual mic cables taped together.  I'm not anti-loom, I just don't want to be the guy that has to untangle the mess they eventually become.

 on: Today at 02:20:33 pm 
Started by Matt Greiner - Last post by Gary Weller
Can you post the picture so I don't have to be a linked in member to see it?

This might be it.

 on: Today at 02:07:08 pm 
Started by Joe Pieternella - Last post by Tim Weaver
Actually from the Netherlands. The higher power draw available per circuit is a double edged sword; great when you can get a dedicated circuit, but because there is so much available a lot of low end venues don't install a dedicated circuit.
Those Blizzard fixtures look nice, unfortunately I didn't see them for sale in europe and they don't seem to take 230V anyway.
I'll Look into this option  although I'd rather get something that is/looks bigger than two PARs on a truss

Thanks,although the ADJ one is a little over budget for me. I believe renting something similar totest is in order here.

For now apart from the colour temperature I am pretty confident the fixture I linked in the first post or similar should fit the bill. Maybe even several like the Blizzard Snowblind
However If there is anyone that might wanna share how they determine how much is enough/needed  apart from maybe coverage angles or if everybody is just adding blinders until they run out of fixtures/Truss/Power that would still be of great help.

What size venue will you be using these in? I tried some of the snowblind fixtures and in smaller spaces they worked fine, but in large venues or outdoors they just looked like more twinkly lights. Not really blinders..

 on: Today at 01:56:48 pm 
Started by Ray Soly - Last post by Steve Garris
A pair of these work really well.

Or you can do away with the adaptor.

The top K&M clamp-on unit will eventually dent you poles from the set screw.

The second link is what I would do if you require crank stands. I have the K&M poles that don't have the crank, and they are excellent for my heavy SRX815p tops.

I've messed around with shims with limited success. The expanding mandrel type from K&M works really well. I wish more speaker poles would address this issue.

 on: Today at 01:39:49 pm 
Started by frank kayser - Last post by frank kayser
Don't mean to be a PITA, but TOO LATE! :P

If the item(s) are no longer available, please either edit the title or make note within the OP to indicate the status. 

And if the the said post is not marked as such,
PLEASE answer PM/Email asking about it.  A negative response is far more appropriate than radio-silence.

IMNTBHO, not marking it sold AND not answering email/PM is a little... rude.

See, I told you I was a PITA!


 on: Today at 01:24:15 pm 
Started by frank kayser - Last post by frank kayser

Hi folks,I've had it with things like the Obey (and the like) DMX controller systems.  I want to go with a software solution.  I know those hardware controllers will do the job, but their programming and operation is far from intuitive, especially with different types of fixtures and modes.  Also, there will be assorted folks using the lights.  With scenes and chases programmed, maybe a button away.

So the basic question is USB or Ethernet?

Both will need some type of computer for control - QLC+ has custom version designed to run on a Raspberry Pi.  It can run multiple universes.  I do not believe there is USB-3 on the board; only USB-2.

I have WiFi and hardwired POE AF capable ethernet installed at the cafe with some unused drops on/near the stage.  10-12 lights max. for primarily music-performance stage.

I need a way to translate what comes out of the computer to DMX.  I know of USB and Ethernet/ARTNET devices.

Is one inherently "better" than the other?

Let's assume I would like to put room lights and artwork accent lights/dimmers on another universe or two in the future.

Would that make a difference in which type of interface to use?
Is one more reliable than the other?
Is one more flexible than the other?
Does one have a better data/refresh rate than the other?

How much traffic would be generated by the Artnet/Ethernet?  Running at gig speed hardwired on separate VLAN should help keep the public network, sound control network, and office network operating at speed.  Of course, USB does not have that issue.

I'm assuming capability is controlled exclusively by the software.

As far as software, I can run QLC+ on the MAC or Raspberry Pi - networked so control can be via iPad.  That would support both USB and Artner/Ethernet.
I could also use a product like Luminaire which runs natively on iPad which I believe would be Artnet/Ethernet alone.

Am I asking the right questions?


 on: Today at 01:19:23 pm 
Started by Ray Soly - Last post by Debbie Dunkley
I try to use my tilters that Dave Garoutte makes even if I don't need the angle because they fit so nicely and tighten every thing up.
However, if I am not using them, as I mentioned in another thread, I use my home made shims.
I take large empty plastic containers like vinegar or milk containers and I cut them up into pieces 1" x 3". The curve of the bottle makes them perfect to slot between the pole and the outer edge of the cup leaving a small piece exposed to pull out at the end of the night.
I place them at the back so the speaker tilts slightly down at the front and they cannot be seen. I keep a little baggie of them in my kit and because I lose one or two of them along the way, every 6 months or so I make more - free and effective.

 on: Today at 01:03:58 pm 
Started by Ray Soly - Last post by Tim McCulloch
Wooden toothpicks used as wedges between pole and cup.  Extra goodness if you can find the "World's Fair" brand of tapered, square toothpicks.

EDIT ps - the Worlds Fair toothpicks are now collectors items, it seems.  There are other square picks with tapered, rounded points.  Forster, the "World's Fair" maker is still in business and make what looks like the same item without the WF name.  Diamond makes a similar pick, too.

 on: Today at 01:01:48 pm 
Started by Caleb Acrey - Last post by Tim McCulloch
I am pretty sure that the X32/M32 don't have that capability. If it is post fader it is post EQ. If it is pre-fader there you can chose pre or post EQ.

This also points to the use of a ^system controller^ to deal with room/system acoustical interfacing.  One should not have to whack the input EQ to make the SYSTEM sound right.  Compensating for crappy microphones is useful for all outputs - PA, overflow/nursery, streaming and recording, but having to twist knobs because the speaker system is funky or the installation of them was done poorly reflects of the lack of knowledge or innate cheapness (not stewardship) of the design.

 on: Today at 12:51:42 pm 
Started by Ray Soly - Last post by Kemper Watson
We have several pairs of SRX812P/SRX 818sp subs, mounting on the subs is done with Gator id sub poles (gas piston) fits nicely with the threaded end on the sub but the 812 is quite unstable on the top end, it does not fit neatly actually leans quite a bit to the side with the "straight" mounting hole and try as we might we can't get them to stay straight and keep the directional angle they just pivot as if the hole is too large for the pole which also rattles at the pole/cabinet junction ..other speakers usually have a screw of some type to tighten the speaker to the pole but these don't...Any tricks/suggestions ?



A pair of these work really well.

Or you can do away with the adaptor.

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