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 on: Today at 12:22:09 pm 
Started by duane massey - Last post by Rich Grisier
Why are there not manuals, even online, for products now? I don't want to watch a bunch "training videos", I want to RTFM!!!!!!

I've had decent results when searching for product manuals by putting the product model in the search line along with "manual" or "pdf".  There are times, however, when those searches come up empty. :(

I wish there were a standard definition for lighting.  For example, all washes should have an 8 Channel mode defined as Dim, R, G, B, A/W, Strobe, Macro, Speed.

 on: Today at 12:19:49 pm 
Started by frank kayser - Last post by Dave Garoutte

As for the Donner DMX WiFi... I've had the WiCicle from Blizzard for a couple years, matching them with Chauvet lights.  Wasn't happy, so I got some Blizzard WiCicle-ready lights, and was not all that happy with that setup, either.

Maybe it is how I want to use them. I WiCicle to the first fixture in a line, then daisychain to a number of subsequent fixtures.  I may have one standing alone with WiCicle.  That's the one that's always seems  problematic. All DMX addresses are unique and properly spaced.

Thanks everyone!

Are you terminating?

I've had good luck with Chauvet DFi stuff.
Tx to two Rx on trees and a bunch of Freedom Par uplights around a big ballroom.

 on: Today at 12:10:07 pm 
Started by Debbie Dunkley - Last post by Bradford "BJ" James
Looks like our friend Fonsy brought it back from the dead.

Totally jumped the shark.

 on: Today at 12:10:06 pm 
Started by Nathan Morefield - Last post by Mac Kerr
My band's current PA setup is a pair of EV ZLX12Ps.

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 on: Today at 12:08:58 pm 
Started by Nathan Morefield - Last post by Nathan Morefield
My band's current PA setup is a pair of EV ZLX12Ps.  We run 4 vocals, acoustic guitar, mandolin and accordion thru the board for most gigs, which is fine for the pubs we typically play. 

But we have a few gigs coming up (larger venues and outdoors) where we'll need to also mic up the drum set.  Kick and snare for sure, maybe a mono overhead.  Plenty of inputs on our board, but I suspect the pair of 12"s won't have the bottom end to really round out the kick. 

Also might put the electric bass into the board too, though his rig is usually sufficient even for louder gigs.

So I'm looking at either selling the 12"s and buying a pair of 15"s or adding something like the EV  ELX200-12SP subwoofer to the existing 12"s. 

We are an Irish pub folk type band so we certainly don't need chest thumping bass, just need to have a balanced mix.

Would love thoughts on ways to approach this decision.

Thanks in advance!

 on: Today at 12:08:02 pm 
Started by Sam Costa - Last post by Sam Costa
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.

Tim , thanks for the feedback. Considering I'm the only one in my "crew" for 80% of the shows I do, I know it will be in good hands. 90% of the drummers I work with all have the same type of drum kit (Kick, Snare, Hats, 2 racks, 1 floor and 2 OH) very basic and east to work with so the drum-loom would work for almost all kits. If I ever run into a kit that requires more inputs, then I'll just have separate connectors or looms that will work for that kit.

My existing looms are already done, it would just be a matter of switching out the female XLR connectors that I choose to do with the cable techniques connectors.

 on: Today at 11:03:15 am 
Started by Michael LaHatte - Last post by Keith Broughton
Shotgun on a boom.
Won't kill background noise but sure helps.

 on: Today at 11:00:02 am 
Started by William Schnake - Last post by William Schnake
You should sue the property owner for everything they have. ;)

I checked into it...he only has $1.25...but he has some great equipment... ;D ;D ;D

 on: Today at 10:54:00 am 
Started by William Schnake - Last post by David Allred
Remember that one day when the temperature was -3 and the windchill was -14 and you where out at the shop and fell and broke your right shoulder?!?!?  After all of that you had to drive to the hospital to get it your shoulder set....Oh wait that's how my day has gone so far.  Finally home.  Oh, and more good news, shows pickup this coming weekend with three sold out shows and one arm to mix with.  This is going to be fun.

Hope everyone is having a better day than I am.


You should sue the property owner for everything they have. ;)

 on: Today at 10:40:57 am 
Started by frank kayser - Last post by Taylor Hall
Going back to the original question, Unless you have a high channel count in your fixture string (movers and other special FX fixtures love to gobble them up) there's not much reason to make the jump to ARTNet unless you're 100% sold on being able to utilize the data drops by the stage. Both the DMX and ARTNet protocols are rock solid and more than capable to running the setup you've described with no risk of traffic saturation.

An added layer of complexity (and cost) with ARTNet is that you need a device on either end of the ethernet run to both encode and then decode the DMX signal being transmitted unless the fixtures at the other end natively support ARTNet. With a standard wired or wireless DMX signal, you'd only need the encoder (ENTTEC, DMXKing, etc) connected via USB on the workstation running the lighting software.

I'm a firm supporter of QLC+, as far as free software goes you can't beat it, and even some paid programs and apps fall short of what it can do. The other great thing about using desktop software is that you can make use of physical control surfaces (Korg NANO, Akai MPC, etc) to manipulate sliders, buttons and knobs for a less daunting approach to just "using the computer". QLC also has the ability to be started in a "locked" mode where the show file can't be edited and only the virtual console is accessible. Very convenient for keeping meddlesome fingers out of places they shouldn't be once things are set.

I've played around a bit with both D-Fi and WiFly with less than stellar results. Random dropouts/desyncs and other connection issues that shouldn't exist for a $150+ product. I've gotten way better performance out of $30 Donner dongles and I can use them with whatever fixtures I want. Paying a premium for fixtures that belong to a big box wireless protocol whose performance is lackluster at best just doesn't make sense to me. Then again, we also only use the wireless setups in unique situations where cable runs aren't possible or we have a quick set/strike demand.

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