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 on: Today at 05:16:26 pm 
Started by Dan Mortensen - Last post by Jeremy Young
The way I interpret that is that the XLR part of the cable is 24ga, and since it's all inside the same outer sleeve (or "overall cable" as they are calling it), the markings on the outer sleeve are de-rated to suit the "weakest link" which is the XLR part. 

Under normal use you would not be applying any mains voltage to the signal portion of the cable, but it could see 48v phantom if used for something other than your intended use (microphone applications, not the line level signals you'll be using it for). 

If you were to strip back some of that outer casing, I'd expect you'd see higher voltage ratings on the sleeve of the 12/3 component ("12G 3Cond. Shielded Jacketed Group" from the cross section in your link).  But please don't peel that back on my account.  Whether or not the AHJ sees it this way is really the only concern I'd have in your shoes.

As to the original response of it being a typo, that really isn't consistent with the second response you received.  Hopefully the second one was the correct one. 

 on: Today at 05:00:57 pm 
Started by brian maddox - Last post by Mike Caldwell
I just had a similar install where the subs were located under a small stage and were placed a few feet back from grill where the sound could exit. I was told that after the club got new carpet, the sub level was low.

In between the subs and the grills, the carpet installer had stored tons of scrap carpet and padding in case they had to repair the carpet in the future. We had the maintenance guys remove all the carpet and padding from in front of the subs. Problem solved.

I had almost the same thing a couple years ago at a church service call.

I could hear the rumbling of a subwoofer but could not see or locate where it was coming from, guy at the church told me it was under the stage, the stage had doors all along the front that opened into the dead space under the stage that was used for storage. They put the subs under the stage each by one of the doors and then closed the doors and the stage front along with the doors were also covered in thick carpet!

I mentioned removing those doors and replacing them with grating, framed perf metal or grill cloth. They were afraid it would be too much subwoofer then! By the way their system was setup with aux fed subs, I did try to explain it. 

 on: Today at 04:57:45 pm 
Started by Ed Ring - Last post by John Fruits
Congo Blue has always been a problem.  With incandescent lights it has a transmission of 1%, and you had to replace it frequently.
With the ETC Colorsource fixtures, the design goal was better pastels for front lighting.  Since there was a desire for similar fixtures that were better at the deeper blues they came out with another fixture, the Deep Blue model.  With the recently released Colorsource Cyc, they came up with the RGBALI model with both Blue and Indigo emitters.  In other ETC news, after testing, they have extended the warranty on MOST of the LED fixtures (the 4WRD isn't included) to 5 years for the full fixture and 10 years for the LED arrays. 

 on: Today at 04:54:58 pm 
Started by Richard Turner - Last post by Don T. Williams
This was the 60's (yea, I've been doing this a while), but several manufacturers used the 30 watt EV or similar reentrant outdoor paging horn in a textured black painted particle board cabinet with a simple "horn loaded" 15".  The 15 set totally in the straight wall "horn" mouth that was maybe 6" in length, so there was little if any horn loading.  The cabs were heavy, the edges crumbled with impact, and the entire cabinet self-destructed if they got wet.  Did I mention the outdoor paging horn?  You know the sound!

 on: Today at 04:53:11 pm 
Started by Richard Turner - Last post by Art Welter
So you're saying not all our babies are pretty?
They are all pretty, just some are pretty ugly!

 on: Today at 04:45:22 pm 
Started by Tim Weaver - Last post by Erik Jerde
I've had good success with the Production Intercom products. Belt packs can be found used for under $200; new I think they're closer to $300. Same deal with the power supplies- I think I've gotten each one of mine for only a couple hundred. Headsets (brand new) $110 to $190. To be candid, I cruise eBay looking for good deals on them when I need them.

... which reminds me, I need another belt pack anyway.... ha.


I second the production intercom stuff.  They have a budget econocom linetoo thatíll probably get you done for under 2K.

Macís suggestion is also good though interfacing to some cameras for a one-off may be far more work than itís worth if they arenít already setup for comms.

 on: Today at 04:42:23 pm 
Started by boburtz - Last post by Art Welter
Anyone ever remove the grille from a Sennheiser EW300 835 capsule? The capsule itself screws right off, but I can't figure out how to separate the grill to pound some dents out...
No personal experience, but this parts list makes it look like the entire capsule/grille is one part.

Maybe use titanium knitting needles as dent-pullers..

 on: Today at 04:38:53 pm 
Started by Kevin Brown - Last post by Mike Caldwell
I'll lightly disagree here.  A weak voice needs the mic as close as possible.  Something like the Countryman Isomax Headset mic has worked well for me in the past.

The Countryman Isomax can sound as good as an up close handheld vocal mic and it's still has a somewhat stealthy look.

Don't confuse this with the E6 earset Countryman mics, Countryman used "Isomax" in quite a few of their model names. 

 on: Today at 04:30:51 pm 
Started by Josh Billings - Last post by Mike Caldwell
It all depends on the style of music. We have a room at the resort that sounds great with an orchestra or big horn band but horrible with anything that's amplified.

I think that whatever room you design, you'll need a lot of budget for adjustable acoustic systems. One size will not fit all.

Unfortunately is seems like most rooms are still only designed for orchestra or acoustic choir concerts in mind but in reality that type of concert only amounts to maybe 20% of the rooms use.

I was just working in a gymnasium today that makes your average gymnasiums sound good, it's hard to understand and carry on a conversation someone 20 feet away. If I heard it once I heard it a hundred times people saying "what" as they were talking to one another.

I have a job coming up in vintage ballroom with two large ornate domes in the ceiling. Everyone talks about how great the room looks and the great "acoustics".....that brings me back to my theory that when someone says a room has great acoustics I take that to mean the room has 30 sec R60 with some flutter echo thrown in for good measure.

 on: Today at 04:29:46 pm 
Started by Ed Ring - Last post by Don T. Williams
The RGBALime fixtures from Chauvet Professional and ETC may get you there (or a lot closer,anyway).  Stay in the same brand for more consistant color on stage. I.e., don't mix Chauvet Pro and ETC fixtures. We found that out the hard way....

That's a good point Mark.  Additionally, the lower to cost of the fixture, the greater the variation in colors from batch to batch.  I've purchased some lights that I really liked the color and bought more a few months later.  When sent exactly the same DMX signal (or set manually) there was a noticeable difference in some colors.

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