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 1 
 on: Today at 08:16:08 pm 
Started by Jeremy Young - Last post by John Fruits
Just to confuse you more, or perhaps guide you to a two stage expansion, Chauvet just introduced a new IP65 mover, in the Maverick series.  No word on price but the Maverick series is a step up from the Rogue series.
https://www.youtube.com/watch?v=6cWXS6D-eHI

 2 
 on: Today at 08:02:01 pm 
Started by Peter Kowalczyk - Last post by Andrew Hollis

Sound systems can be thought of in three parts:
 - Inputs
 - Processing
 - Outputs

Inputs: Mics and DIs, Mic level vs. Line Level, Microphone directionality
Processing: Preamps, EQ, Busses (Aux vs. Group), Effects (Series vs. Parallel)
Outputs: Amplifiers, Line level vs. Speaker level, Speakers & Space & Output EQ

A noble cause, good luck!

I'd mind the semantics:

Mics, voices, instruments; these are not inputs. They are sources. Inputs are on consoles. A musician will not think of themselves as an input.
Vice versa for outputs (the physical thing on the console). Amps, speakers, recorders, etc are destinations.

When one refers to the mic, the console input, and the channel all as inputs, it makes for frequent miscommunication. It lacks specificity. Someone even in this thread suggested saying input's-to-outputs. I think that will make heads spin, it doesn't make much sense for signal-flow thinking.

This language makes even more sense in digital, as many consoles are routers.

Is an aux an input or an output? Neither is the best way to describe an aux; it's a source and a destination, depending on the perspective (analog out vs channel, respectively, for example)!

Also, you say "series and parallel processing." Call it what it is, insert or send (aux) processing. There is no console that says series or parallel on it, and parallel means something else to engineers anyway.

 3 
 on: Today at 07:56:25 pm 
Started by Jeremy Young - Last post by Jeremy Young
For anyone interested, I'm still spinning my wheels deciding what route to go, and could really use a good smack across the side of the head by someone who's been in my shoes before.  It's looking like I'll be spending $4-6k for this next step after all the little bits and pieces, so I'd like it to have some staying power and flexibility.

I'm still thinking 2 per side on t-bars will be my deployment for front lighting, leaving my Dotz Pars in the back.  That is, until truss makes sense (but right now it really isn't feasible without fast-tracking a storage upgrade that I otherwise want to avoid).  Chroma-Q never got back to me about pricing on their units, so I've written that off.  I like the Chauvet Colorado Solo fixtures, but I'm not confident the Solo 1 will do it and the Solo 2 is more of a 'COB Trio' beam than the Elation Fuze Z120 single COB look at a similar wattage.  Not sure how well that would work with barn doors or similar compared to a single source.

I have essentially narrowed the search to three (somewhat different) fixtures:

1) ETC Source Four Jr Zoom.  I know I'm back on that train again, but the control available over the beam and the quality of the optics impress me, I don't think they'll ever go "out of style", and right now there are some second hand ones online for $160 each CAD which is a smoking deal.  The used ones are white, but so are the horns on my DSL SM80's so it actually might look alright with my rig. 

The beam angle range (25-50 degrees) is ideal for my typically short-throw applications.  Power draw will be a concern, at 575w each, two per side, I'm looking at a dedicated 20A circuit, or a pair of 15A circuits (since 20A isn't always available around here unless I bring my distro).  I'd probably buy both 575w and 375w lamps for a little more flexibility.  When focused and aimed properly, they should be able to provide a very good quality of light for skin and in photos (which not all LED's can mimic) with the ability to control spillover onto projector screens, audience, etc.

I'd still need dimmers, which has taken me down a long and painful path trying to find that sweet spot between a big rack of dimmers/socapex, and the $99 DJ level ones that seem to be nearly disposable and have mixed reviews.  The Leprecon ULD series seem to be around my comfort level for budget/features/reported reliability.  I'd need one per t-bar to be practical, so that's two dimmer packs that would have room for future expansion but otherwise represent a pretty costly part of this venture.  The ETC ES750 dimmers look great, and I like the idea of one dimmer per fixture for positioning flexibility, but the pricing of that dimmer is not in my range.

Then there's the transportation and re-lamping, focusing and adjusting on a ladder, and finding a case that can fit them (maybe a pelican per pair?) without melting if they're still a little toasty at tear down.  And it goes without saying that they wouldn't have the colour mixing flexibility of an LED product, and I'm not sure how well they'd handle the occasional strobe duties.  Basically, they'd be a one-trick pony that can solidly perform that one trick.

2) Elation Fuse Z120IP.  I like the COB style lens, barn doors, IP65 rating, and RGBW colour mixing.  I've done a lot of hypothetical math based on the published photometric data and the brightness seems to be where I'd need it.  Size is manageable, price is within my budget, no other components needed to make this work.  Could all run on the same circuit as my rear LED's with room to spare. 

Motorized zoom means I can make them do a little more than a standard wash, especially when I'm in a venue with installed front wash since I could use them to enhance my rear-lighting.  Downside is no dedicated amber diode, and for the cost, I'm into option 3 territory. 

It's the only IP65 rated wash in my finalists, and I've said numerous times in this thread that IP65 is important to me as I usually operate solo, so a little rain wouldn't cause a panic for me to try to get them protected or I could set up the day before without worries of the morning dew causing issues.  Still have to point them manually, but they wouldn't be as hot as the S4's.

3) Chauvet Rogue R1 Wash Movers.  OK so now we're talking a pair of road cases, two fixtures per case.  We're talking movers so until I upgrade my control (Luminair) I may find some limitations.  However, their size/price/output are right in the range I'm looking for (about the same as the Z120) and I could literally throw them up and aim them off the board later which appeals on a "speed of deployment" level.  Not IP65, so I'd have to keep them protected from rain.  A little more maintenance potentially.  Still no amber diode (RGBW).  The appeal here would be all the extra things you can do with a mover (beyond just aiming once) that I feel would allow me to charge a little more for.  I don't know how feasible they'd be on a typical tripod/t-bar setup though, usually I see movers on truss or truss totems, I suspect because the torque could make the t-bar come loose on the stand? 

For control upgrades, these new offerings from Zero88 and the Chamsys QuickQ have really caught my attention.  Option 3 would likely require that upgrade to happen sooner rather than later. 

I've ruled out the SixPar fixtures based on tight beam angle (15deg).  I really considered the SixPar Z19 for a while but it's simply too large and pricey since I'd still need four.  I wish they made smaller versions that still had the zoom feature but with the 6-in-1 diodes.   

Blizzard seem to have a lot of 6-in-1 options (some of which have wireless DMX, IP65, and lithium-ion batteries - oh my!) but to me that sounds like a lot of things that could go wrong and the battery life seems better suited to up-lighting than an outdoor concert in the park where I'd likely be using them near full power.  The Tournado Sky W-DMX is the one that caught my attention, but they have around 10 6-in-1 fixtures in the realm of what I'm looking for, which is either a really good thing or a really bad thing.  Anyone out there with Blizzard quality stories they could share?  They feel a little more imported than the other fixtures I'm looking at (buy once, cry once after all).  Then again, I could buy a lot of Blizzard LB Par Hex fixtures for this budget, and treat them as nearly disposable.
 
I've been regularly checking back to the Elation site waiting on some beam angle numbers on the new SevenPar fixtures but still nothing.  If it's 25 degrees or more, I might have an option 4 to consider that gives me more colour options and the IP65 rating I was looking for, in a static wash, but it seems to be in the same price category as my options 2&3 above from what I've seen online (which is really only one source, so it may not be accurate).

If I've said anything that anyone has any direct experience on, I'd really appreciate it.  Thanks to everyone who's helped me on this journey so far.

 4 
 on: Today at 07:50:00 pm 
Started by Andrew Broughton - Last post by Jason Glass
Thank you once again, Jason. James also recommended using the RF pads on the PSM1000. (https://www.rfvenue.com/blog/2015/08/25/four-proven-strategies-for-fighting-video-wall-rf-interference)

As if it wasn't bad enough with all the frequency ranges being gobbled up by Telcoms, now we have Video Walls to deal with. RF world sure isn't getting any better.
Indeed. And when the video wall is actually a video floor, IEMs are not happy. There's only so much physics magic that an RF wizard can summon...

Sent from my Nexus 5 using Tapatalk


 5 
 on: Today at 07:33:35 pm 
Started by Taylor Phillips - Last post by Mike Caldwell


I think it's probably correct that the JRX speakers were installed when the installed speakers should have/could have been fixed instead. Only whoever installed then didn't understand that the install system was tri-amped and after disconnecting everything else, only sent the high frequency signal to the JRXs. That was the case a year ago at least.



Wow!!!

You / they really need to bring in someone who really knows what they're doing at this point, not the friend of a buddy who is a DJ or installs car audio or someone from a local music store who wants to sell what ever has been setting on showroom floor for the past year.

 6 
 on: Today at 07:22:23 pm 
Started by Ivan Beaver - Last post by John Fruits
That was a blast from the past, I remember the name Teri Hogan from following this forum long ago.

 7 
 on: Today at 07:16:46 pm 
Started by Peter Kowalczyk - Last post by Peter Kowalczyk

Short of that, try to rely on a trusted friend in the audience to tell you what they can't hear in the mix. (Then turn everything else down.)

This is good.  I've often done exactly that when our band performs and 'mixing' falls to me.
... The common practice of mixing yourself from stage has also been discussed here, and that's a whole 'nother can o worms...

 8 
 on: Today at 07:16:25 pm 
Started by Ivan Beaver - Last post by Ivan Beaver
I guess this must be a new trend---------------

https://www.prosoundweb.com/channels/study_hall/all_in_a_days_work_offering_proper_training_for_stagehands/

 9 
 on: Today at 07:13:55 pm 
Started by Andrew Broughton - Last post by Andrew Broughton
Hi Andrew,

Your observation is accurate; the AC-3 is very quiet when combining 30mW signals, below its spec'd limit. The others are transmitting 100mW.  I also failed to note that the others are combining 8 channels, which aren't visible because they're outside of the SA span shown.

When your trouble is because of wideband interference sources local to RX, such as video walls stomping IEM packs, you have roughly seven choices:
1. Attenuate RX antenna input.
2. Increase TX power.
3. Identify specific freqs where noise generated by local sources is lowest at the RX antennas and tune your IEMs to those.
4. Insert external narrow bandpass filters on RX.
5. All or most of the above.
6. Identify and shield specific components that are radiating interfering noise.
7. Change IEM systems' tuning bandwidth to one outside of local interference noise band.

FWIW, 4 is damned near impossible for IEM within practical physical size, performance specs, and budget limits. 6 is also difficult because linked LED arrays often act as a single, large area source of low level RF energy. 2 is where the best combiner that you can afford is critical, because it makes both 2 and 3 possible without generating excessive IMD on freqs that you're stuck with, regardless of IMD prediction math.

Sent from my Nexus 5 using Tapatalk


Thank you once again, Jason. James also recommended using the RF pads on the PSM1000. (https://www.rfvenue.com/blog/2015/08/25/four-proven-strategies-for-fighting-video-wall-rf-interference)

As if it wasn't bad enough with all the frequency ranges being gobbled up by Telcoms, now we have Video Walls to deal with. RF world sure isn't getting any better.

 10 
 on: Today at 06:59:54 pm 
Started by Peter Kowalczyk - Last post by Steve Loewenthal
As someone else mentioned, it is impossible to hear from the stage what the mix sounds like in the audience.,
As a band member tasked with running the PA, (and perhaps unqualified to do so) it is my opinion that we would sound better paying a relatively cheap sum to an unqualified acquaintance to ride the faders compared to running it ourselves from the stage. (Of course we would sound even better paying a qualified person to do so, but we would often have to pay more than we typically charge.)
Short of that, try to rely on a trusted friend in the audience to tell you what they can't hear in the mix. (Then turn everything else down.)

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