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Author Topic: My backstage position  (Read 6856 times)

Jason Glass

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Re: R.A.D. RF comms
« Reply #10 on: February 13, 2016, 02:50:11 pm »

So the base station linking is basically the same as disabling the transmits on a second BTR unit, but the return audio path for the second set of packs is passed back through to the audio I/O on the first unit?

Can the beltpack programming from software done over the air while the packs are deployed? That was a feature I liked about freespeak2.

Hi Neil,

Unfortunately, the belt packs won't sync over the air.  The most convenient way to program them is via USB connection to your computer and running the RAD setup software.  Freespeak2 has an impressive edge when it comes to operator convenience.  RADcom gets the win when it comes to range and graceful degradation of performance at the edge of range.

Henry Cohen

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Re: R.A.D. RF comms
« Reply #11 on: February 13, 2016, 11:00:54 pm »

At the moment the packs do not supply bias voltage for electret mics so we built battery supplies that also do the 5 pin to 4 pin change for the show's custom in ear/lapel mic headsets, but my understanding is that this will be part of a future revision.

RAD will, in about six months or so, ship a new beltpack with auto-switching bias voltage. The circuit can detect a dynamic or electret mic element either upon power-up or while on, should the headset type be switched while the pack is on line.

A few words about base linking . . .
There is a stacked pair of RJ45's, "IN" & "OUT" for linking. You must use a shielded twisted pair (STP) CAT5/6/7 jumper, no more than 1' long (at this time). As the RF sections are software defined radios, there is a clock reference in each base that the packs also use, over the air. In order for base linking to occur, one base must become the master clock for all linked bases. The base with a jumper connected to the link output, but not the link input, becomes the master clock; any base with a jumper connected to the link input gets its clock reference from the incoming jumper instead of internally.

The reason for the 1' jumper length limitation is to keep the clock jitter within an acceptable spec and thus all the SDR's in sync.

Now, there are two configurations for base link:
1) Master/slave. As the name implies, the first base is the master which uses its two transmitters, and is the master clock, with up to five slaves linked. The two hardwire com channels (either 2 or 4 wire) are connected to the master. All com and wireless talk around audio is carried through the STP CAT5/6/7 jumpers. AUX I/O and SA audio connections are made to the individual base(s). Transmitters are disabled on any base set to "slave mode". This effectively provides for a 36 full duplex pack system.

2) Master/master. Same as above, but all bases remain set to "master" mode. This permits the packs to listen to two different bases and still provides the flexibility of individual base I/O and routing.
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Henry Cohen

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Radio Active Designs   www.radioactiverf.com

Mac Kerr

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Yesterday
« Reply #12 on: February 16, 2016, 12:17:56 pm »

How are you finding the RAD system, compared to the other usual full duplex RF comm solutions?

Yesterday was our first show from LA, and it went well. I'm not going to run out and buy the 2 Chains/Little Wayne album, but there were no technical issues and everyone seemed happy. The batteries in the RAD comm system just made it through the day (8am-6pm), several were showing red lights on battery with an hour to go in the show. Our experience in testing and rehearsals was that we get an hour or two of useful life after the red light comes on, but when the light comes on I go looking for the pack to do a battery change if possible. The stage managers and A2s get a battery change right before we start taping to make sure they are good for the show since I can't get to them for a change.

Today we're in at 8am to set the stage for tonight's musical guest, and to soundcheck them before we start rehearsing the rest of the show at 10am.

Another day in paradise.

Mac
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Mac Kerr

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Re: Yesterday and today
« Reply #13 on: February 17, 2016, 12:50:01 pm »

Today we're in at 8am to set the stage for tonight's musical guest, and to soundcheck them before we start rehearsing the rest of the show at 10am.

Last night with Pitbull went great, today we're in at 7:30am to set for tonight's musical guest. So far they haven't shown for their 9:30am soundcheck which runs to 10:30 (it's 9:45 now). It's the only soundcheck on the schedule, I hope he's OK with what he gets. This afternoon we move to another studio to shoot a special segment with Jimmy and some big special effects, should be cool. All wired comms and wired mics (Jimmy will wear an RF lav) because of expected electrical interference. Four channels of comm will fiber back to the control room to interface with existing comm system.

Mac
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Mac Kerr

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Re: Yesterday and today
« Reply #14 on: February 18, 2016, 11:35:30 am »

Last night with Pitbull went great, today we're in at 7:30am to set for tonight's musical guest. So far they haven't shown for their 9:30am soundcheck which runs to 10:30 (it's 9:45 now). It's the only soundcheck on the schedule, I hope he's OK with what he gets. This afternoon we move to another studio to shoot a special segment with Jimmy and some big special effects, should be cool. All wired comms and wired mics (Jimmy will wear an RF lav) because of expected electrical interference. Four channels of comm will fiber back to the control room to interface with existing comm system.

Yesterday was a madhouse. It was a rare rainy day in LA, and one of the guests just didn't show up. Fortunately Jay Leno was in the house and he filled in. The musical artist who didn't come to soundcheck could have used the rehearsal, and just before the post show taping of the big special effects scene it got cut for safety reasons. Woo Hoo!

Today we have a legendary jam band with 2 drummers, and a fully mic'd drumline. I'm looking forward to tonight's Tonight Show.

Mac
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Bob Leonard

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Re: My backstage position
« Reply #15 on: February 18, 2016, 05:37:24 pm »

What I wouldn't give to just sit in a corner and watch you work Mac. In my world you qualify as a "blue sky guy". Top of the ladder, king of the heap. You, Henry, Jason! I'm not worthy, and thank for the pics. Can you get any of the stage?? I really would like to see the backline.
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BOSTON STRONG........
Proud Vietnam Veteran

I did a gig for Otis Elevator once. Like every job, it had it's ups and downs.

Mac Kerr

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Re: My backstage position
« Reply #16 on: February 18, 2016, 06:24:04 pm »

What I wouldn't give to just sit in a corner and watch you work Mac. In my world you qualify as a "blue sky guy". Top of the ladder, king of the heap. You, Henry, Jason! I'm not worthy, and thank for the pics. Can you get any of the stage?? I really would like to see the backline.

Posting pictures of the stage or set is not allowed. The band soundcheck/rehearsal went great this morning. How about a band that shows up on time, is ready to soundcheck on time and stops on time? And they play real instruments.

Tomorrow may not go the same, they added a female singer known for her Miseducation, and for her loose interpretation of "on time".

Mac
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Jason Glass

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Re: My backstage position
« Reply #17 on: February 18, 2016, 07:06:22 pm »

Posting pictures of the stage or set is not allowed. The band soundcheck/rehearsal went great this morning. How about a band that shows up on time, is ready to soundcheck on time and stops on time? And they play real instruments.

Tomorrow may not go the same, they added a female singer known for her Miseducation, and for her loose interpretation of "on time".

Mac

Can't rave enough about the band.  They kicked some serious butt at sound check.

Mac Kerr

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Re: My backstage backline
« Reply #18 on: February 18, 2016, 09:20:18 pm »

and thank for the pics. Can you get any of the stage?? I really would like to see the backline.

The guest backline is different every day since it's spec'd by the guest artist, usually it comes from SIR, today it came off the Dead & Co truck. The Roots have Quest's kit (nice paint on this one), congas, bongos, a Handsonic, and a couple of perc triggers. There are 2 key players each with 2 keys, a Triton and a Motif, and then a Fantom and a Motif, Bass DI & mic, Guitar mic, and a bunch of vocals and horn mics including an RF mic down in the bell of the Sousaphone. The PA is a distributed system with a first line of 5 arrays of 3 Meyer JM1Ps, and then 4 or 5 rows of 5 UPQs, plus subs.

Mac
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Elliot Carroll

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Re: My backstage backline
« Reply #19 on: February 19, 2016, 09:53:48 am »

I really just want to know if you guys have your tight pants on?
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Elliot Carroll
ESC Audio Services
Bend, Oregon

ProSoundWeb Community

Re: My backstage backline
« Reply #19 on: February 19, 2016, 09:53:48 am »


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