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[Miguel Dahl]

Hi all. A question about this situation:

Same show as I did in March-April. WL equipment (receivers and beltpacks) has done other shows, so settings on beltpacks are of course wiped/different. During rehearsals in march I adjusted the sensitivity until it matched each actor. While on tour I chose "Ignore" (that setting when syncing) everything but the frequency. As the frequency was the only thing which could be different from night to night, so that would be the only value which would change when I synced.

I loaded up the WSM file, from last show on tour.. And since everything else than frequency is set to "ignore", those values are gone. No biggie, as all values (lock, EQ etc) are just stock how I run them all, but the sensitivity setting for each beltpack is also lost.. Since when looking at the WSM-file that value is just "Ignore".. no -30, -40 etc...

So, in my mind:

#1 Save the file before setting all values except freuency to "ignore" while syncing for tour-duty.

#2 Write down the sensitivity setting for each beltpack (an/or other values as well)

Is there something I don't know of?

[Russell Ault]

Hi all. A question about this situation:

Same show as I did in March-April. WL equipment (receivers and beltpacks) has done other shows, so settings on beltpacks are of course wiped/different. During rehearsals in march I adjusted the sensitivity until it matched each actor. While on tour I chose "Ignore" (that setting when syncing) everything but the frequency. As the frequency was the only thing which could be different from night to night, so that would be the only value which would change when I synced.

I loaded up the WSM file, from last show on tour.. And since everything else than frequency is set to "ignore", those values are gone. No biggie, as all values (lock, EQ etc) are just stock how I run them all, but the sensitivity setting for each beltpack is also lost.. Since when looking at the WSM-file that value is just "Ignore".. no -30, -40 etc...

So, in my mind:

#1 Save the file before setting all values except freuency to "ignore" while syncing for tour-duty.

#2 Write down the sensitivity setting for each beltpack (an/or other values as well)

Is there something I don't know of?

I used to set different sensitivities for each actor, but when I started A2ing larger shows I gave it up pretty quickly. If it's at all possible, I'd suggest finding a sensitivity that works for everyone, or at the very least find sensitivities that work for large, easily-discernible groups (i.e. different capsule types or different mounting positions). This makes the paperwork simpler, and also makes swapping out to a spare pack much, much faster (and I can't say as I've ever done a leisurely pack swap!).

-Russ

[Miguel Dahl]

I used to set different sensitivities for each actor, but when I started A2ing larger shows I gave it up pretty quickly. If it's at all possible, I'd suggest finding a sensitivity that works for everyone, or at the very least find sensitivities that work for large, easily-discernible groups (i.e. different capsule types or different mounting positions). This makes the paperwork simpler, and also makes swapping out to a spare pack much, much faster (and I can't say as I've ever done a leisurely pack swap!).

-Russ

I ended up doing the same this time. Much easier. But is there any trick which is better within the software, instead of my two examples? Just out of curiosity.

[Ike Zimbel]

I ended up doing the same this time. Much easier. But is there any trick which is better within the software, instead of my two examples? Just out of curiosity.

If you've got an hour to spare, watch this!https://practicalshowtechcom.squarespace.com/show-archive/shop-prep-for-rf-pst-068
I get into some of those details and I believe there's a screenshot of an Excel sheet I use to keep track of things like that.
My approach has been to have the sync settings transfer all parameters to the pack / mic (I know others lean towards frequency only). My reasoning is that if you have a hardware failure and you have to replace a transmitter in a hurry, having the new one exactly replicate the failed one is better than having it be on frequency but potentially way off in other areas...like gain, squelch etc.

[Miguel Dahl]

If you've got an hour to spare, watch this!https://practicalshowtechcom.squarespace.com/show-archive/shop-prep-for-rf-pst-068
I get into some of those details and I believe there's a screenshot of an Excel sheet I use to keep track of things like that.
My approach has been to have the sync settings transfer all parameters to the pack / mic (I know others lean towards frequency only). My reasoning is that if you have a hardware failure and you have to replace a transmitter in a hurry, having the new one exactly replicate the failed one is better than having it be on frequency but potentially way off in other areas...like gain, squelch etc.

That's a good point indeed. When I think about it I have no idea why I set the other parameters to "ignore", as those others would never be changed anyway. Maybe I just thought that I just want the parameter which is changed to be synced. One thing one needs to keep in mind is that if one just does a parameter change on the beltpack itself, that must be mirrored in the software for the next sync to be correct.

[Russell Ault]

{...} My reasoning is that if you have a hardware failure and you have to replace a transmitter in a hurry, having the new one exactly replicate the failed one is better than having it be on frequency but potentially way off in other areas...like gain, squelch etc.

At least here the theatre side has traditionally preferred the hot-spare-and-physical-repatch approach, where a pack-swap starts with the A2 physically changing the RF patch from the actor's RX to a spare RX, then finding the actor and doing the actual swap. Not having to re-program on the fly reduces the chances for error (and the RF weirdness that can result from having two TXs on the same frequency). Plus, as a bonus, the hot spares typically already have lavs attached, so in a pinch (like if the pack is in a very awkward location) you can just slap the whole assembly onto the actor as tidily as time allows and send them on their way.

-Russ

[Phillip Ivan Pietruschka]

At least here the theatre side has traditionally preferred the hot-spare-and-physical-repatch approach, where a pack-swap starts with the A2 physically changing the RF patch from the actor's RX to a spare RX, then finding the actor and doing the actual swap. Not having to re-program on the fly reduces the chances for error (and the RF weirdness that can result from having two TXs on the same frequency). Plus, as a bonus, the hot spares typically already have lavs attached, so in a pinch (like if the pack is in a very awkward location) you can just slap the whole assembly onto the actor as tidily as time allows and send them on their way.

-Russ

That’s certainly what I’ve done most of the time. Digital boards that have an A & B input for each channel strip make it easier still, as you can soft patch the hot spare to the B input of all channels, and perform that swap with a simple button press. Same process for double miked cast basically.

[Miguel Dahl]

If you've got an hour to spare, watch this!https://practicalshowtechcom.squarespace.com/show-archive/shop-prep-for-rf-pst-068
I get into some of those details and I believe there's a screenshot of an Excel sheet I use to keep track of things like that.
My approach has been to have the sync settings transfer all parameters to the pack / mic (I know others lean towards frequency only). My reasoning is that if you have a hardware failure and you have to replace a transmitter in a hurry, having the new one exactly replicate the failed one is better than having it be on frequency but potentially way off in other areas...like gain, squelch etc.

I'm at the end of that vid, and I must say that you're the man. Great information. Thanks! Now I feel I need to get a serious waste basket.

I feel I want to do an excel spreadsheet, but after I asked this I realized I maybe don't "need it" as all parameters are "default", and now I'm just gonna use a sens setting which works for everyone and just use the gains on the board, and take that hit that I'm not hitting the receivers inputs where they should be. UNLESS, there are instruments involved, then I need to keep track. Currently I'm just doing speech/singing for 5-8 actors.. But for bigger stuff I'm going Excel.

Also, we send out G4 on tour, while G3 stays inhouse, since G4 has a wider frequency range, while at home it's pretty safe. So the systems also can change from while on tour to putting up the same show at home a few months later at "home".

I was unable to dump the G4 show-file I had on tour, into the G3 receivers I set up when the same show was put up at home. Would it work the other way? (I don't have access to the G4-racks since they are being used for another production ATM)

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