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uniman1

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    worked at BBC for 8 years, moved into live audio in uk, then did 5 years on cruise ships. Have since worked as monitor on various international show tours Since have been working on sound, light and video setups for casinos & holiday complexes. I can cope with video, learning to like lighting and still love sound. Still look back fondly to 1/4" tape and razor blades
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    aaron Sugar

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  1. Although not a great person to work with, he was a brilliant broadcaster. His attention to detail was intense. After every pre-recorded talky-bit or interview he would listen back and pick you up on every poor (1/4" tape edit) that he could hear. Its where I learnt 90deg edits rather than 60 or 30 I also remember that we would over-plug his console PPMs and headphones across a compressor so they would always be a steady PPM 6, which he was insistent about, while the technical operator could run the actual broadcast levels more consistently with the rest of the network.
  2. Sorry, I wasn't clear, this is local authority youth service taking over, and I am transferring across to them, so so all welfare, DBS etc is taken care of. We also had a policy of no under 18's on placements, and I am discussing this with the new organisation. I think my thoughts were along the lines of Jivemaster and Kerry, some straight forward kit to get them interested, and if they wish the theatre and studio with the professional gear will still be there. But for the performers too, its easier to get up in front of your mates on small stage in a foyer, than a 300 seat theatre, and I think it will be fun to run lights or sound for your friends. You're alright about the disco stuff, something like magic-Q is a good call. For sound, the yamaha software can easily lead on to the QL desks, but I don't feel ETC has simplified software that can lead to an ion. Young people do grasp technology very quickly, so I should be thinking about the whole process, with the end result being the most important Some food for thought at my next meeting, thank you ---EDIT-- After I posted this, I remembered a great video on busking on ETC with magic sheets, which would indeed lead you into programming quite well. I'll look it up
  3. We have been around for a good twenty years as a varied in-coming arts venue, myself as a very experienced SLV technician. However we are now being taken over by an organisation with a more educational vision. They want to use our equipment and my expertise as part of their offering. I have no problem with this, but I don't want to present keen young students with EOS and Yamaha CL/QL as their first experience. They also want to give the participants a chance to perform and work in spaces not as intimidating as our more formal spaces, so hope to use our foyer, balcony's or outside areas. So, has anyone any experience or recommendations on alternative control panels such as the Stairville or the eurolight controllers for our existing stock of LX - Conventional's, Clay Paky movers and Chauvet LED Pars which would be useful for them in the future, but not intimidate them at the beginning. It would need to be reasonable portable and quick to set up. I'm also looking at initial low cost. Some sort of remote rigger would be great if demonstrating focus etc.-does something like DMXCat work with these systems, I imagine they would,but an android version would be easier to manage I started on a pearl, and from day one felt I could light jockey a whole club night, I'm not sure I would feel that now. Instant results may be not be great, but flashing lights and a few chase are better than Chan1@50 Sound and video - I have more ideas about, but again ideas would be welcome. This is not a formal educational thing, but more a drop in and interest thing for young people to learn more and hopefully engage more widely in the project. Opinions for and against- strong or not - are welcome, as this is really only a couple of days new to me thanks Andy
  4. I disagree with this (my bold) we have companies coming in to our venue every day. and it seems to be a case of get the stuff hung, put on some safeties, job done. Admittedly this is indoors, but I have worked on a lot of outdoor rigs, and the same attitude used to prevail. If I am putting up an fixture, I ensure the clamp is tight, a safety is on and there is power. I do think about the weight of the fixture and the rating of the safety sometimes, but often just take it out of the case and trust the warehouse. To be honest I don't really know what the ratings mean. I know that a rated chain can carry a certain mass, and takes into account a sudden drop( does it?) but does the length of the said chain matter? Also, I really don't know the weight of a source4 or a mac250 of the top of my head. As for overloading structures, these things are planned a long time in advance, and for high end events the planning will probably hold true, but for the rest of us equipment changes on the day due to availability and the technician's ideas Is there some sort of database showing the weights of common light, sound and projector equipment?
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