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J Pearce

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    Working in the industry
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    Head of Sound & AV at Birmingham Repertory TheatreAlso:Gigging musician, playing drums, orchestral percussion and bass guitar
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    ABTT
  • Full Name
    Jon Pearce

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    http://www.jonathanpearce.co.uk
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  • Location
    Birmingham
  • Interests
    Anything live that involves music or wire; preferably both!

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  1. CueOne don't seem to be around anymore. Stage Sound Services have a good stock of CMX8s so may be able to assist with servicing.
  2. Excellent news. Hope you find it useful!
  3. An old wavefront system should handle whatever you can throw at it. Just make sure it's got the right drivers in it, it's old enough now that some of the stock for sale has been modified.
  4. I'd be looking at a half decent used PA and amp rack that lives in, with maybe a DJ mixer for BGM and vocal mic. Install some CAT5 lines to any sensible mix position, then add in mixer/snake/mics as needed event by event. Lots of the artists that do that sort of gig have their own setup in any case, and are used to either setting up their whole rig or plugging their mixer into the venue system. An X32 compact with stagebox and basic mic/stand/cable package will sort band nights, which realistically is probably 2 nights a week at most. Realistically, gear won't revive a venue. Good programming that engages the local population will.
  5. If you go with the Behringer XR range, I'd advise using a good quality external access point or router. The onboard one isn't great, and being onboard often ends up in non-ideal locations for wifi coverage (covered in cable, in a rack, under the stage, etc.). We use a XR18 for foyer events and other pop-ups - it's a great bit of kit and works very well.
  6. I’ve not tried it personally, but I’ve heard good things about Snipe-IT.
  7. An ATEM mini pro will record to USB disk, and costs under £300. The Pro ISO will record all inputs to USB and costs £450ish. If you have access to the camera feed and the laptop feed at a convenient location you could feed both in and get a presynced DaVinciResolve file on a USB SSD.
  8. NDI is good but pricey. SDI is good but needs the right cable. CAT5 1-many boxes can be had fairly cheaply if you can site the distribution box at the appropriate switch cabinet. We have a PTZ camera that outputs both SDI and network stream on RTSP. The locations that need low latency get SDI or composite downconverted from SDI, and the more distant spaces get screens with a NUC (recycled from other duties) or a RasPi set to load the RTSP stream on boot. For a cheap(ish) portable setup, you could probably happily do a wifi AP and then a set of cheap android tablets running VLC for dressing rooms and other non-latency-sensitive spaces.
  9. You may find that the existing antenna cabling will support composite video. It'll probably do better with B&W but may do fine on colour - certainly worth a go if you have TVs with composite input, some new cable ends and a DA will be cheaper than a modulator.
  10. Any reason not to use stage weights? If the french braces are made from 3x1 (or 18mm ply) then the notch in a stage weight secures them in place well on a french brace. They're easier to handle so improves manual handling, they won't leak sand, won't get damp and go mouldy, they stack securely when not in use - lots of advantages. They'll cost a little more though.
  11. Be aware of the difference between the university and the students union (which usually umbrella the societies). The dividing line between them varies at each university, sometimes they're essentially a dept of the uni, sometimes they are completely separate legal entities with very clear distance between them.
  12. £300 won't get you very far at all. At that budget, get a tripod and phone holder and use one of your phones. You won't get a better camera for under £300. Gopros are good, but very wide angle for POV shooting, not ideal for archiving a theatre show. As above - do explore what you might be able to access through the university.
  13. I'm a big fan of a DPA4099 on lecterns, or the 4098 if you want something lectern specific - however that's probably above your budget level. Most miniature lectern mics will want phantom power, and external AA battery boxes aren't really a thing like they used to be. A cheap mixer in the lectern podium might be a good cheap solution to supply phantom power? The cheap CPC gooseneck mics are passable if you're happy to accept reduced gain before feedback. I wouldn't go for 2 mics unless you have someone mixing who can dynamically choose which is getting the best signal. Having 2 mics open at the lectern simultaneously is likely to cause comb filtering issues and reduce the gain before feedback.
  14. We use the Edding pens, not sure which series, I'll check the tub if I remember.
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