pscandrett

...but with the larger one, the numbers don't seem very logical. 1, 2, 3, 4 along the top, fine... but then the bottom row goes 0, 7, 6, 5 backwards. It'd be more sense if all the buttons were numbered clockwise, but the right hand ones have a different function so they just look haphazardly and inconsistently labelled at first glance.

You're right, the Swisson wouldn't be an ideal tool for this job - it was just a vague illustration that devices to exist to sniff what's actually happening on the DMX line. I'm not familiar with the Lanbox - but it seems there's software (that's still maintained) that allows you to connect to the box to configure it, LCEdit. Have you tried using it? It looks like you can connect to the device if your computer's on the same network, or alternatively via USB. http://support.lanbox.com/ Scanning through the manual, there do appear to be ways of exploring the way it's been programmed (eg the cue list editor) and perhaps understanding how your showfile has been constructed. At the very least, it'd allow you to export your show and restore it to a new box if the hardware is failing; once you've worked out how it's programmed, you should also be able to edit it. I'd give that a go in the first instance, and have a look around (without editing anything). The manual seems reasonably comprehensive. If you can't log in to it though then you're going to have to look at recording the data stream by an external source, however. Hope that helps. Let us know how you get on! PS Do you really work at Buckingham Palace?!

Lots of devices will allow you to view the output of a DMX line - eg a Swisson XMT120(/A) will show you what's happening at a basic level. Many modern lighting desks will also allow you to input the DMX in and they'll be able to capture it for you - even the old Pearl 2000 used to allow you to include static data into a playback on that desk. Are you looking to duplicate the current setup to another more reliable playback unit? Or recreate what you've already got (even though you're not sure what it's outputting)? What playback unit is it? You might be able to get the program/scenes/cues out of that another way...

It depends on the type of lighting job I'm on as to what I'd call indispensable. The things I find myself using most frequently from my toolbox are: Quad Wingnutspanner AJ Swisson tester small/medium screwdrivers Other things I carry that I use on a mediumish frequency are Security/unusual bit sets Powered screwdriver cheapo gas soldering iron spares - M8, M10, M12 boltsets, fuses, couple of safeties, plus random bits I've picked up over the years spirit level sidecutters fine snips I do carry a 16-13 which comes in handy occasionally, but don't routinely carry connectors, as I'd normally just use another cable on a job rather than fix it in the field. I often think I probably ought to carry my multimeter with me but it's rare that I need to do fault finding on site at that level. I also have a nanoscope which sometimes comes in handy. I'm sure if I actually looked at my toolbox I'd see other things I've forgotten above that I use a lot but that's hopefully a good start. I also of course routinely carry PPE, sharpies, LX tape, USB sticks, plasters/mini first aid kit, a notebook and pens - but they're hardly tools. Hope that helps. What sort of lighting jobs do you work on and want advice for, specifically? My theatre work has slightly different demands from gig/corporate work, which is also significantly different from warehouse/maintenance lighting work requirements.

Only if it’s for the purpose of committing a criminal offence. Artistic expression/endevour is a legitimate defence. https://www.bankofengland.co.uk/banknotes/using-images-of-banknotes seems quite clear on what you can or cannot do when it comes to copying or creating novelty notes etc.

It's probably photoshop spotting the Eurion constellation (disguised as musical notes on the current £20 I think). https://en.wikipedia.org/wiki/EURion_constellation You (paulears) might have some luck in loading it into a cheaper image program (Paint, or some basic free thing) and editing out the notes/dots in the first instance so that when it's loaded in to Photoshop it doesn't mind?

What lighting desk is it? Solutions could be as simple as an app on a phone-like device (either the manufacturer's or something outputting (eg) OSC) to more electromechanical/physical inputs on other desks. ETA: sorry this doesn't answer your direct question!

I don't know, but I've found this picture on twitter. Is this the rectangular unit you're referring to, next to the CS4? https://pbs.twimg.com/media/EGoceBqWsAAVdW6?format=jpg&name=4096x4096 (Via this tweet: )

As you've discovered, the manual says: SL1E - SL7E(Sensor error, sensors 1 - 7) ...a sensor reports that it is short-circuited or open So in your case, sensors 3 and 4 are faulty (or possibly the wiring/connectors). Is there any indication of any crushed looms or wires, in the first instance? I've got the 350 Entour schematic here but unfortunately none of the sensors are numbered so I can't see what 3 and 4 relate to... I'll keep looking. Hope that helps a tiny bit.

Sorry for the delay in responding to all; I haven't got any further with the insurance question (through inaction, not because I've hit a problem!); I'll try to update here again when I find out/it becomes an issue. Our training group was made up of people from three companies in the NW on the course, sharing the costs etc. I didn't book it; the training was provided by T&C Training. Their website lists their course(s); I believe ours was slightly customised to be more relevant to our immediate needs (eg we didn't cover things like forklifts) and was a two-day course, provided by a trainer who came to us in Manchester. The trainer was excellent - he was clearly experienced in industry (and a variety of workplaces at that) and was very likeable and informative. I found it more engaging than the IPAF training I've done before, if that's a useful reference point. We covered a fair amount of material specifically about the Statutory LOLER Inspections/regs, occasionally discussing other questions/points that we've come across in our industry - which is where it was quite useful to have people from different companies present, actually, because we all work in slightly different ways. We came away after the 'exam' with a big wodge of documentation and paperwork which has already been a useful reference in addition to the notes I took at the time. Inevitably training websites will be quite general and nonspecific because they'll be provided to all sorts of industries. I'm sure many training providers will be able to tailor their course for the events/live industry if you ask them; to be honest, there's not a great deal to tailor though. The main difference, it seems, between the lifting and rigging kit we use in events compared to the equipment used in 'industry' is that we look after our stuff much better! That is, it's not generally exposed to harsh environments for long periods, it's generally reasonably clean, and the stuff is kept dry and often in a case away from contaminants and similar...! Hope that helps?

Hi all I preface this full in the knowledge that the answer might be 'speak to Doodson's' or 'ring the PSA advice line', which I'll do at some point, but I'm going to put this out here anyway - I can't find any specific topics about this aspect to LOLER in the forum (via google). Last week I did a course on doing LOLER statutory examinations, which, when they've processed the paperwork, will give me a piece of paper that declares that somebody has found me 'competent'. :). I'm fully aware of the limitations of my new-found knowledge, though I didn't go into it cold - as primarily a lighting guy, I've been involved with using rigging for years and to a lesser extent inspecting stuff as I've been using things, if not being formally trained for the full examinations. My PLI as a lighting guy/general tech/LD/useful person has been for the past few years (and still is) with Crewcover(.com). I've been happy with that and the PSA membership that comes with it (not that I've had to claim). However, my question is related to this - that PLI obviously covers me for general purpose industry-coverage for PLI. Should I consider, or even need, separate insurance for the LOLER examinations that I'm bound to end up doing in the coming few years? I've just had a glance through the crewcover policy (ie not in detail) but, like most people, I'm not great at interpreting legalese; also, I haven't really fully got my head round the implications of me checking something that then fails at some point, how liable I'd be held (presuming I wasn't grossly negligent, at least, passing everything willynilly) or what any insurance I hold would need to protect me and others from. Can anyone please advise? There must be some others on the BR that do the statutory inspections for rigging in our industry... what do you do? Do you have extra insurance? It didn't occur to me to ask this question in the training... NB For clarity, I'm self-employed, so I wouldn't come under any employers' insurances unless they explicitly extended to me in the circumstances. Thanks!

From experience, I'd suggest the secret is to be open and talk and communicate with people about issues like expenses etc. We all get bogged down in Ts&Cs from time to time, but the best way of clarifying it all is to have a chat with the person that booked you. It's easier said than done, but being upfront about expectations makes life a lot easier in the long run...

Thinking more laterally, think about magic/illusion suppliers; they'll have gutted helicopters, I'd have thought. You might find that The Twins will hire you their helicopter (even if you don't want the flying/illusion side of things). They might have another helicopter shell knocking around for helicopter appearance/disappearance illusions, too: Flying helicopter There are other magic/illusion warehouses around the country, and I suspect a bit of a chat with one of them them might help you source one that's designed for moving around easily in a theatrical context (rather than being a 'real' one, as it were).

Do other industries have these issues? You hear about medical staff working very long hours - do they make more mistakes when tired, like a rigger might? Are there regulations around surgeons and doctors (or indeed other professionals) that make it a 'solved problem', as it were, that we could adopt in our industry? It'd also be interesting to consider the self-employed:employed ratio for these industries; are truck drivers, construction workers, surgeons etc mostly freelance?

If it's a smallish space then perhaps a smaller pyro might be better (backed up with SFX). Even in a bomb tank, some of the stage flash type effects would let off a good old thunk which isn't necessarily as loud as a maroon - but still gives the 'explosive' noise along with the pyro smell...

MTS Live in Manchester/Oldham have some, though I don't know how much; they'll hire it to you but I wouldn't be surprised if they'd be up for letting it go for a reasonable price if you'd rather explore those options. Drop them a line, www.mtslive.co.uk - and tell them I sent you :-) Edit: This is the Chauvet stuff, and they're a dealer for Chauvet too.

Bit of thread necromancy: Astonishingly (to me), one has just popped up on ebay: http://www.ebay.co.uk/itm/Avolites-500-QM-TD-Lighting-Control-Desk-/301996146297? It made me hunt around for information about it and I found this thread! Looks like a fascinating unit. The oldest Avo desk I've used (and indeed still use) is a Pearl 2000...