Robin D

Our village hall has a ViewSonic Pro8500 DLP projector now almost 10 years old. It is ceiling mounted (4 metre) and used for film nights, presentations etc. Last film night (that I was not present for) they had problems. Annoyingly I am on crutches at present so I have had to rely on others to go up to sort it out. The guy concerned is very technical but more on the electricity supply side. He reports as follows: 'It initially failed during the last FITS (Flicks In The Sticks) evening, was allowed to cool for 15mins and it restarted and ran for one hour when it failed again. A further period of cooling followed by a restart and it ran for a further hour. On Monday I started it up and it ran for about 5 minutes before shutting down. It was noticeable that the fan control (I was up the tower) was somewhat intermittent and slowed completely prior to switching off. After de-installation and maintenance at ground level (New lamp and a good hoover) the unit steadfastly refused to fire up. What was interesting is that the on-line handbook claimed that there was a filter assessable through a removable side panel which is not present on our unit. (The panel that is) As a committee we have decided to buy a replacement that is now in hand. However, we occasionally get asked for a second projector or one pointing elsewhere in the building, and as the image quality on this unit is still very good, I have been asked if there is anywhere that will service/overhaul the unit for a reasonable price? We are based in Suffolk near Ipswich, but are happy to ship anywhere sensible. Any recommendations from Blue Roomers please? Thanks in anticipation.

Not sure what they are like since the takeover, but they used to be extremely helpful if you rang the Pulsar team. https://www.dwwindsor.com/contact/

Do the devices have a sound to light function? If so it may be triggering. I can switch some of mine into sound to light mode with an appropriate DMX signal. If they do have sound to light, find the microphone and cover it with a pad of something to absorb the sound. See if the problem goes away. However it will not help if vibration is coming up through the fixture mechanically, in which case try to decouple it from whatever is vibrating.

How often are show weeks? We played with several different rechargeables years ago. Two sets were great during show week, but found that with two shows a year meaning no use, the deterioration was so high, they were next to useless after a year or so. I was in contact with the Varta importers at the time who advised that they need frequent use to remain viable. Keeping them on charge without use, would make matters even worse. Things may be better with lithium rechargeable but ensure you get the right charger.

The old style fairy incandescent fairy lamps work very well indeed. I once pinned several small sets onto sheets of 8x4 sheets of ply. The sets were laid out as though they were a fairground in the distance for 'Our Day Out'. These I then fixed to the rear wall with a sharks tooth dropped in front to use a s cyclorama. Looked very effective with each set on a separate channel for a chase. As said, a separate load lamp was required for each channel that I mounted in the wings with congo blue filters in and barn doors shut. They caused the kids much puzzlement as they would flash as well. It brought an audible gasp from the audience each night. 😁

An interesting read. Shows the importance of agreeing terms and getting the agreement written into the specific contract.

Four of these or similar fitted with suitable BC LED would look fairly convincing from the front. They would also look the part even when off.

When I was running my (unrelated to theatre) business all my quotes contained my T&C's, one clause of which said that my T&C's were the definitive set for this contract.

I would simply find another supplier who will assist. Either that or send this thread to the CEO of the company concerned. I find it strange that the current supplier is behaving as they are. Although I totally agree with Paul @paulears, should something happen, it is very likely that the supplier would also find themselves facing a judge especially when the evidence that you did all you reasonably be expected to is presented to the court. H&S laws puts a duty on suppliers to ensure their equipment is fit for purpose, and installed and used appropriately. The supplier can put as many disclaimers in as they like, but in the event of a nasty accident, they will also be held to account. That's why plant hire companies will not hire out certain equipment without knowing that the user has the relevant skills. Car hire companies must ensure you have a licence to drive the vehicle you are hiring and are insured. However, that still does not mean you as organiser, the rigger as the installer would be absolved from all blame. Time may be short, but please proceed with utmost caution.

Not been there for 20+ years, but NCR used to have 2 or 3 on display at the London office in Marylebone Road. May be worth an enquiry. 020 7723 7070. If not, relatively easy to mock up something if it is just to look the part.

I can't be sure, but my own experience says the audience problem got much worse with the explosion of folks carrying smart mobile phones. Many these days will be seeking a wifi signal, and in doing so, emit a signal, plus you have maybe a few hundred phones in one place all viewing for a signal. Back in the 90's always had the receivers by the mixer. Same venue, 30 years later, albeit with different kit, if you watch the displays of any mic that was active, as the audience came in, you could see the signal strength drop back.

Totally agree. Even with raked seating and the control point high up the audience really affects the signal. A snake down to the put the receivers to one side of the stage makes a massive difference. I have a couple of cheap Studiospares snakes on a reel that do the job admirably.

Yep. Just checked my motor. I would have to drill out three pop rivets, and still unsure if there is room for a bolt head. May well take the easy option. 👍

I have one of these motors. I need to fit it to a stand for an upcoming event, but it only has small holes around it for fixing to a flat surface. In the venue, I cannot screw into the ceiling etc. Has anyone solved the problem of providing a hanging point? I can fashion something out of ply, but is there a better solution please?

Many factors at play here, but usually if in a short but wide space, get the speakers as close together as practical. The audience will struggle with deciphering the spoken word otherwise. Often a single speaker works better. Column speakers are designed to project a narrow vertical soundstage over a long distance so the sound level can often appear louder at the back. I would try moving one to near centre if possible and using just the one. Asa trial, leave one where it is and just turn the other off. It may also work better in that space if you mount it horizontally to provide the spread of width rather than depth. Reducing the number of active drivers in the column may also help if you know enough about the design to do so safety. I concur with the view from James that you may need a specialist in to advise.

You can generally brace under a stage without screws. Fence posts cut to precise lengths in bolt down post supports and then door wedges tapped in with rubber mallets. Can be removed afterwards and stored for the next occasion. Or screw up support posts as I hired in although that stage you could stand up under.

The old hollow wooden stage issue. 🤔 Boundary mics can work well if placed immediately above the timber frame supporting the very front of the stage. That, in my, (albeit limited) experience is often double trussed making it much more rigid so transmits less vibration from the structure. Choir mics can also work very well if the actor(s) are in static position but will pick up any movement on stage. They are generally my first choice though. Carpet or similar on stage makes a huge difference with choir mics but is no good of they are dancing. One school stage was soooooooooo noisy, I looked and noted that the cross trusses were full width unsupported and widely spaced. Hired in half a dozen Acro type struts and fitted them under the stage which made an amazing difference to the acoustic properties of the stage. There was dancing in the show, the dancers didn't notice the reduction in bounce. 👍

The issue is that it's all a little subjective from the audience perspective. We went to see Oklahoma at the Wyndhams last week and we were up in the dress circle. I found the levels fine, but the guy sat beside me and the three ladies behind me continually complained it was too loud when they sang but were constantly 'what did they say?' during any narrative bits. We loved the show by the way! Last night we were with Francis Rossi on his acoustic tour, seated well back, just behind the A&H sound desk. Again, I thought it was great but on leaving, two people were complaining they couldn't hear what he was saying some of the time. However, I also observed one person sat in front of me with their hands over their ears and they did not return after the interval. It certainly was not the levels of the old Quo concerts though. I have often thought that if sound was part of the seat choosing experience, we might be able to please more of the people more of the time, but have no idea how to show that on a seating plan. An average is surely almost impossible. It depends where in the auditorium the measurement is taken. Flown arrays have a different dispersion pattern to stacks either side! I agree with the if the ears ache, it's too loud mantra! Edit to add. I also learnt years ago that the quality of the sound makes a huge difference to the levels you can drive to. As distortion levels rise, so does the pain factor!

Personally I would avoid sticking anything onto an inflatable. When you grab it, you may end up ripping the vinyl. I would suspend some form of box, shelf, basket, cardboard box etc on the rail with black tat concealing it as per @Dave m suggestion. So at the point, you just reach road and lift it out. No snags, clicks, velcro sounds and more important, no resistance.

Not in the midlands but East Staging near Ipswich certainly had 16 channels in 3 racks. Phil covers a wide area so it might work for you if you get nothing nearer. I have hired from him several times in the past. Helpful guy.

I would seek advice from the rights holder assuming you have permission to do the play. It may be something they have dealt with hundreds of times before. Alternatively, they may already have suggestions for alternative music. The play is unplayable if these issues are not resolved, so of little value to the rights holder.

Wide angle, short throw projector. Hire is probably best unless you are lucky and someone has access to one in their office. Often used for presentations, but needs to be powerful depend on what you project onto.

I was chaperoning when we had approaching 300 on stage for a show finale with two Stagecoach Schools some years back. Backstage organisation was interesting! The Technical Manager OK'd it on the strict understanding it was not a dance or bouncy number! It was a very big stage though, but getting that number on to stand, in silence, behind the closed Tab's, while the final bits were going on in front was rather challenging!

I flew internally with an z88 Flx. Security were all over it. Asked me to turn it on. I eventually explained it needed mains so they let me plug it in which surprised me. When it booted, showed them some the screens and they were happy. Not sure what I would have done with a desk with no screen. Got the laptop out and linked them I suppose but not simple. Donkeys years ago I had to fly LHR to Edinburgh in a hurry with an IBM terminal controller.... Now that took some explaining but I was eventually allowed on board but they made me sit right next to it with it strapped I. The next seat. Suggest you take paperwork, manual etc.

Are you a volunteer, staff or a teacher? If not the latter, sit down with the director and agree what the standards of behaviour are required, and also what constitutes something dangerous. Get the teacher/director to lay it out to the kids with you present, with the firm message that any transgression will put them out of the show. If you are responsible for tech, make absolutely certain that those helping back stage understand the risks, but also that they must ask, not guess. At a late rehearsal, try to create an incident to see how they react, then go through the learning points. An unexpected DBO is a good place to start. Good luck.