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Does anyone here have any 'tame' contacts who can advise on repairs/diagnoses for Look Solutions Unique hazers? One of my guys is looking at a Unique that is working one minute, then not when he next powers up. He's gone though all the usual checks, cleaning pipes where feasible, etc. It usually comes back to life after he's dismantled the pump and 'poked' the one-way valve with a pin. Whether that's a pump issue or a valve is up for discussion. He's tried to get in touch with Look Sols, but so far no response.

I have access to a couple of the EVE 50 profiles, and they are a) quite compact in size but b) not a bad output at all. Nice and crisp edges and a very even white spot. The bigger brother, the EVE 100, are, as you'd expect, quite a bit brighter in (U think) the same physical body.

I'm not versed in the how-tos of such things, but could you not set up something from a Raspberry Pi or some such? With the video file held on a USB stick if it's particularly large, maybe?

As it happens, I was given access to a perusal copy of the script last night. It's on the short list for one of the groups I work with, but the only one I don't know anything about so needed to get an idea. But thanks. 🙂

Bumped, as I'm still looking unsuccessfully for the info...

Looking for a scene by scene breakdown for the musical YOUNG FRANKENSTEIN but so far Google-fu has eluded me. Anyone have that to hand perchance?

That's what usually sets off my bells, too - when a quote for £6k or so for 4 headsets and base station was the best deal on offer when I last looked a couple of years back, it does make you think carefully.

I've been pointed at the Nymrod wireless cans system as a possible investment and on the face of it, 9 sets of cans for sub £2000 looks like a pretty good deal. 9 Person Kit + Max4G Double • Nymrod Comms One of the Q & A answers says it's compatible with wired setups, but haven't yet found that in the spec (still looking). Interested to know if anyone here has had direct experience of the system, and whether the build quality is up to scratch for the demands of an amateur environment...

I had to Google where that is... Kansas - so OK, maybe NOT a good reference to offer... :)

You could do worse than ask the Revolving Stage Company - based near me in Exhall, Coventry... The Revolving Stage Company | Revolving Stage Hire for Events

Well - I'd not thought of looking at the motor part for the cap, but so it is!!Thanks for the point into the obvious direction :D :D :D Will get one ordered now :D

Yep - there's something there but too faded for my aged eyes to make out... :( OK - couple of better pics of the wiring. Yep - there's something there but too faded for my aged eyes to make out... :( So yes - L & N both going to the motor with the 2 grey wires ganged together the other side of the L wire thru the cap.I'm pretty sure the cap is the problem, so need the value so I can get a replacement.

I'll have another look when back at the venue tomorrow and send better pics :) Thanks

From the pic I took the other day to try and blow up for a clearer image (failed!) yes it looks as though it does have 3 wires... My link

Got a couple of old-school tubular ripples on loan for a show coming up - one works fine but the second isn't doing any rippling - ie the motor isn't turning.. First issue I think is the serrated tube isn't tight to the spindle, but even then that wouldn't help if it was as the motor dinnae turn anyway. I've had the end off and there's what I assume is a smoothing capacitor in line with the live feed after the switch - I get 230v at the in terminal there, but only about 80v on t'other side so my simple thought was that this is duff. Proven in fact by shorting out the cap means the motor starts to turn. So - ideally I'd like to replace that capacitor but sadly the labelling on the case is extremely faint and no way can I read what it is to look for a spare part. Anyone have any ideas on that one??

The tricky thing is that Le Maitre have been the 'go-to' brand for a lot of venues for years, so anything else that is in any way different to their bespoke pods, or holders are going to be a hard sell to those places. Switching supplier types isn't going to be an easy choice if you have to invest in a lot of different hardware as well as the pyro itself. BUT then if there's a choice between that and not getting the pyro at all, then................ :(

The Stage LX stock lists are showing MINUS figures for many popular effects on the pyro shelves, so I'd echo Brian's advice. I'm currently looking at sourcing some gear for a show in early December, but it's looking like they'll be getting those on a wing and a prayer maybe...

A regular panto gag for when the kids come on stage for the song-sheet - get the last kid in the line-up with a pitch shift down (or if an adult known to the cast gets dragged up, pitched UP). The Yamaha SPX units have the facility certainly, and I think it's also an onboard effect on our current Midas Pro 2 desk.

THAT deserved a laughs out loud smiley... :D :D :D

Just tried it on Edge and got in first time np. Maybe they fixed summat..

Looks like I entered the link incorrectly above, so here is the correct one. :)https://www.ticketsource.co.uk/booking/t-dexdyp

Just a bit of a reminder, we're hosting a Just FX Pyro Safety training day at the Abbey Theatre in Nuneaton on Sunday 3rd Oct from 09:30 to 17:00. Places still available - cost £200 per candidate. Ticketsource link to secure a place - Nuneaton Arts CIO online ticket sales powered by TicketSource There are fees applicable to the TS purchase, so if you want to avoid those and pay by cash/cheque/card on the day, let me have your info ASAP. Linc has asked for full details of attendees by Tuesday so he can prep the course according to numbers.... Cheers

OP is near Barcelona. You'd be surprised - we had 2 people from Belgium fly over for the second course we hosted....

As a rule, I can't recall any pro theatre based show that's suffered from the sort of over-driven PA that the concert venues seem to demand. As an example, just finished the LX load in of "Six" at the Brum Hippodrome and sat watching them run the tech for about a third or so of the numbers - most of these are a pretty hectic rock style mix with those six voices blending and harmonising well, with a pretty high SPL coming from a pair of flown line arrays, two pretty big bass subx on stage and a load of other gear flown across the FoH advance truss. Despite the levels, I still heard a quality mix with clear vocals throughout but it still felt like the concert that the show style is meant to be. So if they can do that for an 1800 seat venue like that, then by scaling those practices up for arenas, WHY can't the same be achieved without the overpowering SPL??? BR member Shez was working the noise load-in, so if he pops his head in here he'll likely be more specific about what is there :)

some of these for starters:<br style="color: rgb(28, 40, 55); font-size: 13px; background-color: rgb(250, 251, 252);"> Loads of kids on stage - Pyro can be easily managed if you apply the responsible safety rules and have an operator trained in how to do it all safely. (see note below)Inflammable materials all around - To be perfectly honest if that is the case you probably need to take a proper look at your flame retardency protocols. Most things CAN be treated so that the risks of problems arising are reduced/mitigated. And one effective modification can (should) be distance, anyway (from ANY cast or set piece).Lack of experience and confidence - That one is an easy (ish) fix - find and attend a Just FX pyro safety course. lack of personnel - I'll be busy missing sound cues and kicking the lighting guy who doesn't understand the dialogue - I'll give you that one - pyro is NOT something that really should be the responsibility of anyone but the stage manager or qualified crew member.Possible legal and/or permission issues - Not quite sure what you mean here? In the UK there's no licensing required (though many of us feel there SHOULD be...) but as you're in Spain you may have different rules there. But you might need permission from whom? The venue? Parents...??budget - That also can be a problem but as I keep telling am-dram companies all the time - budget should NOT be an issue if you plan your events properly in advance, working out a reasonable expectation of what costs you'll incur, then calculating your ticket pricing to not just cover the costs but actually start to make a profit from around a 50% full house on the day(s). As for the point about not having a smoke machine (if you decide to go that way, hiring is always your friend - hire something that will fit your needs - eg a theatre scale machine (doesn't have to be big and fancy) and probably specify fast-disperse smoke fluid rather than regular stuff that will hang around too long. Flash guns, btw - NOT really a good idea. I know several people who've tried this idea and ALL of those have abandoned it pretty quick. :) Now the shameless plug. If you DO have a stage manager or someone willing to do pyro on the show, there's a safety training course being run in my venue in Nuneaton on Sunday October 3rd. PM me if you want details. :D :D :D