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    Amateur theatre practitioner
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    Alister Morton

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    Caterham, Surrey

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Production Manager (14/14)

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  1. I'd agree with Tim re the MP75 - it's very hard to get a decent white face light out of them, but the MP60 is worth a look. We've never really noticed the fan noise except for a second at start up when it does the quick fan run up and down. We do use the MP75s as back lights and accents and again, the fan noise hasn't been noticeable.
  2. We use a couple of white elumen8 MP60 fresnels as rehearsal lights. Feels about the same light output as a quartet F and similar quality. About 250 quid from Thomann IIRC. can operate in DMX mode for dimming and they dim well. MP120 gets you more output for about 100 quid more.
  3. I'm not really part of the sound department, but for our end of year young players productions (members are 8-18 yrs) we use 3 boundary mics across the forestage, not sure of the make but they look similar to a mic AT make, sort of lozenge shaped. They pick up remarkably little of the foot fall etc and do a decent job of picking up the voices of the actors who are downstage adding just enough reinforcement. The director (who runs the group) makes a point of impressing on the players that if they don't project they won't be heard, and the audience has paid (yes, it's open to the public and in our main auditorium) to hear as well as see them. Most of them get it, even the young ones. A lot of it is down to direction and coaching, they spend a lot of time rehearsing in the studio, practising their techniques..
  4. The only times I've been involved with this sort of performance in a park event, the licencing have allowed that the existing pathway lighting of the park served as emergency lighting, and our stage and "house" lighting was in addition to that.
  5. Usually, definitely yes, unless you get unlucky with overcast weather (or rain for the matinee) BTDTGTTS.
  6. Yup, consider the Minack audience - old hands take suncream and a duvet (as well as a picnic and wine).
  7. alistermorton


    I doubt the AES port would like POE up it, for example (nor would DMX ports for that matter).
  8. The software Tim linked to has a debug window.
  9. Do you have some way to check you USB converters are actually working Maybe put them in a pair of PCs and connect them laplink style and make sure you can get the two PCs to talk to each other. Then that eliminates one of the variables. Or put a scope on them?
  10. Bit of a lobg shot, but it's not waiting on a hardware handshake is it? I recall back in the day having to make sure the CTS RTS DSR & DTR were correctly wired for some equipment. Others just used soft xon/xoff handshake.
  11. I have an NJD controller similar to that, but I suspect that too is long discontinued. Closest I can think of is an alphapack 3. Edit: It appears there may still be some Showtec units with local dimming - the TED pack?
  12. Do you mean in terms of storage or in terms of routing and securing cabling during shows?
  13. Certainly having a part intended to fail under fault conditions and not make spare ones available shrikes me as conceptually the same as expecting users to replace an appliance if the fuse blows. What's the rating of the lamp?
  14. Out of interest, David, what sort of latency do you get? The guy in the states reckoned about 1/2 a second.
  15. It's one of those "It depends" questions. Depending on the colours, you may find different fixtures are close enough, but not always. To take an extreme example, there's no way that a budget "bowl of M&Ms" RGB par can will match say a colorsource PAR on very much at all, let alone subtle shades like gold tints, pale blues, straws, pinks, even whites will look off. But it's entirely possible that, especially at the less expensive end of the market, different manufacturers will have bought in the same emitters and just packaged them differently (sometimes even just bought in entire fixtures and badged them) so they'll be close.
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