alistermorton

Indeed, or even how it is wired. The polarity matters.

Yes, I saw that. I also wondered if the panel was generic, and used on other products too. It would be useful if @goldenboy could identify which (if either) of the manuals I found match the desk in question, or whether it is different again.

I can't get to the google drive to look at the photo's, unfortunately. The page says I need to request permission. Audio in is used on some desks to run effects (sequences) in time to the beat of the music. 3-pin XLR for DMX is not uncommon, especially on DJ and low end fixtures, as the connectors are both more robust and cheaper. Most professional gear still adheres to the 5-pin connector mandated in the standard. Some have both. If you have fixtures with 3-pin XLR it may be that a 5pin to 3 pin adapter will be needed, unless the desk has had a 3-pin out added. I don't see any mention in either of the manuals I found of 3-pin out for DMX being fitted as standard. Maybe I've missed something.

Hi. The manual for a 200 is here and according to that the 3 pin XLR is not a DMX connector, so maybe there's your first problem, it's an audio input. You need to use the 5 pin XLR to connect to your lighting system. Of course if yours is a later model that may not be true, but usually DMX is 5 pin on anything other than DJ consoles. Edit: I found a 200+ manual here and that makes no mention of a 3 pin XLR?

Following on from this, you might find that a short dwell time between the light coming to full and starting to fade is helpful for the effect. Also, if the lantern is LED it might snap on a little too quickly for the effect. So you might want up in 0.1, stay on for 0.25, fade over 3 seconds, maybe. To do that you'd do Lantern at full. RECORD CUE 10 TIME 0.1 <enter> Lantern out. RECORD CUE 11 TIME 3 <enter> CUE 10 {follow}{follow} 0.25 <enter> Follow-follow makes a hang, which means it starts waiting from the end of Q10, so when it finishes fading (reaches full brightness, here). A follow starts waiting from the start of the cue, or when it starts to fade.

That's it, essentially. Record your cue with the light full up, lets say Q10, then change the time CUE 10 TIME 0 <enter> Record the next cue with the light out, say 11, then change the time Q11 TIME 3 <enter> Then make 11 follow on immediately after Q10 Q10 {follow} 0 <enter> {follow} is a soft key which comes up when you type CUE 10 Although for this cue it makes no difference, it's worth looking up the difference between follow and hang for cues - they're useful concepts. If you wanted to put it on a manual flash button, you could do that too, but it's a little more work.

I think our trackball went with the 300 console when we moved it on, although we do have a couple of 300 fader panels in store somewhere. Also got some parts for GSX, too.

They are.

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.

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.

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..

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.

Usually, definitely yes, unless you get unlucky with overcast weather (or rain for the matinee) BTDTGTTS.

Yup, consider the Minack audience - old hands take suncream and a duvet (as well as a picnic and wine).

I doubt the AES port would like POE up it, for example (nor would DMX ports for that matter).