Dave m

The kettle could hover by being raised on a small tube from the bottom, with smoke being pushed up the tube to hide the levitation. a couple of leds in the kettle base would “spooky” it up.

Ask the LX crew (am dram?) if they have DMX. Interfaces or independents so the lighting guy can trigger on cue. old school is the SM /ASM triggering a spot effect from onstage

Great minds…

An old trick is to wire a fluorescent starter into the live feed. This causes a flicker. vibration wise, a small off centre motor would vibrate but easier to find something designed to vibrate and just switch the power. I made an “alien “ wiggle by using a shiatsu neck massager as the motor. https://www.healthandcare.co.uk/paging-systems/silent-alert-sa3000-hard-of-hearing-vibrating-pillow-pad.html I have made a rubber heart beat by using a speaker and heavy bass. Possibly removing the cone might be an option

Yeah, my first thought was a deliberate delay to stop feedback. I used to wind up mates in a band by using the delay in sound checks so that they only heard the delay and no original. One guy in particular couldn’t speak at all once you hit the right setting. I think there was a study on stuttering that suggested a connection between the brain processing audio info and a stutter? Maybe the person hears “late” compared to people who don’t stutter?

Are conn evans still around? They used to be big in hearing impaired systems?

do you mean log? Is it a question of language? maybe tree trunk or branch? It weighs just over 10.5 KG .

as 150M is a small amount could you find an engineering company to assemble a couple of T slot extrusions and a box extrusion together? They could be welded (expensive) or pop riveted and bonded.

A decent crimp tool isn’t cheap. You need to weigh up buying one v finding someone who’d lend you one or provide a service. Otherwise buy ready made from a good source

what are you trying to achieve? Getting a level from the stage for a cloth that's "IN" all the time?

There is that “Lego style” stuff that experimental gear is made from or short run production tracks uses. igus is one brand, what are you trying to make? https://trakracer.co.uk/products/tr8020-40x40mm-500mm-long-extruded-aluminium-profile-with-threaded-end?variant=40575806603428&currency=GBP&utm_medium=product_sync&utm_source=google&utm_content=sag_organic&utm_campaign=sag_organic&gclid=CjwKCAjwwo-WBhAMEiwAV4dybdJ5M690Cf37zQDciopURZU_Jg3cQVW5gTwpE6kn_qmHYKafxO_eZhoCa1gQAvD_BwE

I didn't install it!

I was using an installed system last week that uses a 250w “Australian” amp. The whole system is in a metal 19” rack with a door and a back on the rack. The amp is only used to drive what is effectively an onstage fold back amp as apparently the people on stage can’t hear what is said through the PA. The amp seems to fire up it’s onboard fans with a reasonable noise maybe every 10-15 mins for a couple of mins. It’s audible from 6 feet away although not excessive. Most amps I have used either ran slow speed fans constantly or didn’t need them. I don’t remember using amps that kicked in and out. As it’s not my system I put a “ticket” in but wondered if this was normal? It wasn’t a “hot” day. The guy came out but didn’t seem too worried. I tend to suspect that it’s on some kind of emergency cooling cycle. I have found a manual for similar Australian Monitor amps and they do say there is a thermal boost fan but can’t see one for the same amp (which I am relying on memory for)

A place I worked at once booked a disabled theatre company only to discover that the cast couldn’t access the stage. while I support the concept “fully accessible” is questionable. You’re not going to be able to make any adaptation for a blind lighting op, or a deaf sound guy (I have worked with some that I am sure were deaf) There are tasks in many jobs that are simply not suitable for some people. Also, people always think “disabled” means “wheelchair” it can involve pretty much any disability. Not all disabilities are visible.

No, but a place I worked in was built to be as accessible as possible. This involved a cable net / tension wire grid in one of three theatre spaces. Never saw a wheelchair in there, but given a thin carpet or ply sheet, I imagine that a wheelchair could be used on it (with assistance) The problems that I can think of would be lifting lanterns to the bars, roughly a metre above the net. Plus negotiating their way across the net using some kind of roadway which has to be removed before a show. The net is akin to a chain link fence and I imagine that a wheelchair has a worse time moving over it than a walking person. We used carpet tiles if up on the wire in trainers for a long time. There wasn’t a fly tower in any space as flown scenery was limited to stuff that was hung rather than in/out The rest was basically designed with flat floors, a suitable passenger lift, fire refuges etc. One issue that would be a possible issue ? Heavy doors with auto closers. Handles possibly too high. Doors that opened quite wide could be a nightmare if in a chair. EDIT. Actually - the biggest space could be wheelchair friendly as the lighting was in two truss frames which maybe would be accessible if the deads on the motors were altered (all things being checked) However more often than not the moveable seats were under a truss so to give true access the seats would have to be shifted.

A mate has a pair of 450’s and noticed a nasty sound from the high end. It’s a raspy sound, almost a rattle but nothing’s loose He’s bought a diaphragm and swapped it over but the poor sound is still there. Where to look next? The actual compression driver? Or could it be the board. I would be tempted to suggest that he takes the second (working) one apart to swap.

how noisy are the CPC ones?

years since I was involved in projection and marquees but... we used to do overflow video to a marquee in July and the company added blackout material to the marquee. A nylon based liner was added, which restricted airflow and made it far too hot to sit for long. I'd go for a video wall or strings of repeater monitors

I know that the question is about QLab on macs but take a look at the new Blackmagic hyperdeck. They are £500 each and run off a card or HDD. If you could control each hyperdeck through QLab (or the blackmagic software) then each projector could have it’s own replay device controlled from one master? not tried it

Thanks all sky pan is closest.

I will try to find a picture, but they look like the bottom of an oil drum, mounted sideways on a yoke. The inside is painted white and there’s an exposed light source, the lamp is reflected / bounced off the “oil drum” part when I describe the “oil drum” they may have been modelled on a genuine oil drum one-off and now manufactured from new materials? often used in rock/ light entertainment TIA

http://recordinghacks.com/pdf/audio-technica/atm31-manual.pdf https://www.ebay.com/itm/265076410422 looks like the normal “unscrew the bottom hall” gig

https://www.studiospares.com/live-and-pa/pa-mixers/mixers-analogue/art-mx622-rackmount-mixer-325720.htm ?

Maybe rather simplistic, but the Manfrotto wind up effectively uses a winch to lull the load up? therefore - LOLER?

It's not your problem. How will the school work out if the hirer complies with local H&S requirements? Your not letting anyone down. You're justified to point out that it would be sensible to do an inventory of what is rigged before and after a private hire. and do safety checks. It may be that the hire revenue doesn't cover the cost of those checks. You should also point out that any stuff coming in must be PAT compliant Presumably ably the after school work is voluntary.