sandall

That's rather sad, as those are the ones I've started using. Still, that's better than the Halogen GU10s they replaced - even the Philips ones only lasted a few months :(

If you mean the black plastic channels with paper labels & clear plastic strips that come with PO-type jackfields, try Canford, Studiospares or Bryant, or look for an old jackfield to cannibalise.

Repurpose the Act-6s as stage weights or bollards & either look for DMX-controlled fittings or follow Tim's suggestion of trailing-edge dimmers. Swapping my old d0m3stic dimmers for BG modules gives a flicker-free fade down to about 10% - presumably a hotel doesn't need a "houselights" smooth fade to black - more the odd dim & bright states as presets?

Canford?

My local theatre has an old Strand Environ dimmer in the main house (now all-LED), which was quite happy with a mixture of halogen & LED MR16s until all the halogens had been replaced; the studio theatre has an Anytronics & is all-LED. Both systems work perfectly, but only with Philips lamps.

The majority of our gobo stock is A-size for both our Source 4s and Pacific 23/50s. Memory, & my WL "Bible", suggests A for Pacifics, but B for Source-4s. You can butcher an A-size to fit, but you lose the edges of the image, which may or not be a problem.

If memory serves me right (not guaranteed) Miltel gobos were invented by BBC LD Bill Millar in the 1970s or 1980s (I remember getting them from RB in the 1980s). In those days if you worked for the BBC anything you invented belonged to them, so I suspect they were sold through RB but manufactured by DHA (lighting was much more of an old-boys network in those days). Rosco started selling DHA (incl. Miltel) gobos in the 1980s & eventually took them over, using their own gobo numbers. IIRC they were only ever available in A-size (so no use to the Source-4 generation).

A quick google search threw up a schematic. You've presumably done a thorough search ??

That's an interesting way of mounting a lighting bar. I'm surprised the scorch marks from the fresnels don't show.

If you're on a tight budget, & unless you need sequencing and /or colour, how about Xmas-tree strings. Long before the days of LED I built a Tandy sequencer kit, using incandescent bulbs for a big logo & a sequence of "lift indicators".

Very common with cheap n' Chinese mic cables, which no doubt get used for DMX as well.

I'd forgotten about Furze - I've only met complete racks. They used their own digital protocol, FMX. When someone nicked the desk out of a local town hall some time in the 1990s (presumably in the belief that as it had faders it must be a sound mixer) the in-house electricians replaced it with a Sirius-48, which was so big it had to stay up on the lighting perch, but they then found that 1/3 of the channels worked normally, 1/3 didn't work at all & the rest were intermittent. A few dead triacs added further confusion. Fortunately there were still people about who remembered the racks, so I managed to replace all the appropriate links to get it up & running on DMX. Most of the FoH lights were 1kW Furze spots & fresnels, which gave the equivalent light output of a rather dim Patt.23. When I later replaced everything I put the Sirius on a trolley, & it's still going. E2A: I did hang on to the Furze racks in the hope of using them to replace a Strand JP system in another of their halls (like the Green Gingers they were really simple & easy to maintain), but the then manager was too tight-fisted to spend money on anything that wasn't absolutely safety-critical, so they just gathered dust until the hall closed for good. Back to the OP - are you quite sure that the bottom rack isn't powered from the RH 13A plug in your photos? The only other possibility is that the flat T&E cable to pack 2 is looped to pack 3, in which case when channels 5-8 work so should channels 9-12.

As it takes AC (the rest of the power-supply is in the unit) it doesn't matter (there is no +ve or -ve).

Green Ginger were unusual in making 4-channel installation dimmer packs - the UK norm was, & still is, 6-way, so I'm wondering whether this was a replacement (new or 2nd-hand) for an earlier 2x 6-way installation, such as 2x Strand Tempus, which would explain why there are only 2 C17 sockets (perhaps also later additions? - I can't remember when C17s started to appear everywhere). The rather neat IEC patch & screw-in fuses might have seemed a lot safer for little fingers than unshielded 5A sockets, easily-broken fuse-carriers (possibly wired with any bit of fuse-wire that came to hand) & the usual rats-nest of PVC cables & broken Bakelite plugs.

TBF I've met some pretty insanitary installations in local authority halls. Never met an IEC patch for lighting though, but it looks well-made, with chunky cables, & I suspect the moulded connectors will be 10A. Probably thought to be safer than round-pin connectors for a school rig.

The (fairly thick) cable from the RH 13A plug takes the same route behind the dimmers as the 2 bits of T&E from the 16(?)A plugs, so presumably so, in which case somewhere at the other end of the coiled cable is a 13A plug which has been pulled out, switched off or blown its fuse. I wonder what protection feeds the 2 cooker switches? As White Light "serviced" it all in 2012 it might be worth a call to their service dept to see if they have any paperwork on file.

Perhaps a bit of a faff, & might involve a bit of gaffer tape, but for about £100 you could give everyone a 2nd MA400, as a 2-channel mixer feeding into the line-in of their main one, giving you the 3-channel amps the singers need. Could be a lot cheaper than replacing a perfectly good desk.

My guess, & it's purely a guess, is that the dimmer-packs & patch-panel were installed (by some sort of lighting outfit) in the expectation of being fed from 3 C17 outlets (installed by an electrician), but for some reason only 2 were put in. If the bottom pack's power was looped from the middle one I would expect it to be labelled as "9 - 12". You may find a plug for the bottom pack buried somewhere.

It happened both ways - when Calrec brought out their 600 series of capacitor mics they wired the DIN connectors with Pin 1 ground, presumably to match their XLR mics. Very confusing for anyone who already had a large collection of DIN cables for AKG mics with conventionally wired connectors. True, but also an easy one to spot when you check your handiwork.

If you are running from a 13A socket then a 32A distro is no better, & a lot more expensive, than a 4-way trailing socket. If you may be going into spaces that have a 32A outlet, then, yes, using a distro would give you a more secure power source, but it probably won't be anywhere near where you want to set up, so you'll need a 32A extension cable as well. E2A: When running a lot of gear at a venue, regardless of the current draw, I always try to split my load across at least 2 13A outlets, to give a bit of redundancy. In your case I would split the amps between sockets, so you wouldn't lose everything if a fuse died.

Wouldn't it click/thump really badly though if you did this with the channel faders up? A quick down & up on the master or group faders while muting & unmuting would solve that, but I rather suspect David has the real answer.

See lamplighter's most recent post. Each relay is patched into a Channel Insert socket, using a TRS jack (see the GL2200 manual for info about wiring Inserts). There are probably lots of variations of this type of relay board - if going with the one revbobuk has linked to you would want the version with mechanical relays. Ignore my suggestion about using Mute Groups - I see the GL2200 didn't have them. Tim's suggestion of hiring a digital desk may be the best option, unless you want to spend a lot of time with a soldering iron, though you might find an A&H Q16 or Q32 would involve a less steep learning curve.

Absolutely - keep it simple. And as hippy suggests, don't power everything up together. Allowing for about 70% amplifier efficiency you would need to blast your punters with 3kW of continuous sine wave to blow a 13A fuse, though it's always worth checking what size MCB is feeding your socket(s)..

Bearing in mind who the client is, this probably had a budget that would make a short drama series (or pay an international footballer for a month). Think American newscaster.

(Been doing both for over 40 years, so yes I do have a bit :)). Basically I only use aids for watching TV, especially drama (but let's not get into "mumblegate") & talks / lectures, where either the PA or the voices aren't up to the task, for which all the processing really helps, as does the "directional" setting in noisy-background areas (TBF the loop systems I've met in lecture theatres have usually worked well if the PA does, but I usually forget to check). The frequency-compensated but otherwise unprocessed "music" setting is there as a check on what I'm inflicting on the audience when balancing live performances. Like AGC on recording devices, the compression, etc. does the job when clarity rather than fidelity is the target.