sandall

Or indeed at all (I missed the word plywood in the OP). For thick ply there are a variety of adaptors out there to mount things onto mic stands. For thin ply you could use a top-hat style 5/8" - 3/8" thread adaptor with a thin 5/8" mic-stand nut & a bit of glue. Thanks Junior8 - I'll bookmark them.

3/8" Whitworth. Now that hardware shops are a thing of the past you may need to shop around. CPC do a complete tap & die set for about £30.

Definitely the (cardioid) 835. Super-cardioid mics like the 845 have their place on stage, under carefully controlled conditions, but for general-purpose use like yours, as Mr Steve suggests, a cardioid is much more forgiving.

2 thoughts that occur (ignoring any additional complexities for you David) - Wait-times should only active when cues are linked, so, by default, unlinking would disable any associated wait-times. As adding a post-wait to Cue-1 or pre-wait to Cue-2 effectively has the same result, does having both options risk introducing a potential peasant-trap, particularly if someone else wrote the cue-stack that no longer matches what's just happened on stage? (just a thought)

Anyone have a schematic for a 312? Apparently the headset socket works ok, but the speaker only produces switching clicks. I haven't got my hands on it yet, but will be looking for a dry-joint, a dried-out cap or a dead IC.

Preludes are noticeably bigger & heavier than Minuettes (which may or not be a factor in your venue). The big issue we had with them was that the catches on the lamptrays had a habit of spontaneously coming undone (invariably over audience !!), leaving the lamp shining at the backs of heads :( Can't help with formatting - the "Remove formatting" button doesn't !!

Thinking about it I would tend to agree. I'm a self-confessed serial hoarder of anything old (I still have shelves of 1/4" show tapes & vinyl sfx discs that I will probably never play again), so if I did need to reuse a production I would just dig out the XP machine that I used for the original show, rather than try to migrate it to the new version. Also tend to agree, as you will need to make a template for the rest of your layout preferences.

Try your local pound shop for 4-way keys, though I haven't seen one with the stepped shaft before.

Interesting thought, though backward compatibility sounds like the ability to run a new production on an earlier version (or am I missing something?), which seems an unlikely requirement. On the other hand I would definitely put the ability to reuse, or copy, an old production on the "would be nice" (but not essential) list E2A: Or is the problem that "old" & "new" productions are in totally different formats?

I suspect quite a few of us. The laptops I normally .take out for presentations & audio playback are all XP. They have the great advantage of enabling me to say"No, you CAN'T email me the latest version of your powerpoint or your music when you change your mind in the middle of the gig", "No , I CAN'T play the video clip you forgot from Youtube" or "No, I CAN'T download your music from iTunes as you go on stage".

A passing thought, David - You presumably developed Multiplay on XP (if not something earlier), & it seems to work quite happily on Win-7. Bearing in mind that many (most?) users will be avoiding Win-10 for anything audio-related, & are probably quite happy with XP, can you confirm that MP-3 will continue to work on XP (& Win-7)?

It's hard to imagine why you would ever want or need to hide it.

Ok, I confess to being an unreformed luddite. These do indeed look quite interesting, though it would be interesting to hear what "low noise" means.

All this talk of CRI is maybe getting a long way from the original query about what to use to illuminate a mini touring show. When someone makes a LED Fresnel for the cost of a tungsten one, then that would be the way to go, but in the meantime 4 small fresnels & a couple of spare lamps is surely the answer. Dropping a fresnel might break the lamp; dropping a cheap LED fixture might well kill it. Also rigging & dressing DMX cables would take extra time when time is short, & adds one more thing to go wrong.,

Haven't used it for some time, but my default layout for the floating buttons (all to left of cue list) is - GO FADE ADVANCE STOP Tried to add a screenshot, but Postimage defeated me :(

Used price with lamp & barndoors - £75 max (£50 if you shop around). Very valid point from Kevin - wide & variable beam angle is an absolute essential, as are barndoors, as the exact lighting positions is likely to be different for every venue. If the music tracks are already programmed on a laptop, then totally agree, but if they are on CDs or a phone then maybe not (it's not very long ago that most of my international touring shows arrived with a box of cassettes, to be cued up by whoever wasn't on stage at the time).

Your video shows an acting area that is also 2m high. Unless you are happy with a lot of spill this suggests using a small number of fresnels rather than a lot of PARs. 6/8 halogen PARs are going to need a lot of power (could be a problem if you only have one 10A outlet available); 6/8 decent LED PARs are going to use up a lot of Drachma (sorry, Euros). The cheapest, & quickest to rig, solution would be four 500W Fresnels (CCT Minuettes are ideal for many reasons, though their barndoors are a pain), 2 each side, about 4m downstage. Tank-traps are fine if you use a large enough van to take the scaffold poles; if not then you will need folding stands that will reach to at least 4m. The video suggests that you don't need backlights - they would be difficult to position, & would merely highlight people who are pretending to be invisible. I am assuming that your lighting changes are basically Up & Down, so if you go the halogen route then a simple 2+ channel dimmer (or even a 10A follow-spot dimmer) would be fine. If it does not have faders there are several palm-sized 6-channel analogue "desks" available, some of which also output DMX. If you can find decent warm-white LED fresnels within your budget then you will only need the "desk". I would definitely NOT use a laptop-based system - it is overkill, the hardware is fragile (& very attractive to thieves), & pushing a real fader up or down is a lot easier in the dark than a keyboard or touchscreen.

No he changed the accounts DOB. In that case it really isn't secure. Sounds like another good reason for not having anything to do with it.

I don't think they use feet in Greece, & it's a long way from WL & SE.

I suspect that was meant to read "checking"!

Glad to see that you are sorted :)

I don't remember having to do any drilling-out to change lamp-bases, but it's also been a few years..... Also never noticed a cooling-down racket, though their small size does mean they get very hot, especially with 650W lamps, but maybe my venues were noisier than yours.... By "lamp, etc." I was assuming hook-clamp, 4 shutters (with handles !!) & no cracked lenses, though I would imagine there are still plenty of spares around. Slightly off-topic - if anyone has Zero-88 queries, don't expect the usual instant response from Cwmbran - there seems to be an IT issue stopping them logging into their BR accounts.

In the case of the BBC, & no doubt lots of other organisations, the high-earners were "encouraged" to set themselves up as service companies to get them "off the books", to cut down on NI & pension contributions.

Sounds reasonable, assuming they come with lamps, etc. & aren't too scruffy.

Does the offer come with a price tag ? Not a bright as Acclaims or Preludes, but small & light, & perfectly adequate for small halls.