sandall

Probably just as well it got lost🙂 (it looked so much like snake-oil I didn't bother to read the whole "spec")

Sounds like either the headphone cable is picking up external interference, or you have intermodulation between your devices. Have you tried switching channels on the IEM? Also, check whether the wiring of your in-ears matches that of the G4. Edit: Whether or not the iEMatch does what it claims to do, it doesn't look like it would make much difference to your current problem.

So they do exist?

I guess that's better than a box of batteries, a pack of light-bulbs, a sheet of crumpled brown paper & an awful lot of air in a large box from CPC (they did apologise). I also remember a now-defunct Scottish installer sending an O & M manual (lots of A4 sheets in plastic wallets in a big ring binder) loose in a box big enough for 20 of them. A few of the plastic wallets survived, but not many.

Yes. Shortish J-J always useful, though I'm not sure of the lead situation. I'll ask

I have a vague memory of changing some mics & earphones some years ago, but can't find any paperwork, & a quick google/fleabay search hasn't come up with anything.

When I bought my 802 they came with 3 hanging brackets, which I've never used. Not the JTE ones, but may be of interest.

Noted. Might be worth getting your invoice in ahead of the job.

Interesting article. Rather suggests that anything written in a PO will always be superseded by the subsequent invoice.

There was a period of several years when a lot of my customers came into that category, though events often ended up with heated after-show discussions with the man with the roll of notes (or, occasionally, the bride's mother). Re Paull's point - when I first started freelancing for the BBC (rather than being on the payroll) I was told that what mattered in a BBC contract was which side applies the most recent T&Cs (basically you ignore theirs & insist on your own). I've no idea whether this is part of normal contract law (or even current BBC practise), but it worked for me.

Long before LED came along, the game-changer was when lighting desks started being designed by computer engineers, rather than lighting operators (grey writing on a small grey button, in a row of identical grey buttons, in a sea of grey buttons - "Can I have a red 'Record' button?" "No, we only bought grey ones!"). By contrast, specialist computer (& laptop) keyboards with colour-coded button-tops have been around for decades.

Not a 520, but I can probably lay my hands on a was-working Sirius 48 (& possibly a still-working one in the not-too-distant future).

It was indeed a good reason to visit. The show itself seemed noticeably smaller this year (quite a few manufacturers had a presence on a distributor's stand rather than their own), with a lot of empty space round the edges & no stands on the gallery. It was quite busy by afternoon (a lot of students appeared after lunch), but Interestingly whenever I passed the seminar theatres they were barely half full.

Laziness. Funnily enough my main customer these days is a large local authority, who in the last year have paid in anything from 3 to 28 days, depending on how quickly people sign things off & whether they catch or miss the weekly payments run.

I put "Payment terms - 7 days from invoice" on all my invoices. Doesn't necessarily work, but it means I don't have to wait 6 weeks before chasing.

The name on the box suggests they are still own-brand.

Big Clive has a "how to make...." at https://www.bigclive.com/pyro.htm

Made of MDF, so I wouldn't want to hang anything heavier than a cup of tea in one. I think Simon has the answer, but very good point from Dave m about finding the CoG of your load before drilling any holes.

You could use DMX switches to power them on & off, but they would go into their start-up mode when powered-on - might or might not be a problem, depending on why you want to be able to turn them off. Plugging & unplugging a feed of DMX might do what you want - experimentation needed. As Alister suggests, most (all?) budget fittings are either DMX or free-running, not both at the same time.

Oh, the joys of buying online 😥

Having similar am-dram experience over several decades I would just add to the above - Unless you have/are an experienced sound mixer to set up the system & waggle the faders it will probably sound awful. If most of the cast have an open mic it will definitely sound awful. Assuming you have the necessary skills, then hire what you need for the show - always cheaper unless you need radiomics for several shows a year. If you/they are determined to use radiomics then start with 4 for the first show (principals only; shotgun mics for the rest). If that works well then consider 8 for the next show.

Lots to choose from, but try to go for one with opto-isolators on all outputs, rather than just one on the input.

In that list the key has to be "rarely moved", which puts them in the same category as Office IT equipment

Also, the amazingly "adaptable" (at enormous expense) theatre spaces will end up only being used in the layout that has the maximum possible number of seats.

If you mean HSG107 (the 24-page booklet/PDF) this is what they suggest -