sandall

You've obviously been luckier with 1202's than me😥

My only problem with the small Behringer mixers (& I gather, other Behringer gear) has been overheating power-supplies, due to undersized heatsinks & lack of ventilation. Fine for occasional use, but never for 24/7. It may be that they are fine on 220v mains, but 240+v just pushes them over the edge.

Likewise

Yup, usually halfway through the first half🙁

Back in the day I stopped using Prelude profiles over audience after several cases of Sudden Prelude Droop, often accompanied by Sudden Prelude Lamptray Unlatch, producing a Sudden Audience Toplighting effect.

Ok, got it thanks David

I though it would be useful to have a copy on my office PC, but (maybe I'm just being thick) I can't find any way of downloading even v.2.5.5, never mind v.3.

And probably hundreds of others🙂

Good call, thanks. An el-cheapo once has just landed on the doormat.

Maybe this is an appropriate place to enquire about charging & care of small SLAs. A while ago I bought a 12AH one for 2-horns-&-a-mic-in-a park gigs, but am a bit nervous about using my car-battery charger with its 2A trickle-charge rate.

Presumably/hopefully they, government, broadcasters, etc, etc. will/should/did (before someone decided to save some money, as with gas storage) have diesel back-up generators. They might even have full tanks, but maybe that's too much of an ask.

A huge difference in cost?

Probably doesn't help, but this was an installation I did for a multi-use church about 10 years ago, where the client insisted on having physical faders. The budget was really tight, so any usable bits from the previous system, like the Philips speech columns, were retained. It gives the non-technical user a Music & a Speech master fader. Tablet control wasn't really a viable option then, & would have been rejected by the client. Not totally foolproof, as the QU16 firmware didn't allow selective lockout of routing, etc, so relies on nobody destroying ALL the copies of the set-up memory, but I've only had to go back when the elderly loop amp failed.

A long time ago I did an emergency rig for an all-acoustic band in a school hall using a pair of AKG LSM50s (5" driver, sealed box). Plenty of volume & a perfectly acceptable sound. It's surprising how well many of these tiny speakers perform.

I would hope that decent audio gear wouldn't introduce a phase reverse, but the easy check would be to plug it all up & play a low-frequency sweep through the system, with & without a phase-reversing cable in the subs feed. If you're lucky one way will sound better 🙂

I guess I've been lucky. For corporates & dinners it's usually been what the clients/delegates were offered (including a few silver-service gigs), but never less than the production team were having.

The service department of a Yamaha dealer would seem to be a good start.

Welcome to BR. Are you talking about hiring complete kits (in which case check with your supplier about the frequency bands - Sennheiser kits should be fine), or just the headset mics themselves (in which case the frequency is irrelevant)? Headset mics lead a rough life, so (unless you are a high-end show, demanding high-end kit) depending on the length of the run it may be cheaper to buy however many you need, plus a few spares. There are lots of generic headset mics around, from around £25 - £40. Try this thread.

https://www.lights4fun.co.uk/ In answer to your final question - the word "wedding" automatically doubles all prices.

Maybe not a problem, but 8OW equivalent (possibly nearer 50W in practice) isn't going to be very bright compared to the original 500W K/1 lamp

Capacitor value is fine (2.2uF, 16V)), not sure what the 200 Ohm resistor is doing. Can you do a sketch showing all the connections?

Next - do you have easy access to the bits, & a soldering iron? None of the component values are critical. I would suggest starting with R1 as about 1k & R2 as about 2k. The capacitor can be anything from 1 to 10 uF (NB: electrolytic capacitors need to be the right way round), with voltage rating at least twice the battery voltage. The resistor between battery & capsule will depend a bit on the battery voltage (up to 10k for 9V). For assembly you could use a bit of project-board, a terminal strip or even make your own spider's web (making sure wires are sleeved or taped, to save shorting things out). Good luck.

Like Kerry, I'm assuming this is for your current venue. You don't say where you are in the pecking-order. If you are in overall charge of the audio refit I would suggest drawing up a performance spec (preferably with the help of a theatre-savvy acoustic consultant) & then calling in the dealers. Is anyone higher up the pecking-order in a position to say "no, you can't put your hangs there, they'll spoil the look of x"? If you're not in charge at least try to make sure that audio doesn't fall into the grasp of the main electrical contractor.

Ok, a couple of points. Powering - Yes, for a comms mic 1.5v should be fine. The capacitor - No, it's there to keep your 1.5v out of the mic preamp (there shouldn't be any phantom power* on a comms unit). Signal level - No, electret mics are usually much "louder" than the dynamic ones used for comms, so a transformer, a couple of resistors or a potentiometer are needed to get your mic level down, to match other mics on the system. (*connecting electret mics to mixers with phantom power is a whole other topic, which gets discussed here from time to time). I have no experience of bone-conduction mics, so no idea of the level they produce, but this might be of interest - https://www.vocal.com/voice-quality-enhancement/utilizing-a-bone-conduction-microphone/

Not really hung up on them - just old-fashioned Beebthink - if in doubt (or even if not) add a transformer (there's a LL/something for every occasion!)