John_P

Interesting option, I've ordered one to look at, as I've a temporary project these could be the solution to. Most places I've seen using the security flood as houselights, never ran them anywhere near 100% in actual use, so might be an option for OP? With a claimed beam angle of 38° more maybe needed for coverage. I'll report back when I get a chance...... I was tempted to order some as they could be handy uplighters for the front of stage at small gigs. Looks like you bought the last of them so I'll look forward to seeing what you think of them.

Hi, Has anyone got the definitive answer for saving scenes on the x32 to a usb stick? Seems random whether a stick will work or not, I've just tried half a dozen, all of them work fine on a pc but only one is actually recognised by the x32 - same issue with the rack and full size desk. The stick that works is an old one so could be a capacity issue and modern ones with more memory are the problem?

Thanks chaps - some really great ideas. I don't know why I hadn't thought of using a tank trap and pole to effectively replace a tripod so I can get it close to the speakers - maybe a little t bar for two lights so I can get them high and reasonably forward and downlight the front of the stage. I'm conscious of making sure its safe - I'm paranoid about any gear falling or being knocked over and it is one of the curses of being mobile and having to set up a rig every week. I also trying to get the lights above head height - I know performers moan about bright lights but if they are close and eye level it's asking for people to be unhappy. My other thought is to have some form of bracket I can attached one or two lights onto at the top side of the top speakers and secure it by having a plate on the top that is strapped into place - I'd have to stick with light weight lights if I go that route - maybe there is an existing product I can use or adapt.

Thanks for the reply - that makes sense and fits how I was thinking that a fresnel might give me more options for side lighting when strong pars at the side lights the room as well as the stage I'll start looking for some.

Hi, I work a lot of function and tribute band gigs that take me to a big variety of rooms and stages. I always feel I'm struggling to get decent lighting in the small room where I can't get lights above and in front of the band so I'd appreciate any advice and tips. I usually try to squeeze in some uplighters between the front wedges and if I can manage it a tripod at each of the front stage wings with up to 4 pars on each. Problem is that can end up behind the main speakers which isn't ideal. I thought about securing a powerful par on top of the mains (I don't want to bolt mountings into my top speakers but I can see that as a solution). Or perhaps a single pole stand next to the mains with a side mounted par(s) - is anyone mounting lights this way? Is there any mileage in looking at fresnels instead of pars if I go down this route?

That does sound very low - I'd normally start with speakers like that by putting the volume at full and then backing it off if you need to balance the level with the sub. Then it's possible (but unlikely) that might lower the sub and top level if the desk faders are all really low for the the volumes you want to play it. Is it possible that the sub isn't powerful enough and he is trying the balance the system to the point where you have a quiet PA?

I think some rule has changed as I've seen few retailers that operate more like it used to be with a simple all included UK price. I bought some speakers from Bax last week, no custom or handling charges, just the price on the website and they arrived from Holland in 4 days - all very straight forward.

+1 I often use wd to remove gaffa tape residue but any good solvent like white spirit should work.

I've used xair mixers for gigs that haven't got space to a bigger desk for years and find them rock solid, easy to use and sound fine. The one drawback is the wifi so it you are thinking of using it with a tablet then I'd strongly recommend adding an external router, preferably a dual band that can use 5GHz as well the more crowded. Sounds like a great choice to me.

The few gigs I've done so far (including one today), Between gigs, I've been cleaning mics with alcohol wipe, drying them and storing in a sealed plastic bag. Singers can then open the bag and connect the mic and after their performance drop them in a bag ready for me clean a couple of days later. I'm happy with that process for now but I'd have to invest in a lot more mics if I was to get really busy again.

Yes with the number of fake and dodgy Shure mics out there, buying from reputable dealers is the only way. There are enough pitfalls making sure wireless systems work reliably without taking any risks.

Hi, I was looking at upgrading the radiio mics from the current Senn G2 and Shure BLX, I like the QLXD, but one I saw for sale has some unusual numbers - the seller claims the frequency is H51 626 - 668MHz, as far as I can see that can't be right. H51 is 534-598, whereas 6260668 would be Sennheiser band B which I'm not sure is legal in the UK. I suspect that means it's either a fake or a grey import and I should leave it but I'm curious about the legalities for future purchases so I don't have any issues.

On the Xair software you have metering on every channel which should be enough to make sure you have a healthy signal level and you can label each channel in the layout section. Make sure you buy an external router - dual band or 5GHz as the internal wifi on the xr18 is garbage. Then just walk out front during sound check with your tablet and set up the mix and save it. Not quite as intuitive to adjust the mix from the stage as an analogue desk but you'll get used to it and the app is very easy to use.

Thanks for that - I haven't manged to find anything online by Ciare with the same codes so if you have any more pointers I'd appreciate it.

A friend of mine needs a replacement speaker for an active sub. LEM T5 15" speaker with the code printed on it. cod. 227089 1103-75801 Any suggestions for what it is would be great.

Thanks Tim, I’ll give them a go.

I was about to add a pack of these - I’d only heard good things about them previously in terms of being pretty bright and reliable, given the price. Assuming your happy with everything else are you only having an issue when fading to dark or are they a bit jumpy when moving between colours as well?

Thanks. I have a couple of similar adj bars that are pretty good at the back of a stage. That looks great with a few of them for the effect. I’m trying to light up the front of the band when I don’t have space for a truss in front but give a step up from putting some pars on a tripod in the front corners. I thought a flood with barn doors either on stands or mounted to speakers might work.

I have plenty of led par 64 cans and a dozen adj mega profile plus lights so on a truss and as uplighters I can do a reasonable show especially when I add in some movers - currently have 4 chauvet duo spots. However some gigs can be in smallish rooms where I’d like more options for the front of bands and have limited space. I thought I might add a few more lights and would appreciate any thoughts. Maybe a pair of led flood panels on the front corners - like the stairville led 9 or even 18 floods with barn doors might do the job but I’m open to suggestions.

I have a mk1 hk actor rig and a newer pulsar rig for bigger gigs. Either one regularly gets complements about the quality of sound they put out - the 15inch subs on the actor have a surprising amount of punch for the power and 15s but in a pub/small club they have plenty of power. Quick to setup - plug and play linked to a digital desk to eq in my case. They are mdf type material rather than ply but I've touched my up to hide any dings. They seem very reliable and just keep going so I keep the actor for smaller gigs or occasionally to add to the pulsar for a huge sound. I'm used to mixing bands so my power demands differ to yours but it would probably struggle a little in the bigger rooms - 750 people is a big ask unless you are thinking about doubling up two actor rigs. It's worth comparing the two versions of the actor - I have the older mk1 and it has an old school traditional design for the amp modules so they are fairly easy for a tech to work on if you did need any repairs. I've got a few boxes of the hk premium pro range as well and despite the naff name they throw out a fair sound as well so might be worth a look. The other alternative to rcf for active speakers to check out are yamaha which have links to nexo for the designs and sound great.

Thanks Tim appreciate the reply. The gig is in a village near Beverley. I’ll have a look at those profiles - as my leds are all DMX I’d have the extra hire of controllers to factor in as well - I suspect hpss or one of the other local bigger firms would sort it but with the associated costs that could be reduced if I could focus the beams from some of my leds.

I mainly do sound work for local bands but often supply lighting for gigs as well - eurolite par 64s and equinox powerpars on a light bridge and adj uplighter pars. I have a gig in a few months with the tech spec requesting uplighters and 3 profile lights with Lee gel 153 and shuttering down to upper half body and dimming. So that’s a little different to my usual setup and either more theatre than gig style (or possibly old style as the sound spec is very analog) Any advice would be great - I’m trying to keep the costs down for the promoter so if there a way to add barn doors to my lights and make it work that would save hiring in. Or if I’m wasting my time then any recommendations for what to look for if I buy or hire extra lights.