James

Just trying to sort some of my systems out and I can't seem to find any markings for frequency range (830-865MHz /  606-638MHz) on the Receiver Antennas 

Any hints of what I might be missing from other Trantec users? 

Thanks 

James. 

Bit of a long shot but wondered if anyone had one of these available? 

James. 

Interesting thread - It reminds me I still have my old portable show relay system for village halls floating about . Modulator, DA, stacks of cabling and a number of 19" Flat screen TVs with analogue decoders. Probably need to get round to listing it if there is still a demand for this type of thing...

Nowadays If I was to start from scratch I'd probably consider something NDI based (fairly low latency, reasonable quality and can be distributed using standard network infrastructure) 

Interesting, CQ-20 doesn't appear to be much more expensive than an XR-18, Does it have output delay? 

Is it portable ? 
 

Another fan of the (passive) ZX1 here - have a number and have used them over subs for FOH (either SB121 or the ZX1-sub) and by themselves for speech only conference, foldback, front fills etc..  

Personally I'd look at the output of the scaler / converter on a scope/WFM to see if what you are outputting is P or PsF, or do you have a scaler that is taking 1080 and producing 2016 or similar or if the frame rate is 25P or 50P or something else. (I'd probably also check if the 25P produced by the other camera is actually 25p or 25PsF)

What brand/model is the scaler / converter?

James. 

14 hours ago, gareth said:

A quick Google reveals that the amateur company were booted out of the venue in 2008, the building suffered very badly due to an arson attack in 2015 and was demolished completely in 2017. I wonder if any of the MMS bits from their venue survive? Maybe you even have some of them in your collection...

I believe Danny (the chap you were talking about who built the impressive homebrew desk) is a Blue Room member (https://www.blue-room.org.uk/profile/14434-spectralight/) 
(and also https://www.blue-room.org.uk/profile/9729-electronicdan/)

He did seem to confirm that they were able to remove the MMS bits from the venue in the previous MMS thread.  

Have been using an Allen & Heath GLD-80 for some years now and last make made the cardinal sin of recalling a new scene before saving the old. Spent a bit of time looking for the undo with no joy which got me thinking which of the current crop of small format digital desks currently support undo and which don't?

(I had based my assumption on regularly still using a somewhat venerable 01v96 which does have a scene recall undo so had just assumed that all more contemporary ones would also!) 

James. 

Is this a permanent install or one that needs to be rigged/derigged on a weekly basis. 
What is the content - is this vocal only for readings/sermons or do you have a full on worship band? 
Have you considered a specialist consultant to advise on best system for space and your requirements? 

What idea of budget do you have for this project?
Will the matches be daytime or evening? 
Do you have anywhere to mount the cameras?
Do you have anyone responsible for managing the recordings?
Do you want audio with the pictures?
Do you have any idea how you might distribute the recordings to the players?
 

Are you able to supply a still showing what you are getting from the existing camera to indicate how much keystoning you are looking for? 

James. 

On 1/1/2023 at 11:28 PM, DrV said:

All that plus a Jubilee clip around the outside of the collar would be a low cost, pretty strong solution.

 As it happens I have attempted a repair with epoxy (and did use a Jubilee clip to add pressure) Will thoroughly inspect once the epoxy is dry. 

Would still feel slightly more comfortable if I could track down an original replacement part but suspect that is somewhat unlikely now. 

Thanks all 

James. 

I have a number of 100v line horns that tend to get used for things like school sports days etc, I don't do a lot and have picked up various items over the years from various locations. 

One of my 3 larger horns has recently been damaged and I'm trying to find out more about it to ideally look to repair it as it has been fairly useful.

What's happened is the plastic thread between the Horn and Compression Driver has become cracked which means the driver is no longer securely attached. I could attempt to repair the thread with epoxy adhesive but am reluctant to trust a repair (particularly as this is all that supports the ~2Kg driver) so would rather track down a replacement component if possible. 

There are no markings on the horn but there is the following on the Driver:

• Thunder & Calm
• Suim Technology Corporation
• Compresion Driver
• NDU-50B
• 50 Watts 8 Ohm
• Made in Korea

I don't know if the horn comes from the same source as the driver, I've tried various searches online but have struggled to track down a UK based dealer for "Suim Technology Corporation"  It came to me as part of a bulk lot from a used dealer so that's probably a dead end - any advice would be greatly appreciated. 

Thank you 

James.  

1 hour ago, Stuart91 said:

ITo be fair, the tree will probably have a better emotional range than some of the turns I've worked with...

And more patience. 

Thanks all - something to try (and with a few stands in this condition If I feel enthusiastic I might try the different methods and report back on effectiveness) 

James

You mention you do a mix of things from acoustic acts to corporate speeches - Do you need the same system to cover both eventualities? 

I appreciate this isn't something I'd comprehend for music but for speech only corporate work I've done rooms of up to 150 people on a pair of EV S40s which were surprisingly effective and would be ultra lighweight. 

Just something to consider. 

James. 

I have a number of powerdrive stands of various ages, Originally Zinc finished some of the older ones are starting to show a bit of surface rust. Any suggestions on effective ways of cleaning / treating to stop further deterioration on these or similar stands? 

James. 
 

I'm sure it's an absolutely obvious question but is there any reason why it has to be that particular firewire soundcard as opposed to something a little more up to date? 

(I have a few old m-audio firewire cards and have kept some older firewire enabled laptops to work with them but they haven't been used for many a year now and I'm struggling to remember quite why I'm still holding onto them) 

James. 

Thanks Jon, 

Very useful to get some real world experience. 

Were you using the MFT lenses for the Pocket Cameras, and if so how did you find their range in the space you were in?

James.  

I'm looking at cameras for use in hotel function rooms for basic conference work 
Typically rooms of 100-1000 people and used for recording, streaming and a bit of imag where appropriate for the larger rooms. 

Typical content is would be Panel Discussions, Interviews and Lectures. 

For these events whilst the stage may normally be lit to a certain standard there are just too many variables (lights dimmed for presentation, presenter walking offstage down to floor, questions from floor) that I find (and this might be my broadcast background speaking) a remotely rackable camera to be essential. 

Whilst in the past I've hired in cameras like Sony HDC-1500 that do a very good job they can feel like overkill for these relatively small events. 

As a few events are now considering re-starting in person I'm having to give this quite a bit of thought. 

• Am I putting too much stock in being able to rack cameras for this type of use? 
• Are there any other more affordable cameras I could be considering? (purchase or hire)
• Does the software based racks control for BM cameras in the ATEM line of mixers work in real life or is it all a bit of a gimmick? 

Thankyou 

James. 

Hi, 

Covid willing I've potentially got a conference coming up in a few months and one of the spaces is a very small hotel function room. The space is apx ~50 sqm and requires a very basic light touch PA (speech only, no music) which should be as low footprint as possible to minimise impact on capacity. Previously when I've worked this room I've rigged a pair of EV S40s on case base mic stands. Acoustically they worked perfectly, visually they were completely unobtrusive and with the cast base stands I was able to get them located discretely against the wall with minimal impact but even so I wasn't 100% convinced with the stability of the stands, with them extended to ~5' high they felt fairly top heavy even with the fairly lightweight small speakers.

Appreciate I'm probably asking for the impossible but can anyone recommend a stand with a low profile base that would be more stable without a significantly higher footprint. It goes without saying that we can't screw into the hotel floor, and this small room has no overhead rigging options. 

James. 

Just checking - Did you download and install the Enttec Open USB drivers from the Lightfactory website along with the application? 

https://www.lightfactory.net/Downloads.html?mPath=6

I shudder at the number of rigged raffles etc I've knowingly announced, the old classic is the guess the weight of the cake, after a couple of guesses 'the plant' manages to be spot on... actually one of those the cake ended up on the floor so the rigged to ensure it wasn't won. Then there's the name of the teddy bear...

 

One of our local gala days held a raffle, with the usual selection of prizes donated by nearby businesses. The £15 voucher for the hairdressers was won by the baldest man in the town. The draw wasn't fixed, as far as I could see.

Aware this is getting increasingly OT...

I a Parish fair where the Curate managed to draw his own ticket for the large hamper of wine, seconds after pretending to have drawn his own ticket for a quick laugh... Given the shade of purple he went there was no way that this was anything but genuine. Obviously after joking about before hand he had to decline the prize and draw again for someone else.

Coming back to 100v line,

Yes I've always tried to stick with speaker placement rather than dealing with delays

Yes the wind can play absolute havoc with coverage on a bad day

Yes I will generally use a little compression if available on the primary mic but that is more due to poor mic technique from whoever is running the fair / sports day / event / whatever rather than for any musical reasons.

James.