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    I run a smallish AV company
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    Stuart Hogg

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  1. I am perhaps showing my ignorance here, but would it be a possibility to use heatshield along with the acetate? (E.g. Lee 269) I appreciate it might soften the focus, I've only ever seen it used on wash lights.
  2. I was in a church hall not long after some unruly teenagers had been throwing icing sugar around. Unfortunately someone had tried to mop it up. The resulting sticky mess was apparently almost impossible to shift.
  3. I suspect there's more grip than standard ply when they're dry, but less when they're wet. My stock of decks includes both, and I certainly prefer the standard ply. If you're largely indoors then it's far less of a problem.
  4. We've used Edding 751 and have been quite happy with them. They've tended to have been used more for marking drapes etc. since we use stickers for cables. But they seem to stay on just about anything. https://cpc.farnell.com/edding/015713/silver-1-2mm-marker/dp/OE01221
  5. Hex is also quite slippery out of doors if that's an issue.
  6. As Tom says, the drawback with hex board is that it's much harder to touch up or repair afterwards. A gouge in standard ply can be filled, sanded and repainted. Which is a bit of a faff but certainly cheaper overall than fresh wood.
  7. This is what I ended up doing with some and it eventually worked. Was a complete PITA though, enough that I'd try to avoid Tourmate connections in future. I remember some exhibited a specialist tool at Plasa (possibly the last year it was at Earl's Court, so going back a bit). It looked neat but was quite expensive for one specific task.
  8. I agree that the connector is rubbish. If the unit is being permanently installed, it's possible to just wire the PSU in directly. That's what I did with an SX20 that did about 5yrs heavy service in a rack mount case without any problems.
  9. I was asked to quote to light a boxing show in a hotel ballroom. Priced it up using a bunch of nice LED cyc floods with barndoors, rigged from some bars in the ceiling. Never heard a thing back from the prospective customers. After the event I found photos on social media, and it turned out that they had bought some building site floods, complete with yellow tripod stands, and stuck one behind each corner of the ring. To be fair, the photos didn't look terrible, and as Adam says it would work OK if rigged from suitable positions. If there's more than minimal budget, I'd suggest using the 300w version and putting more of them up. More sources of light means the shadows are less obvious (especially on camera) and since the bulb life isn't spectacular you're less likely to have an obvious dark patch if one were to give up during the show.
  10. I've not covered many wrestling shows, but "random" is an accurate description. On the first event, one of the headline competitors rode a Harley into the room. Hadn't been so much as mentioned to us beforehand, first I knew of it was when I heard the engine fire up. I don't think the venue were very happy... On another event, the promoters brought a set of ladders for hanging their branding around the venue. They were then used for a "ladder bout" and got broken in the process. Cue much head-scratching at the end of the gig when they have to figure out how to get it all back down again.
  11. It may boil down to the conditions of the venue licence, rather than being "law of the land". There might be variance between councils/local authorities. (For example, for many years Edinburgh were really tight on electrical safety, whereas Glasgow ignored the electrics but were far more concerned about structural stuff. I always wondered if it was down to whatever accidents had occurred in each place back in the dim and distant past) I agree. I suppose you could argue that a fire is more likely to spread unchecked if the room is empty, but the chances of that initial ignition occurring are far greater with punters in. (Especially if they are idiotic/inebriated...) Plus, even if they did have an argument here, what happens for a multi-day event?
  12. We had some cheap and cheerful wireless DMX units that behaved as the OP describes. It was usually necessary to turn the transmitter on first, then the receivers. This became a bit of a problem if the transmitter was inadvertently powered down during a show, and you would need to cycle the receivers to regain control. Powering up in the order of transmitter, then receiver, then fixtures, might solve the problem. If the units intended as receivers see a DMX signal on the XLR, they automatically start transmitting which causes chaos. Ultimately the best solution (which is what we went for) was to replace the wireless DMX units. "Alien" branded ones are still very cheap and don't seem to suffer from the same problems.
  13. Hi Bruce, We bought one back in the autumn. (CQ12T) You're more than welcome to pop up and have a play with it at some point if that'd be helpful. I've not used it much myself, but I'd figured it will be a decent option for small talking-head style gigs where having things like dynamics and variable HPF is handy, but it's hard to justify taking something like an X32 Compact or SQ5. My one gripe so far is that it's not desperately quick to navigate, compared to say the SQ series. But that's a limitation of the form factor more than anything. I suppose it's more equivalent to something like the QSC TouchMix rather than being a cut-down SQ or QU. I don't think I'd like to do a fast-paced band gig with one, but for small function bands, ceilidh bands, and solo acts doing their own sound, it's a very good option. One other variable is that the excellent MixingStation is available for the CQ, which opens up other control possibilities. My plan is to get ours mounted in a briefcase with a small router so that it can get running with iPad control with minimum faff.
  14. In Glasgow, "football special" trains are still a thing when there are matches (and gigs) on at Hampden Park. (Train is by far the easiest method of public transport from the city centre) I'm sure there must be money to be made from running these services, or they'd have been cut long ago. Of course, packing supporters into trains like sardines is far more profitable that punters heading to a weekend festival with all their baggage.
  15. Hi Colin, I wonder if there's anything else could be interfering with the receivers which is turned on during the service, but not at other times? To give you one example, I had a church not too far from you with a Sennheiser G2 receiver which had begun dropping out consistently. It turned out that they had an HDMI splitter sitting directly underneath it, as soon as the splitter was turned off the problem went away. Something similar happened at an event where the customer had a Midas MR18 sitting on top of one of our RF racks. The PSU in the mixer was sitting directly beside the front-mounted twig antenna. Moving them apart by a foot or two was enough to make some problems disappear.
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