sleah

Don't 'spose anyone knows if you can use a DMX splitter to split the old Martin RS485 protocol as used with old Roboscans etc, with appropriate 2/3 pin swap? I've discovered Martin made a 'Martin RS485 Optosplitter' (there's on on t'bay at the moment) but wonder if it is just a DMX splitter with the pins swapped?

I've got/used loads of black XLR but never had reason to check the shells for continuity. Have to get the multimeter out! For this project I'll stick with the silver Ethercons to play safe.

Thanks for the thoughts, and after more research I'm happy finding the right cable 🙂 Next question! Ethercon. They should be used and opinion seems to be there should be continuity shell to shell, which seems reasonable. Looking at availability of both shells and outlets, there are the black versions, which make me wonder of they would be suitable as surely the black coating would prevent or reduce continuity? Many made up (black shelled) patch leads are available claiming compatibility with AES50 (and probably work fine most of the time), but I wonder if it would be better to always use bare-metal shells and outlets? I'm planning on using the silver connectors anyway but interested in experience / opinions.

I've recently purchased an X32 and two stage boxes for my workplace. I need to get some additional infrastructure cabling installed to enable use of the stage boxes. Unfortunately the current infrastructure is all CAT6 UTP. Running temporary cables isn't an option. The spec for AES50 is screened, however I haven't come up with a definitive answer as to the exact type, and if it matters. What I'm referring to is that screened cables can be STP, FTP, S/FTP, U/FTP and so on. It may be just the overall foil wrap is fine, but don't want to put the wrong stuff in.... I'm also assuming CAT5e screened will be find, as CAT7a S/FTP screened gets expensive!

I seems to me the issue is more about the overall rating of the unit. If a twin is rated at 26A, then 4 of them have an overall rating of 104A, which if fed by a suitable supply would be fine. What are the chances of manufacturing a single, 8-way unit rated at 104A?

I'm considering some battery uplighters. Probably 8 and really don't want to spend more than £200 per unit. RGB is fine, not fussed about CW/WW/UV/ETC. There's a couple of options out there for that money, just wondering if anyone had used any of the budget end uplighters? Will probably only be used in a couple of spaces. Both 6m high with pale, magnolia walls, white ceiling. They'll just be for eye candy for meals or concerts. I'm hoping the budget type will at least get most of the way up the 6m and not look all pathetic...

I've had cables and other non items in bags in bags in bags in courier bags in recent months. Tell you what's crazy - I'm 54 years old, when I was at school in the late 70's/early 80's I remember doing school projects about the problem of excess packaging. I'd say it's worse now that it ever was back then 😞

If you use Facebook, there's a useful support group that's worth a look: ETC Eos Nomad Users | Facebook

It's interesting that interest in historic kit is quite high profile. I guess it's the advent of LED that's been a huge game-changer. After all, until LED theatre lanterns have been largely the same since someone put a bulb in biscuit tin, then added a lens. Even movers have been the same basic device until LED. Wonder what the next major thing will be?

These are great, but do have a fan..... LEDJ Performer 18 Quad Zoom

I was going to suggest modd'ing a standard rack. Also, you should really add a spreader plate as the steel can be quite thin. Also beware many racks have removeable sides, tops etc. so may restrict hanging points.

Some older 'disco' type fixtures often had a 6.35mm jack socket for 'remote' control, I don't know if any still have. Shorting the right pins (maybe with a resistor?) would simply toggle between blackout and stand-alone. I have a pair of Stairville MV250H moving heads that have the socket, you could buy a little remote with 3 buttons and LEDS. Mine was just buttons, resistors and LEDs, dead easy to make a home-brew version. Just connect one of the buttons to a DMX>Relay and bingo, DMX blackout control over stand-alone!

To be fair, it's not much worse than daisy chaining. Although much depends on what is protecting the first in line, trip / fuse etc. Piggy-backing or daisy-chaining won't make any difference to the problem you have as they all come from a single plug. I'd suggest piggy-backing or daisy-chaining in smaller groups connected to separate power outlets (that are fed from separate trips), and if not possible to connect to separate trips, a staggered switch-on as already suggested.

This is also worth considering if there is ever a chance someone will bring in their own mic, such as a singer, which is more likely Ch70 if it's their personal kit.

I cannot agree more. I've run shows using 16/20 even 22 ways of radios, all school/am-dram and it's not an easy job! You need a good understanding of how radio works as it can be a dark art.... I will only operate with a marked script. I won't alow the director to suggest swapping packs around between characters unless it would be a real show-stopper - I tell them that sharing packs in itself is VERY LIKELY going to be a show-stopper as something WILL go wrong. If you do have to swap, do it yourself or delegate to a helper who you would trust with your life.. Each character is given a number, which is also the radio mic number and the desk channel number (I use a lot of masking tape..). I go through the script and put the characters number by each line they speak. I also tell the cast to assume the mic is on all the time in case I didn't drop their mic down in time or bring it up early. Follow the script, no distractions. I won't use comms (don't have any anyway) as I would lose my place which can be very bad! I disable local mute buttons and power buttons where possible. Let performers have have access and I guarentee someone WILL turn off/mute and not turn it back on. Regardless of how laidback you normally are, you have to be absolutely anal when it comes to using lots of radios, be it marking the script and being a complete arse if the director makes changes and doesn't tell you (stand up to them, it's their show they could mess up) to getting the mics ready, handing them out and returning to storage. Start getting complacent at any stage and it's going to go horribly wrong and you'll just want the ground to open up.

Trantec! I' likely to be buying THIS system shortly to replace a mix'n'match system for an independant school. Mostly used by juniors (7-10 years) and some use by seniors (11-18 Years) and occasional use by a local youth am-dram. £3500 for 10 ways in Ch38 😊 Trantec is ideal for am-dram, it's not bargin-basement China-Export junk from Amazon, it's well built kit from a reputable company who also do far more expensive systems. Trantec also make the radio components for the likes of Sennheiser / Beyer /TOA for some of their offerings - they are actually owned by TOA now. Spare parts are readily available, even for discontinued kit. The system I'm looking at (S4.10) is aimed squarely right at the education and am-dram markets.

Stick it on eBay but listed as vintage/collectable to appeal to the interior design brigade 😉

I use one of those combined with a plug-in Senny tx (that doesn't supply phantom) to convert a lectern mic to wireless that is otherwise wired for on-off events where the lectern isn't near a connection point for the mics. Works perfect. Tuck the bits inside the lectern (obviously one with a shelf rather than just a single column!).

Indeed they did. They used the same as audio - 1 common 2 hot (+) 3 cold (-). And infact (and I quote) they suggested "you can use standard 3-core balanced microphone cable". Quote is from the Martin 2308 Controller users guide, also similar wording in the 2504 controller guide and Roboscan 812 guide. Roboscan 812s (and some other variants) could use either the Martin RS-485 protocol or DMX, the guides do not differentiate the two when mentioning cables. Incidentally, the afore mentioned kit was (is!) all 3 pin....

The RodeLink Newsshooter will do exactly what you want, although apart from being on Rode's website, it appears to have vanished off the face of the earth!! However, it is 2.4ghz (which may or may not be an issue) and range can be limiting - I've struggled with 15-20m, plus battery life isn't great, couple of hours maybe for both tx and rx. Oh, the website doesn't mention phantom, but look at the pdf and it's there, along with 'plug in power' on the 3.5mm socket too! I bought 2 systems to use exactly what they were designed for so the limitations weren't an issue for me and they have been very good.

I bet that's the case for many users, be it schools, amdram etc. I've spoken to people who had no idea you sometimes needed licenses for wireless mics, and to be honest why would they if no-one told them or it wasn't right in front of them? It's similar with consumer drones. Sadly there are also some people who dive in and invest in systems without doing their homework or just get duff advice. Maybe there should clearer labeling on equipment to boldly state that it may need a licence, on occasions when there is, it can be tucked away in the fine print or a really small font on a label.

Look, what I do behind closed doors is none of your business. . . . I still can't sit down....😆😆

Thanks for the ideas/thoughts and especially the anecdotes 😁 , it's given me something to think about. I'm in no rush, it could be months before I revisit. I've already converted one that used a single dc motor to a 240vac motor and added a pcb as-is. Works a treat👍 Oh, nearly forgot, whilst tinkering, one of the PCBs decided to go pop, that lovely sound of a 240v short. Good sound, even if it does take 10 minutes to get back in to my skin afterwards 😂 May have been a strand of wire I missed, took the ring main breaker out and left a great skid mark on my workbench.

Just chucking this out there for the electronics enthusiasts if you fancy a mull over it. I'm restoring some of my old disco lighting effects. One of which (in perfect working order) is here: I have a couple of other effects that having spinning motors that rotate the halogen lamps. The problem I have is the PCB's that do the sound to motor have long since expired, at least one was missing when I bought an effect many years ago. I do, however, have a couple of scavanged PCB's from more modern LED effects where the board supports 'bass beat-to-240v pulse', which does the bass detection nicely. My effects use 12v DC motors where the rotation direction depends on polarity. I could just drop the 240v 'pulse' to 12v dc, but that will only give one direction of spin. I want them to do as the effect in the video, where they will (sometimes!) change direction on the bass beat. So my thought is to use the scavanged PCB's and drop to DC, but also add in something like a M-S J K flip flop to drive either transistors or relays to do the polarity reverse. It may sound over complex, but at least one of my dead boards has about 5 74 series logic chips just to drive one motor.... so that's probably how it was done. My other thought is to see if I can swap the DC motors for 240v synchronous motors and drive directly from the pcb's as they will randomly change direction when power is applied from the 'pulse'. I have a couple of lighting effects that work exactly like that. Swapping the motors seems the simplest option, if the shafts will fit? I guess it's keeping me out of trouble 🙂

Sorry if this is egg-sucking advice - but have you tried being quite brutal with it? With the collet unscrewed fully - a good jiggling and banging it on something hard (not enough to do serious harm of course). It might loosen something and allow the tube to be extracted.