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neilalexrose

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    Theatre sound technician based in south Hampshire
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    Neil Rose

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  1. Autograph have headphone boxes that run from a standard PA amplifier. So if its for a short run, then maybe consider a hire? They have an in and out socket, so it’s one feeder cable to the first unit, and then they all link together. Esentially its a 100ohm* variable resistor in a box wired from the speaker level input socket (Autograph’s are on XLR, but we’ve made a set that uses NL4 and have the option of 2 channels), to a 1/4” headphone output. On our boxes we’ve added a mini-jack socket in addition to the 1/4” jack with a resistor in series to deal with the low impedence of in-ear phones vs higher impedence headphones. Ours tend to come out for larger group recording sessions. Since the aquisition of an ME1 personal monitor system for musicians we haven’t deployed them on a show for a while. Neil *I’m fairly certain thats the value, but it’s been a while since we constructed ours. It could also be 1k ohm and I’m actually thinking of the pots in our old show relay speakers. I’ll have to check and see if we still have the schematic on file.
  2. Make both systems work - infra-red and induction loop. We have both systems installed in 2 venues (1300 and 300 seats), and give out IR headsets for every show and event. We have no idea how many people use the loop (as they dont need to tell us unless they have problems) but we have a lot of audience who don’t have or use hearing aids, but are beginning to loose their hearing so they take the IR headsets instead (particulary at the interval where they complain to FOh staff about cast audibility). We produce a specific mix for hearing assistance users, which is a mix of radiomic’d vocals from the desk where possible, mixed in with ambient mics that duck down when the desk mix is running. There is then a back up for the occasions where we have bands with guitars on stage, and have to switch off the induction loop due to pickups picking up the loop and causing interference or feedback. Our audio description service (and live language translation where appropriate) transmits on the 2nd IR channel. Worth noting that the sennheiser IR range is discontinued, but there are cross compatable products available (Williams AV.) (had we not just made a significant investment in updating our IR kit, we would have looked more closely at the sennheiser RF kit. Definitely worth a serious look.) As has been said Ampetronic are the leaders in hearing assistance products, and will be very happy to visit, recommend kit to use, and design an induction loop for your venue. They will then recommend an installer for you to use (that will have been trained by them). We were having issues with our 10 year old install, left in a bit of a mess in places by the original contractors, which was investigsted and rectified by one of Ampetronics affiliated installers. neil
  3. Im not immediately familiar with EOS software and the specifics of how to do this, but can you create a macro that will send the appropriate midi control change data? (The message you want to send seems like midi data and not not Midi Show Control data). You then link the trigger for the macro with whichever cues you want on the EOS. neil
  4. If it's this one: https://www.showcomms.com/broadcast-intercom-camera-cans-headsets-xlr/singel-and-double-sided-lightweight-intercom-headsets/eartec-max4g-single-sided-headset-xlr4f-mxs4xlrf.html The link says that the headset microphone is electret and will need powering. If you are trying to use it with the standard techpro/clearcom party line type systems then this will be why your microphone is quiet, as common party line systems don't provide power from the belt pack to the microphone. Neil
  5. Talk directly to digico. They will always welcome engineers to their HQ in chessington to prep shows. They also have a training page on their website where you can sign up to their sessions. They will be able to tell you when the next one is coming up as there isnt anything currently listed. Autograph, SFL, Solotech and others all do training sessions on digico at various locations. Neil
  6. I would suggest something like a pink stick to produce the pink noise: https://www.thomann.de/gb/superlux_pink_stick.htm Coupled with a phantom power supply (battery powered units are available) https://www.thomann.de/gb/art_phantom_ii_pro.htm then you can find the graphic EQ with the specifics you need?
  7. The part you need for suspending control 1’s is the K&M 19688. Canford link below. https://www.canford.co.uk/Products/53-3703_K&M-19688-JBL-CONTROL-1-LOUDSPEAKER-MOUNT-For-microphone-stands-black whilst the thread is 3/8” BSW mic thread, they can easily be tapped out to M10 (as we have done with many of ours). We’ve then added a small keyring through the safety point on the rear of the speaker to attatch a steel wire safety to. neil
  8. Yes 2 headed tap mics is certainly possible. we’ve got a small ammount of old MKE2 tap mics, which are 2 heads soldered together to one connector (LEMO). Reasonably easy to do if you use an existing connector termination. We have some DPA 4061 tap mics as well, but these require a small circuit board which came from Autograph the last time we made some up. Cant remember what the circuit board does off the top of my head, but I think its to do with impedence/input sensitivity and that there is normally a small resistor in a DPA termination for 4061. neil
  9. 100m covers all eventualities. That said, Stage Sound Services send out 75m Yamaha multis (cat5, analogue xlr & mains) as a standard, and they wouldn’t do that if there were going to be issues. But I guess it depends where your racks end up on stage. 75m is more than fine if racks are Downstage left in the venue I currently work at. But if they move too far upstage to clear the wing space, it might be a bit tight. We’ve got to run our 100m drums of fibre upstage into the scene dock for the next show, which will be the first time we’ve done this. We’ll see how far they reach! neil
  10. GDS are still offering spare parts for their older products (in the process of obtaining some button covers for an analogue rollacue desk.) So they might still offer the outstations for sale? Their website also seems to offer their bespoke Qlx desk bulding service, and one would assume the outstations to accompany them? https://www.gds.uk.com/products/drives-and-control/stage-management/sm-console-2/
  11. Before spending too much money, I would talk to the video department at Stage Sound Services in Cardiff. They will be able to talk you through some options, and I would suggest renting some kit from them as a demo, to see if what will work in your situation. You may discover a solution not listed above that would work out better for you. neil
  12. Looking at the pinout of the headsets, I would probably check the 'mic -' path, and how that relates to the PTT switch. I would use a multimeter set so that it will read the 2.2kohm impedance referenced in the 3rd pdf linked to. Put one probe on the mic +, and then use the other probe on the 'PTT' wire to see if you get a reading, and then on the 'Ground' wire checking the same. With the probe on the PTT line, you'll probably need to press the button on the headset to actually get a reading. (I've seen this before when fixing Motorola headsets with the dual 2.5mm and 3.5mm jack connectors for newer handsets. The PTT switch is a push to make switch to compete the microphone circuit.) My hunch is the the ground wire is just for the speaker, and the PTT wire is actually the mic -. If the latter is the case, you will need to decide if you bypass the PTT switch in the headset so the mic is always live, or see if it works ok as a PTT with the tech pro system. Depending on the overall headphone level and how the volume control on the comms system behaves, you may also need a resister in series on the speaker circuit. From memory the standard Techpro headsets are 200 ohm for the microphone and 400ohm for the earphone. With those headsets being 32ohms, the volume might be a bit loud in the ears, or may only give you a tiny adjustment before it becomes very loud. Also the headsets look like they will be in mono, so speaker + connects to either pin 4 or 5 on the camera cradle (I suspect pin 4 and pin 5 is not connected.) I'll defer to Sandall's post on the need for power, as the 1.5v operating volume for the microphone is something I've never had to worry around in my dealings with comms systems.
  13. For better piece of mind (and better for the risk assessment and insurance), get the flying system serviced by a company that knows what they are doing. Unusual rigging is probably your best bet (as I think Hall stage aren’t around any more.) I’d be very surprised if there wasn’t an annual service contract in place already. If there isn’t, it would be worth getting one put in place. Neil
  14. Passive UPA’s require bi-amping (1 amp channel for the LF driver, 1 amp channel for the HF driver). So no you cant run them in stereo with that 2 channel amp. (With the right wiring You could run the 2 speakers in Mono from that amp though.) You would also need an M1A processor to sit between the mixing console and amp to deal with the crossover and limiting. It also uses a couple of sense cables hooked up to the amplifier outputs in parallel with the speaker to do a bit of active limiting etc. The M1A processors occasionally pop up on ebay, but somewhere like Autograph or SSE might have some for sale on their used kit list.
  15. I wonder if you are thinking of the flints counterweight cradle for standard stage weights? No picture but see here
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