Bryson

Mine also arrived at my parent's house, so it's still a whole ocean away right now - I'll grab it this summer. Congrats to those involved, (esp. Rob!) and it seems a fitting tribute to Richard's incredible work.

Clearcom are rolling out Gen-IC thats an internet based intercom. Cost real money, though, but I imagine they have optimized for minimal latency: https://clearcom.com/News-Events/Details/Clear-Com-Introduces-Gen-IC-Virtual-Intercom-and-SkyPort-Virtual-System-Management-Platform Be interesting to see how this goes. We have used the LQ boxes before to link intercom systems between remote buildings via the net.

FYI, at least with the Pathway DMX to 0 to 10V converters, you can just wire them "backwards" and they work just fine with old stuff thats expects 0 to -10v. I have several installs out there with DMX control over old Strand JTM or STM dimmers that work that way.

I'm assuming you have DMX and dont also need analog... There's a few Jands Stage CLs knocking around secondhand sites at the minute, that would do you nicely. A new one might be just in budget. Zero 88 FLX S24 1 Universe is only just over budget - Stage Electrics advertise it at just over 1600 quid.

We don't have any relationship to that forum. You need to contact them directly.

If it's just raw brightness you're interested in, you can actually look up the photometrics. A Cantata 18/32, when new, provided 1190 Lux. (Source) An ETC Colorsource V with a 15-30 zoom lens provides between 1518 and 484 lux, depending on zoom. (Source). The Cantata doesn't say what zoom level it was measured at so I would assume that figure is for it at it's narrowest. They seem broadly comparable, and I would assume your Cantatas are not performing at their prime any more anyway. Colorsource V is about 200W, so you're probably looking for fixtures in the 150-200W range. BUT: Additive colour mixing, in saturated colours, is going to be much brighter than the subtractive colour (gel) for the Cantatas, so depending on how you're using them, you may be able to err lower. Having looked at the options, I've found that ETC's stuff is actually pretty price competitive at this level of product. There are cheaper fixtures but they're way worse, and there are worthy competitors, but they are almost the same price IME. Matching a 1.2K is actually pretty hard work, so you need something fairly good. The Prolights stuff is reasonable and might be worth looking at: https://www.prolights.it/product/ECLFS. They don't seem to have Photometrics for their Zoom lenses, but their figures for fixed lenses are very respectable. (But, obviously, that's to be expected - you'll get better performance from a fixed lens.). The Chauvet E2FC is also in the ballpark and a nice fixture, but not as cheap as you might hope. And caveat: Manufacturers can be pretty naughty when measuring and declaring their photometrics, especially at the low end. Do get a real-world demo before pulling the trigger...

Hi All, I'm doing a little research so this is a question for those of you working in 2000+ seaters doing touring shows / acts. Q1: In very broad terms (ie, truckloads), how much gear (equipment, scenery etc) do your typical shows bring with them? Q2: What's the largest number of truckloads you've dealt with for a single show? Thanks all.

Any sensible node will be able to do this. I like the Pathport Unos for things like “need to plugin a touring console” applications. You can get them with a DMX plug instead of a receptacle. But if you have a node already, you can just make a turnaround adaptor and reconfigure the node to expect input, not provide output.

Scēne Ēthique do custom work for Cirque and Robert Lepage - they're the real deal. They aren't cheap, mind, but they'll do it better than you imagine. That first product looks almost perfect but probably too high when stowed?

If you have a healthy budget, I'm sure Scēne Ēthique would be happy to make you something. 😉 I was thinking maybe a material lift of some kind, but I imagine they're all too noisy for live use: https://www.genielift.com/en/material-handling-products/material-lifts - does anyone know if the pneumatic version is quiet in use? Kind of overkill, but a short length of truss and a couple of chain hoists?

It's officially defined as colour A503 in the AFNOR standard NFX 08002, apparently. Which seems quite French. Hex 002654 RGB 0, 38, 84 CMYK 100, 80, 0, 0 Pantone Reflex Blue But as Paul says, what "looks right" in light is often not strictly the same RGB/CMYK values as pigment.

Those rigging frames are pretty well established as the correct way to do this. Doubtless a single-purpose item might be feasible, but these things are meant for touring use to enable a multitude of rigging possibilities. That rigging frame is in no way unusually large for this purpose.

Peugeot still make excellent pepper grinders. Some of the best available, in fact.

"Risk of injury." How much tension can a belt clip be under? 😜

You're not near Oakhanger, Colerne, or Menwith Hill, are you?

I guess technically the stuff north of the Panama Canal is "North America" but that's not how anyone uses the term. North America is generally considered to be Canada, USA, Mexico. Anyway, this is miles off topic...

Ah, that might be an issue, for sure. I don't know the exact size but they're normal "euroblock" size terminals. The UK contact might be able to tell you, though: Simon Aldred +44 75 4072 6384 Simon.Aldred@eldoLED.com

For a tiny splitter: Pathway DIN-mount PWREP4: 4"x4.5"x1.85". Doubt you'll find much smaller.

It's all good. It can rest in my mum's library until I come back next. 😉 I suspect we are indeed being lumped in as "rest of the world" whereas North American rates would make more sense. (There's three whole countries on this continent!)

I backed it. Shipping to Canada is an eye-watering 58 pounds. I'm assuming that's Fedex hand delivered white glove service.... (Weirdly, shipping to the US is 38 pounds. It's literally right there. *points south*) (I'll have it shipped to a relative's house and grab it next time I'm there...)

I just read the product info. The sensors and so on are connected wirelessly, via a huge induction-loop style setup. (It permits a loop of up to 2Km in length!)

It appears this system is essentially a giant induction loop but instead of passing audio, it sends (and receives?) signal to fire sensors. Essentially, it's supposed to broadcast RF, although it should be broadcasting at a much higher frequency than you're picking up - it looks like designed frequency is 868MHz for that system - so it appears you're getting some kind of unintentional signal, maybe? Your guitar pickups shouldn't be picking up anything beyond the Khz range really.

Hi All, We've had a fair wave of spammers recently, so about a month or two ago, we changed some settings that applied pre-emptive "approval" requirements for new members that tripped a number of tests for potential spammers. In retrospect, I think we set the thresholds a little low and so lots of people ended up getting caught in this filter. So, if you're a newish member and keep seeing your posts hidden for a little while before the moderators unhide, apologies. We have relaxed the filters somewhat, but instead applied an approval filter for all new members, but only for a few posts. Until we get to know you, as it were. Hopefully this will behave a little better. As always, flag spam if you see it. I don't think much makes it onto the live forum these days, but your vigilance is appreciated. If you are a newish member who's posted a fair bit and they're still being held for approval, please let me know via PM and we'll take a look at fixing it for you. I think we've manually fixed most of them. (PS: There were several AI-written spam-posts that the system did catch, so I guess it's not all bad...) Thanks!

Also worth noting that Laser-sourced projectors over 10k lumens (I think) may be subject to laser safety rules including safety cones, even though it's not actually a laser coming out the front.... (They're not actually more dangerous but the law often says otherwise...)

I have a project that has a double-sided stage. It's a school, so they have an auditorium on one side of the stage, and a drama classroom on the other side. There's a proscenium arch on both sides. Each side has its own console. I have a toplight wash on that stage, and I'm debating the channel numbering for that wash. ie: The way I would normally do it is number SR-SL, DS-US, so my toplight would be 21DSR, 22DSC, 23DSL, 24SR, 25C, 26SL, 27USR, 28USC, 29USL for example. The question is, when using the console on the other side should I renumber the fixtures so they go in reverse order, (so 21 is DSR from that perspective) or keep the channel numbers the same (so 21 is USL)? I can construct arguments for both approaches. Which is less likely to confuse, in your opinion?