alternatives ( generics ) to par 46

[andylouder]

See my previous post about difficulty in sourcing 110v lamps for my par 46 cans.

 

I use 18 onstage , my stage ceiling is very low , in fact my lighting bars are only about 7 foot above the stage.

 

I think the idea was , years ago , that the 46s were a compact size , and the lamps were 200w so the performers wouldn't get cooked too much.

 

I think it would get too toasty onstage if I slung a bunch of 64s up , and the talent might be bumping their heads on them all the time , most of the 56s I have seen , seem to be shortnose.

 

Any ideas on what I could look at for alternatives ? Probably generics.

 

 

The cans are for colour washes , I have minims for open white and skintones.

 

 

 

Obviously by my userid , noise is more my thing , but can do lights a bit.

 

Thanks

[Ashley R]

Why not use 56's. a Stubbie would be perfect in your situation loaded with a 300w WFL Lamp which should give you a nice wide beam.

 

Or you could go down the PAR 38 or PAR 46 (with a E27 lamp base) which both will accept a PAR 38 150w lamp with a E27 screw in lamp. This could acctualy proove benificial in the long run as it sounds like these lamps are a speciality item (ive never hard or seen this type/size of lamp before) and I would expect fairly expensive, compared to your common PAR 38 'flood' lamp which should be fairly inexpensive, but not to sure about the lamp life on these.

[Jivemaster]

LEDs in thin housings seem an obvious choice, The bars are close enough to the cast to cope with the lack of intensity and the heat will not fry a hairdo.

 

If 110v is important then have a look at the smaller night fighter lamps in building industry yellow AFAIK they are cheaply available in 150 and 300w halogen lamps

[RoyJ]

Hi there, for long nose par56, try either showtec or terralec.As the last poster said,it might be worth thinking about some of the smaller par38 fittings,or spotlight do a small 300w fresnel which obviously gives you focus ability.But,by the sound of things,LED's would be worth trying.Regards Roy

[J Pearce]

Bit of an expensive solution, but S4Pars with WFL lenses and the 375W lamp?

Wide beam, compact fixture, low power lamp and upgradeable for the future (or keep some 575W lamps in the box for those deep blue washes).

[andylouder]

LEDs in thin housings seem an obvious choice, The bars are close enough to the cast to cope with the lack of intensity and the heat will not fry a hairdo.

 

If 110v is important then have a look at the smaller night fighter lamps in building industry yellow AFAIK they are cheaply available in 150 and 300w halogen lamps

 

Would like to move away from the 110v system , as sourcing replacements is a hassle.

[Brian]

I'm in the batten style LED camp on this one.

[Jivemaster]

Is there a really good reason why you want 110v anywhere? What is stopping you having full 240V operation everywhere.

 

My old uni changed from 110 to 240 in their studio 30+ years ago as the cost of sourcing 5k bubbles for 110v was horrid and the loss of lamps due to plugging a 110 into the occasional 240 point was stupidly excessive.

[david.elsbury]

Is there a really good reason why you want 110v anywhere? What is stopping you having full 240V operation everywhere.

From the original poster:

Would like to move away from the 110v system , as sourcing replacements is a hassle.

[dmxtothemax]

You could try using compact floros in place of the par 46 lamps,

I have seen it done, in a situation where they wanted to keep heat down,

on a small stage in a small room.

It does work, but wont be as bright as the par 46s.

If you stick to the lighter colors it works ok.

 

See my previous post about difficulty in sourcing 110v lamps for my par 46 cans.

 

I use 18 onstage , my stage ceiling is very low , in fact my lighting bars are only about 7 foot above the stage.

 

I think the idea was , years ago , that the 46s were a compact size , and the lamps were 200w so the performers wouldn't get cooked too much.

 

I think it would get too toasty onstage if I slung a bunch of 64s up , and the talent might be bumping their heads on them all the time , most of the 56s I have seen , seem to be shortnose.

 

Any ideas on what I could look at for alternatives ? Probably generics.

 

 

The cans are for colour washes , I have minims for open white and skintones.

 

 

 

Obviously by my userid , noise is more my thing , but can do lights a bit.

 

Thanks

[david.elsbury]

You could try using compact floros in place of the par 46 lamps,

The cans are for colour washes.

The OP's profile says he does "freelance rock and roll gigs".

Therefore working on the (fairly likely) assumption that they are to be switched on and off, like regular parcans, to have different colours on stage.

 

I cannot think of a more unsuitable thing to suggest than compact fluorescents.

[adam2]

I suspect that 110 volt lamps were originaly selected because in this rather rare size, 110 volts was more readily available than 240 volt lamps.

110 volts from a transformer is safer than the mains, but there is no increase in safety by series operation from the mains.

110 volt PAR lamps are available in narrower beam angles then 240 volt ones, which may have been a consideration in the past, even if not required now.

110 volt lamps are often slightly more efficient than 240 volt ones, but the gain is marginal and unlikely to be worth the trouble.

 

I doubt that much would be gained by keeping PAR 46 lamps, but changing to 240 volts.

 

As many others suggest, the way forward would appear to be either LED or some more modern and readily available 240 volt incandescent.