This work of fiction is based on a true story. The names have been changed to protect the guilty. This is probably happening in a venue near you. A local group have hired the venue to raise money for a worthwhile cause. They have written a show or a review style show. The staff will be performing all of the singing and dancing roles. Can you see where this is heading? Some of the staff are reasonably talented but some are not. Due to the limited budget they do not have that much rehearsal time. The first night you get a running sheets and some notes. You know that you need soem extra gear, such as radio mics. So you have turned up at the designated start time with the extra gear, you meet and greet them all and start installing the gear and setting up anything else that they require, cool. Everything is set up, you are ready so to speak, so you look at the notes that you have been given. You have not been given the full script, just some pages of notes saying such things as :- when Alan says ” It must be so” , they want the lights to go blue, or when group moves around in circle the strobe must be turned on.  Now you wonder who Alan is- a character or the person playing the character. And how often will the group move around in a circle. And heaven forbid if you make a mistake, you will be told. Not their fault really, I suppose, they do forget that we are seeing it for the first time.  The rehearsal has started late, about 45 mins late. The rehearsal drags and people forget to tell you were you are in the show or what you are rehearsing. The supposed stage manager does not once pick up comms to tell you what is happening. They is a lot of yelling instructions back and forth. You need to explain in simple english to the cast that they should always pick up the same radio mic for the same item in the show each night. That is why they have numbers on and we cannot read their minds either.

So the first night you don’t rehearse every item, pity there is only two nights of rehearsals. But the first night only finish two hours late. So the second night rolls around, you think you are all prepared for what can happen – WRONG. The rehearse in a different order again. And again they miss a few items, this will make the next night, opening night, very interesting. You have not seen all of the items still and some of the cast have not yet performed on the stage. We all like exciting opening nights with challenges.

Opening night has arrived. Someone will be on headsets letting us know. The tech is still waiting for a correct running order, but spends the time explaining how to use headsets and mics. Making sure the AV is working and changing batteries. The show starts with no warning, and staggers along. No idea when the MC is going to speak, and agian the show order changes slightly. But everybody from the audience to the cast are happy.

Second and final night arrive.  The crew backstage are getting better at telling the techs when things are likely to happen. But now we get other voices over the comms telling us info. It is the director so we get the same info at least twice. Again the order of the show changes slightly. But again we get thru it, which is is not to bad since there was only one tech on duty. The tasks that this tech performed was lighting, audio and some simple AV. Lucky a member of the show could help with the adio or it would have been very hair-raising. One day clients will realise that sometimes they really should pay a little bit more for extra techs etc. to make their shows world class.

I have been using these speakers for a while and I am still as pleased with them as I was when we first unpacked them and installed them. They are still performing flawlessly and sounding just as great even though I also use other brand speakers at other venues I am still in love with the audio that comes out of these boxes. They are installed into a small to medium size venue that has a ranges of shows from concerts to dance schools.

The key features are:

• 2-way full range
• 1 x 15 in cone, sealed
• 1.4 in exit, 3 in voice coil compression driver
• Portable & Installation
• 2 waySelf-powered bi-amped
• New digital filters eliminate transient smear and horn “honk
• Rugged, Baltic birch plywood enclosure
• Extremely high output-to-weight ratio
• Symmetrical shape allows mirror-image stage monitoring

The Specifications are:

• Operating Range 50 Hz to 20 kHz
• Beamwidth 90° (h) x 45° (v)
• Power Handling/Output Self-powered; 127dB SPL (long term)Peak 133dB SPL
• Maximum Output:  LF 63 V, 1000 W @ 4 ohm,  HF 45 V, 500 W @ 4 ohm

•  

  

  EAW NT 59

When you first lift these beasts out of the box you realise they are weighty but it is not to hard to handle.  They have handles on the side and the speaker is reasonably balanced when you carry them. Putting them onto a speaker stand is a bit more differcult and I would recommend that you have someone assist you in lifting the boxes, these boxes do 29 kilograms which is a bit unmanageable when above shoulder height. They is a solid look about them, even if a bit boring. A rather bland dark grey black colour. At they do not have a bright blue LED on front indicating to all that it works.  One thing you really notice is the slanted sides. These boxes can also be used on their sides as monitors.All of the connectors are on one of the rear panels, which are basicly your input socket and a loop socket. You will also find the power socket here as well, this is a powercon connector not an IEC lead. At least it will not fall out mid gig, but if you do leave behind you are not going to be able to pick one up in your local hardware store. also on the back panel there are status LEDS for both built-in amps. There also LEDS to indicate clipping, signal and limiter activity. There are 2 selector switches. one for the high pass filter and the other for coupling if using the speaker with others.

The amps in the speakers are field replaceable which I have never had to do as they get on going.  and to quote the datasheet “digital signal processing sets it apart. EAW invented new, digital filter algorithms, called Gunness Focusing™, to generate precise, complex, filter responses. These filters provide the linear phase response needed for transient accuracy while eliminating coloration from internal phase plug and horn mouth reflections. Digital limiting, specifically tailored to driver limitations and to maintain sound quality, provides more usable output while reducing the risk of driver damage” . I don’t know how this “magic” works but these speakers do sound great.

The audio is very clean and lifelike. Your ears do not get fatigued listening to them for long stretches of time. They are a very easy speaker to live mix on. The sound is full range and crystal clear, you can easily hear the elements of the mix. All instruments are nicely defined with no smearing. Vocals also shine. These are a great all-round speaker that will give you and your ears a great deal of pleasure and long service. They will produce a sound that you will not tire of for many years. You can also get a companion self-powered sub that is perfectly matched to these NT speakers. With the subs in place you get a truly massive sound from what is essentially a small, easily toured system. The size of the system belies the sound that does come out of it. They also have Rigging/Mounting Integral flytrackand also a pole cup mount.

Well done EAW, I must admit I have a slight bias towards their speaker system but I think it is justified.

Get yourself done to your nearest supplier for a listen today, you will like what you hear. I rate them an 8/10

Contact:  EAW for your nearest supplier in your country, state or town.

Posted in Audio, Equipment Reviews, Theatre, Uncategorized ]]> http://theatretechgeek.wordpress.com/2009/11/05/review-eaw-nt-59/feed/ 0 theatretechgeek nt59 http://theatretechgeek.wordpress.com/2009/11/01/lighting-excess/ http://theatretechgeek.wordpress.com/2009/11/01/lighting-excess/#comments Sat, 31 Oct 2009 23:37:24 +0000 theatretechgeek http://theatretechgeek.wordpress.com/?p=626 ]]>

Are we using to many lights to achieve very little. In these days of excess are we using to much gear and achieving nothing more than techie porn. Many years ago you usually did not have enough gear or budget but a good lighting designer made the lighting rig perform miracles. Then the budgets got bigger, and we got these huge lighting rigs but did they do anymore than what the simpler rigs did, or was that everything just got a lot brighter. The shadows disappeared. Everything was lit. And the light started to spill into the audience and the audience became part of the performance. Did lighting designers become lazy by just adding more gear and not using what they had very well.  And should the audience really be part of the show. The audience have come to see the show not to see other members of the audience. for a concert maybe the odd sweep into the audience is ok but to blind them and basically hide the performers in a mass of lights from the audience is not clever. A good show is were the performers stand out not the lighting. This applies to both stage productions and concerts. To me the art of good lighting is the use of shadows and colour without going over the top. so in these days of mega-wattage events the shadows have gone. Maybe in these days of global economic gloom we might get the shadows back. Lighting rigs might be parred down to the essential, designers will have to use a limited range of gear more effectively and creatively.

It is that time of the year when there is a proliferation of outdoor events. So what areas of OH&S should we be looking at. There are some more inherent risks associated with outdoor events and concerts. So we need to be more aware and alert during this period. There are more factors that can cause problems. So what are the obvious ones?
Well the event is outdoors so one of the key factors is the weather. This is the one variable that we cannot control. We can protect against sone elements but mother nature can soon change how an event will happen. You have to be concerned about wind, rain and the sun. So for each production there has to be a point at which the event could be jeopardised by the weather, and it is at this point the decision to cancel or postpone an event has to be made. now this decision should be made by the production manager in consultation with the authorities and the venue manager or owner. The safety of all of those involved is paramount. If people that are working on the event are covered by an award or enterprise agreement and these cover weather conditions, these also have to be adhered to.

Lets look at some aspects of weather in  relation to an outdoor event.

Temperature Extremes

Hot Days

The risk of heat stroke must be thought about. Dehydration is also a problem. Plenty of water and shade shouild always be available to people. If the performers need to wear costumes that have little ability to breathe or ventilate , this has to be taken in to consideration.

Cold Days

Again you need to provide appropriate facilities for people in these conditions. Shelter, protective clothing.

The risk assessment shall address control measures that may include rescheduling the performance or event to a different time of day, access to water, shade, fans, heaters, air conditioning, rest facilities.

Winds

High or gusting winds can create stress on portable or overhead structures such as lighting towers and other temporary structures. The risk assessment shall take into account potential hazards prior to commencement of construction and set out on-going risk assessment monitoring procedures that shall continue until such structures are dismantled. If forecast information indicates the likelihood of high or gusting wind, the production manager, in consultation with the venue owner/manager, shall assess whether the production needs to be postponed or cancelled and whether temporary structures need to be dismantled. Control measures must also be implemented in respect of securing any objects, including seating, fencing and stacked materials, that may potentially be blown over or otherwise moved by wind.

Lightning

In conditions of lightning or if lightning is forecast, special precautions must be made in relation to communication and lighting systems. Such precautions shall be set out in the Risk Assessment including the need for ongoing monitoring of weather conditions, the point at which lighting and communications systems should be disconnected and/or dismantled and/or the production/event postponed/cancelled.

Wet Weather

Slipping hazards are greatly increased in wet weather due to damp surfaces and reduced visibility. Electrical equipment and lighting established in areas exposed to weather present potential hazards. They must be protected to ensure electrical current does not come in contact with water. Residual current devices must be used at all times. In fact it is a good idea to plan for wet weather anyway. It is not only rain that can cause problems but sprinkler systems etc. can also play havoc with electrical. If the weather is also hot, some promoters will spray the audience with water this also needs to be taken into account.

Wet weather gear should be provided for work in rain. In heavy rain, consideration needs to be given to abandonment and/or the provision of sheltered space.

Tides and Floods

If a production or event is sited near water, the risk assessment shall take account of the possible impact of tidal activity and/or flooding.

Exposure to Sun

Consideration of sun exposure hazards shall have regard to the type of work undertaken, available shade, reflection, time of day/year, geographic location, access to fluids, altitude and PPE. Also equipment left in the sun can become extremely hot to handle and could also lead to injury.

Where sun/heat protection is required, appropriate clothing that covers the body and limbs, hats and sunscreen (Factor 15) and sunglasses shall be worn and fluids must be easily accessible. Appropriate PPE must be provided by the producing company.

Particular attention shall be paid to sun protection between 11 am and 3 pm.

As you can see that these considerations are a bit more complex due the mother nature and are not likely to be applicable to indoor events. In fact if you are doing a moderately sized outdoor event it might be a good idea to have a back up venue available in case of cancellation.

Soundcraft had on display si Series Digital Live consoles. This is a really nice console, maybe a bit on the large size. But it does have that nice solid feel to it. This desk does offer an easy upgrade path from a analog system. With this console you can take it out of the box and plug it straight in. The desk has all of the necessary analog connectors on the back. The layout is pleasant and easy to follow, a lot of it is self-explanatory especially if you are familiar with digital consoles and even if you were not, it would not take long to get a mix happening. Specs are below

• 48 or 64 Mono inputs
• 4 Stereo inputs
• Left/Centre/Right outputs
• 24 bus outputs (Aux/Group)
• 8 Matrix outputs
• 12 VCA’s
• 8 Mute Groups
• 4-band fully Parametric EQ with high and low cut filters.
• On-board dynamics
• Four independent Lexicon processors
• A physical output and meter for every bus.
• 8 assignable analogue inserts for additional outboard equipment
• 4 expansion slots for AES/EBU and/or MADI
• HiQNet connectivity
• Dual redundant power supply option

Shure’s UHF-R wireless microphone system was on display. To many this might be just another wireless system but as with technology there are always improvements and this set up represents Shure’s continued effort to improve an already good system. These are solidly built units that should easierly survive the rigours of touring.  Qouting from thier brochure “

Offering you more productivity, more reliability and more control, UHF-R is premier wireless technology that helps you master the complexities of large-scale wireless installations. UHF-R takes wireless to a completely new level.

Unparalleled control for complex installations. UHF-R automates setup and control operations to save you time and effort on even the most complex networked installations. UHF-R’s usability innovations include networked Automatic Frequency Selection with group scan, infrared automatic transmitter sync and smart menu-driven system operation for fast setup and intuitive operation.

Superior RF performance and reliability for every installation. With 3000 selectable frequencies across 75 MHz of bandwidth, UHF-R provides up to 40 simultaneous compatible systems per band. Advanced Track Tuning Filtering Technology, by shifting the RF filter along with the selected frequency, allows you to deploy this added bandwidth without audio degradation or interference. All UHF-R components – including the compact, sweat-resistant bodypack – are engineered to withstand the abuses of the road. You can rely on UHF-R for consistently reliable performance, always.

Crystal-clear audio that sounds more like wired. Shure’s patented Audio Reference Companding delivers crystal-clear audio transmission, far superior to conventional wireless. Unlike other wireless systems, Shure uses a variable companding ratio that responds to the audio level – eliminating wireless artifacts and substantially increasing dynamic range.

I think their words say it all. You can also get some great accessories. It also has two bodypacks  transmitters with switchable RF power. Also available is a variety of handheld mics such as SM58, SM86 etc. A very versatile system. Visit the Jands website to find out more.

Clear-Com were displaying the Encore Party-line  and Tempest Wireless comms systems. Now Clear-Com have been around for a lon time in the industry and their gear gets better and better. I have always been a fan of thier systems so it was nice to see what improvements they have been made over the years.

The Encore system is an improvement on the wired system that they have always made. And what a versatile system it is. It is also extremely robust and would take a rock’n'roll beating and still keep working. There are a lot of bits and pieces so that you can assembly a system that is just right for your situation.

The Tempest Wireless intercom products are also very neat. They do not work in the same frequency band as your wireless mics, so that you will not have problems with the frequency allocations. They work on the 2.4GHz band using digital frequency hopping technology. The system is very comprehensive. You can name beltpacks, control who mics are open etc all via software loaded on a PC or from a base station.

ETC also had some lighting desks on display.  There were 3 desks from the Eos Series, the Ion Control Desk, Element Control Console and the Eos Control Desk. As with all ETC desks these are well built and very functional looking.  They have a desk to suit everybody. A look at the tech specs will show you have useful these desks will be.

Complete control of conventional and moving lights, LEDs and media servers. Supports multiple users with partitioned parameter control and full backup, multiple playback faders and cue lists in a tracking, move fade environment, with unique tactile response direct selects and encoders.

applications

• Theatre
• Television Studios
• Houses of Worship
• Corporate Theatre
• Exhibits
• Special Events
• Touring

features
• 4000, 8000, 12,000 or 16,000 Outputs/Parameters
• 10,000 control channels
• 12 Discrete Users
• Partitioned Control
• Master playback pair with motorised 100mm faders
• 10 100mm motorized faders x 30 pages for configurable
faders, submasters, masters and grandmaster control
• 2 full size LCD touchscreens for display, direct selection and
context sensitive control
• LCD direct selects with tactile response
• Four discrete palette types (IFCB)
• Presets function as “all palette”
• Effects provide dynamic relational and absolute progressive
behavior
• Central information area (CIA) accesses electronic alpha
keyboard, Hue + Saturation colour picker, gel picker, browser
and other controls
• 1 context sensitive LCD touchscreen with six associated
force-feedback encoders for non-intensity parameter control
• Configurable high-density channel display, with format and
flexi-channel modes
• User configurable topographical channel views
• List views of all record targets
• Mouse-less navigation of displays
• ETCNet2 and Net3 (powered by ACN) network protocols
• Show import from Obsession, Express/ion, Emphasis, Congo
and Strand 500/300 Series via ASCII
• Multiple MIDI and/or SMPTE Time Code Inputs, MIDI Through
and Output, Analog/Serial Inputs

Ion Control Desk

features

• 1024, 1536, 2048, 2560 or 3072 outputs
• 10,000 channels
• 4 Discrete Users
• Master playback pair with 60mm faders
• Four discrete palette types (IFCB)
• Presets function as “all palette”
• E ffects provide dynamic relational or absolute
progressive action
• Central information area (CIA) accesses electronic alpha
keyboard, Hue + Saturation colour picker, gel picker, browser
and other controls
• Configurable high-density channel display, with format and
flexi-channel modes
• User configurable topographical channel views
• List views of all record targets
• Mouseless navigation of displays
• ETCNet2, Net3, Artnet and Avab UDP network protocols
• Show Import via ASCII from Obsession, Expression, Emphasis,
Strand 300/500
• In/Out: local DMX512 x 2, MIDI In/Out, Networking DMX,
MIDI, SMPTE, SERIAL and contact closure via Net3 Gateways

Element Control Console

FEATURES
• 1024 Outputs
• 250 or 500 Channels
• 40 or 60 Fader versions, pageable as channel or
submaster control
• Master Playback pair with 60mm faders, GO, STOP/GO BACK
• Intensity, Focus, Colour and Beam Palettes
• Stepped, Relative and Absolute Effects
• Hue+Saturation Color Picker and Gel Picker for LED, CMY
color mixing
• ETCNet2, Net3, ArtNet and Avab UDP network protocols
• Show import via ASCII from Obsession, Express, Expression,
Emphasis, Strand 300/500
• I/O: local DMX512-A (2 output ports), MIDI In/Out, Ethernet
• Distributed DMX, MIDI, SMPTE and contact closure via
Net3 Gateways

ETC also manufacture the popular Cono, Congo Jr, Smartfade and SmartFade ML. ETC products are extremely popular.

Also on display was the Vari-Lite VLX led wash light. LEDS are certainly improving. This lantern shows the way that LEDS could be heading, if no other technology knocks them out. A very nice piece of kit.

Vari-Lite VLX

Jands New Modular Lighting Bar…The JLX-PRO was also on display. This is a very useful for new venues being set up. This is pre-wired and all you do is rig it and run power from your dimmers to it. You can also have DMX and data in the bar as well, Jands offer it in several configurations. so there is bound to be one suitable for you. due to its modular nature it can be cost effective and you can build on the system.

Features

• Proprietary extruded aluminium spine for strength (Registered Design No. 302249)
• Durable construction & black low sheen finish.
• Distributed Loads of (up to) 100kg/m & Point Loads of (up to) 100kg.
• Three module lengths (2.35, 3.5 & 4.7m) and three outlet densities (low, medium & high) for simple user customised solutions from standard building blocks.
• Kits for flying from ropes or chains, for suspending from battens and for fixed installations.
• Industry standard Socapex cables, headers & tails.
• 10A (standard) & 20A (optional) outlets available.
• Compatible with Jands WM range of patch panels.
• User configurable Extra Low Voltage compartment using Jands SB plates and universal inlet kit.

   

  

  JLX-PRO Modular Lighting Bar

Jands also had some other interesting staging products on display. Jands are one of the big players in fitting out theatre venues and and they have the resources to back it up. They have some very interesting gear that will make a techie life so much easier and also reduce the OH & S issues with flying of scenery and the like. Items such as P 250TH servo – which is a motorised steel band hoist, H550P-VX – which is their Pile wind motorised hoist, controllers for these hoists.  This is some serious kit which I wish I had in some of the venues I worked in.

So you can see that Jands had a reasonable amount of gear to show off. Some of it I have not mentioned or otherwise this post would have gone on forever. But I will repeat myself and say I hope Jands will do this again for Adelaide, as this sort of thing is rare here.

For those that want more information I suggest you visit the Jands website and they will help you solve your technical needs. They can be contacted at Jands

or

Jands Head Office operates from 8:00am to 6:00pm, Monday to Friday, Australian Eastern Standard time.

Jands Pty Ltd
ABN: 45 001 187 837

Jands Head Office
40 Kent Road
Mascot NSW 2020

Postal Address
Locked Bag 15
Mascot NSW 1460

Main Phone Number: (+61) 2 9582 0909
Main Fax Number: (+61) 2 9582 0999

Posted in Audio, Equipment Reviews, Lighting, Technology, Theatre, Uncategorized ]]> http://theatretechgeek.wordpress.com/2009/10/27/what-was-on-show-at-jands-home/feed/ 0 theatretechgeek si_soundcraft shure uhfr Encore_clearcom tempest_clearcom eos_glam ion_glam element_glam vlx JLX-PRO http://theatretechgeek.wordpress.com/2009/10/21/jands-home-in-adelaide/ http://theatretechgeek.wordpress.com/2009/10/21/jands-home-in-adelaide/#comments Wed, 21 Oct 2009 09:58:50 +0000 theatretechgeek http://theatretechgeek.wordpress.com/?p=580 ]]>

Adelaide seems to miss out on a lot of things and events that happen interstate. One these seem to be mini trade shows, by equipment suppliers and manufacturers. So it is a pleasant surprise when a company such as Jands decides to bring some of their new kit to town and show it off. So it was with a bit of excitement that I made my way to the the Lyrics room at the Festival Centre. It is so much nicer to actually see and touch some of the new gear so that you have a better understanding how it might work for you. Sure you can read info online and look at pictures, or even get a brochure but if you see it in person you can see how well it is made and there is likely to be a salesperson or some technical boffin who can answer your questions face to face. You are more likely to get a truthful answer that way. Also you must not forget the networking potential of this kind of event. The staff that Jands had in attendance were extremely friendly and helpful, a credit to the company.
So good on you Jands, I look forward to more events like this.Jands had a small showing of some cool equipment, but what was there was impressive. If there had been more equipment it might be to overwhelming. What they did have on display was representative of their wide range of products that they either represent or manufacture. So there was a showing of gear from Soundcraft, Clearcom, Shure, and BSS just to name a few.
Since I was at the trade show I might well write in a future article about the equipment that was on display, and give you my impressions.

Posted in NEWS, Uncategorized ]]> http://theatretechgeek.wordpress.com/2009/10/21/jands-home-in-adelaide/feed/ 0 theatretechgeek http://theatretechgeek.wordpress.com/2009/10/13/dodgy-items-a-rant/ http://theatretechgeek.wordpress.com/2009/10/13/dodgy-items-a-rant/#comments Tue, 13 Oct 2009 12:48:17 +0000 theatretechgeek http://theatretechgeek.wordpress.com/?p=553 ]]>

It is amazing in these days of occupational health and safety that you still can come across things that can send a shiver down your spine. You will see from the pictures that I have enclosed some rather un-safe devices. These are scary and it is appalling that the people using these devices are not aware that they are potentially putting peoples lives at risk.
But as a humble technician what should we do if we come across something we thing is dangerous or could become dangerous. Well we should not be scared of reporting it. In fact we are obliged to report this sort of thing. But what annoys me is the fact that some of these dodgy things happen in the first place. You know the people that have let this happen should know a lot better. It happens in theatres where we have students present, I just hope that the powers to be are not showing the students how to do this sorts of things.

Now below are the picture with some notes, feel free to comment or send me some examples of this sort of thing. I am willing to write more about this sort of thing.

Lighting Nightmares

Now as you closely take a look at this pic you will notice the visible cables that are exposed. but also notice the fact that the cable is wrapped with electrical tape, which if being used as an insulator. A little bit dodgy

Another shot of the cable in the above picture. In fact this cable is a par64 splitter.  As you can see the join is insulated by black electrical tape. I did not open up the join to see how it was put together. I was not in the mood to see how badly it had been assembled. This cable and the lanterns it was being used with were removed from a lighting rig the other day, and they certainly were not put back up. But I still have more photos to show.

Now what is wrong with this image? Go back back to what I said before. This is splitter for par64’s with 110v lamps. So where are the round pins? I would hate to think what would happen if you plugged this in and then plugged a couple of 240v lanterns in. I will leave that to your imagination. Probably explains why 110volt is written on the socket. Which you are not going to notice when you are in a rush rigging up a ladder.

Now this is a pic of the complete device. good luck to you that do this, if I find it I will destroy it.

Now this one of the parcans used with the splitter. now it would be interesting and brief result when you plug this into a 240v socket. There is a warning label on the ceramic lamp holder. Would be nice also to see a par-safe on this fixture. But then you would you not see the warning

Now for a rigging nightmare

Below is a picture of a homemade i-bolts. Now these were used in a venue for rigging speakers over the audience. These  i-bolts had no ratings or any proof that they would be suitable for the job and load that they were holding. These were made by a local Adelaide company that does the occasional install and hires disco lighting etc..  I wonder how many more of these are in use around town.

As you can see from the pictures they are beautiful made quality product. They are a standard bolt from a hardware store, not even a high tensile bolt, with a link from chain welded to it. There is no rating stamp on it, or manufacturers name on it.

A mess by any other name

Now this is a control that is rather messy. Admittedly they were in the process of updating the set up. But it was not good to find when you have to operate. Very hard to work out what is patched to what. This picture does not do it justice, i have other pics but it would give the venue away. When I walked in there was a ladder on the floor in front of the door and a cable across the door that was not taped down.

Focal Press Publishes a New Edition of the Most Trusted Guide to Concert Lighting

Concert Lighting, 2^nd edition takes its reader on tour, covering every aspect of the concert tour experience for the professional lighting technician and     designer.

Special features include:

• Advice from current leading designers: Jeff Ravitz, Andi Watson, and legendary Broadway designer Richard Pilbrow
• NEW information on computer-aided drafting and visualization programs, moving luminaires, digital luminaires and media servers, LED luminaires, and new Protocol devices

With a special focus on rock and roll, this book will expand reader’s design possibilities by covering cross-media use of concert lighting techniques and their application in film, video, theatre and the corporate world. From snagging those precious contracts, to knowing the best equipment to use, to designing a show, Concert Lighting: Techniques, Art and Business covers everything you need to know.

James Moody is the Head of the Technical Theatre Program for The Theatre Academy at Los Angeles City College (A Professional Conservatory Program). He has over 35 years of experience, designed lighting for over 300 productions and most recently received the Distinguished Achievement Award in Lighting from the United States Institute for Theatre Technology.

Paul Dexter has designed lighting for over 30 years for major production touring groups such as Rick James, Motley Crue, Ozzy Osbourne, DIO, Triumph, Elton John, REO Speedwagon and many others. Diversifying lighting and media interests to all avenues possible was Mr. Dexter’s key goal which has lead to a colorful career that has expanded into set design, stage production design, film, video and architectural lighting design.

maXim Console

Maxim Lighting console Review

The maxim lighting desks designed and manufactured by LSC Lighting Systems have been around in Australia for quite a number of years. These desks are often favoured by schools and community venues. They offer a reasonable degree of flexibility in the way they are used. You can quite easily busk a show for a one night stand or you can program a reasonably complex show into the system for repeatability night after night. The desk has solid, robust feel. Unfortunately the colour scheme from my point of view is a bit bland, it would be nice if things like the record button etc. had different colours from the rest of the buttons. This would them stand out, especially when you are tired, you sometimes need all the help you can get. But before we get into to much detail lets look at its features.

Features

Details

As you can see from the above list of functions the desk has a lot going for it. You can get this desk in a variety of flavours from the small 12/24 channel to the 60/120 channel desk. There is an optional patpad controller available for some of the desks. The patpad is a control surface designed to control moving lights and the like. The desk is built very solid and should survive the rigours of touring or use in a school.  The desk is laid out in the standard 2 preset format with the addition of a 3rd bank of faders next to the preset masters.  The only one of the series that this is not true for is the MaXim S which is the smallest model in the range.  The range of models is:

• maXim S (12/24).
• maXim M (24/48).
• maXim MP (24/48 with PatPad).
• maXim L (36/72).
• maXim LP (36/72 with PatPad).
• maXim XL (48/96).
• maXim XLP (48/96 with PatPad).
• maXim XXL (60/120).
• maXim XXLP (60/120 with PatPad).

There are  3 Modes of operation for this desk:  Preset, Where the desk works in manual 2 preset mode.
Wide, where you can double the number of available channels.
Scene, where the Red Bank of Faders act as Scenes.

In all modes the Bottom row of faders acts as scenes except on the 12/24 model which does not have this row of blue faders. So you can see there are a range of options for the lighting operator. You can use the desk as a 2 preset system with a whole load of scenes recorded. An example would be to have a whole series of colour washes recorded as scenes and then use the presets for specials – great for busking. If using the desk in wide mode you then have access to a wide range of channels, not easy to operate a show from but great for setting up shows and you can then record the resulting lighting states into the blue faders as scenes. But you can also record scenes on the second preset faders as well. So you could record all of your scenes on this preset and your chases on the bottom presets or your intelligent lighting cues on the bottom faders and your generics on the second preset. so you can see that this desk is only limited by your imagination.Once you have recorded your show you can then stack the cues into what ever sequence you require, you can then play this stack back on the stack master.

Each scene or state that you record can also have fade times recorded with it. When you then put these scenes into a stack the states will playback with those times. Also within a stack you can set in and out times if you did not do that will recording the states initially. Or you can use the manual time faders for playing back the stack. You can also use these time fades for manually playing back scenes or presets.

With this desk you can also record chases sequences easily. This desk has the ability to do a lot just as a lighting desk. Editing states is no real drama. Just press the edit button, select the scene you want to edit, you then use the top preset to modify the levels, when you are complete just hit the edit button again to exit. You can edit live or blind.

There are only a couple of niggly thinks that annoy me. One is the display on a monitor is a little crowded, it would be nice if you could arrange the elements on the screen in the way you want to improve your workflow. Another thing that would be nice if it could change is the labelling of the scenes that occurs. I understand why it is the way it is, but it would be nice if you could re-label them. You can label a cue but it is not the dominant info on the screen. If you label the cue it should be easily seen on the monitor so you know where you are in a production. Lighting operators like their memory cue number to match a stage managers and be easy to call. The standard scene label is not easy to call, it follows this format -R1.02 – this means Red preset page 1, fader 2. So you can see that it is difficult to call LX R1.02 GO.  If this could be changed or the labels assigned by the operator made bigger and bolder, it would be easier.

Another feature that I have not had a chance to try out is the PatPad section, which is designed for programming moving lights etc., Reading up on this area it looks like a great but relatively easy process. There are videos available that show you how to program movers. When I get a chance to user some movers with one I will write a review on the process.

conclusion

I have only scratched the surface of what you can do with this desk. Apart from a couple of niggles I am very happy with the desk. It is well built. It performs like you would expect it to. Software is easy to update. And the manual is not to bad to read. This desk will give you many reliable years of service. It is great to see equipment of this caliber coming from Australian designers and manufacturers.

I would rate this desk 8 out 10

Contact:

LSC Lighting Systems

BREAKING NEWS Entec 2010 Cancelled (stolen from CX)

Exhibitions & Trade Fairs (ETF), the organisers of ENTECH INTECH announced today the cancellation of the February 2010 event and the immediate launch of the 2011 mega-event which is due to take place from the 19^th – 21^st July 2011 alongside SMPTE.

Robby Clark, Event Director for ENTCEH INTECH said that he was disappointed with the outcome however he knows that the 2011 show will be an amazing event. “It’s disappointing to cancel 2010 but with this cancellation comes the birth of a bigger and better show in 2011. We are really looking forward to working with Expertise Events and SMPTE to create a must-attend show for exhibitors and visitors alike.”

“A Practical Guide to Stage Lighting, Second Edition”

Is now shipping and available for purchase.
One advance marketing copy put it this way:

“The first edition of PG2SL followed the process and explained one set of methods used to create and apply paperwork that culminated in a fully mounted lighting design for the musical Hokey. This second edition pulls back the wizard’s curtain to reveal the step-by-step processes involved in the creation and realization of that lighting design. Shelley expands his focus and provides his diacritical analysis into the methods and processes that take place to create the light plot and a lighting design in the first place.”

On Friday, October 2, Focal Press established a 20% discount code for the book when ordered through their website. Visit http://www.focalpress.com/Book.aspx?id=6644, order the book, and when checking out, enter the following Promotional Code: YT007 (that’s Y-T-zero-zero-seven). This offer is good until the end of October.

As Jim Moody, author of “Concert Lighting” wrote on the back cover:

“If you are looking for esoteric design theory, this is not the book for you. However, if you need a get-down-to-business, everything you think you needed to know, nothing left out, lists of questions you should ask, answers you should consider, check lists, and the most extensive graphic layout of forms and focus information in any book, then this second edition has answered all your questions and a bunch you didn’t think you needed to know. You have got to have this book if you consider yourself a professional, period.”

“A Practical Guide to Stage Lighting, Second Edition” is available and shipping now. Order your copy today and get the book for 20% discount. Save some money and get the text hailed as “the most trusted guide to stage lighting!”

Production Audio Services appointed as Aust/NZ distributor for Ecler

Production Audio Services is proud to announce their appointment as the exclusive Australian and New Zealand distributor of the Ecler range of products.

Established in 1965, Ecler is a company of notably international character, totally open to the world and engaged in commercial relations with over 50 countries. The comapany provides professional audio solutions for the installation, touring and DJ markets.

The product range is extensive and includes mixers, amplifiers, speaker systems, distribution systems and a range of architectural solutions.

Production Audio Services appointed as Aust/NZ distributor for Sabine.

Production Audio Services is proud to announce their appointment as the exclusive Australian and New Zealand distributor of the Sabine range of products.

Sabine, Inc., located in its new international headquarters in Alachua, Florida, manufactures professional audio equipment essential to live, installed and recording sound venues large and small. Sabine’s FBX Feedback Exterminator® is the industry standard for transparent, feedback-free sound. Sabine True Mobility® wireless microphones systems (with built-in FBX) give performers the clearest sound and maximum mic mobility.

Sabine Music Accessories division manufactures some of the best-selling musical instrument tuners and accessories in the industry.

Jands @Home Open Day  14th October

This will be taking place in the Lyric room at the Festival Centre from 9am. This will give you a chance to speak to Jands technical experts and look at some of their latest products.

some of the products that will be featured are:

• Digital Consoles from Soundcraft
• ClearCom’s latest Tempest Comms System
• BSS Soundweb products
• The new Vari*Lite VLX LAD moving light
• LED products from ChromaQ and ETC Selador
• Jands staging equipment
• And plenty more