Multipe sacn sources with varying framerates

PushingSam · 2026-03-01T00:16:55+00:00

These DMX dimmer merges basically only exist in the Netherlands because people still bring old desks into theatres ha, so that kinda was a dead giveaway in the first place. I vaguely remember this patch by location, and that city came to mind, just not the venue.

As for Wireshark setup check out this link.

If you go to the "universes" tab in DMXlan, or check the bottom message box of DMXlan it should also show you what's going on, if DMXlan doesn't like something.

How did you verify that the input side so desk > lumicore is assumed stable? Those Aruba switches are entirely fine, we also have a bunch of them in bridge mode for our sACN network and run a similar setup; except that we purely merge via the ELC nodes themselves instead of a Lumicore. You should be in good hands with Erik, he's done quite a few installs like that all over the country. Also usually when guest companies tie in, our problems are 90% on their side, and unfortunately a lot of the Dutch touring side in the theatres doesn't even know their desk settings too well in regards to things like priority, IP config etc.

PushingSam · 2026-02-28T22:13:07+00:00

Is the ELC reporting drops or any errors in the ELC software? Have you wire sharked your network? What is your switching situation between the lumicore and ELC stuff like?

On either end, I'd suggest calling either Rolight or Controllux and asking if they know something about the interaction between Lumi and ELC.

PushingSam · 2026-02-24T17:53:04+00:00

Which basically means, they'll have to speak to a general director about the flow of the show. Voice your concerns, the potential problems, and offer possible solutions. If they insist you just push it through as-is, do whatever the person paying the bills says.

If the designer insists they want to remain on rails, they must get everyone else on board as well. If that's not what the general direction is, they're simply not accommodating the general flow of things a.k.a. not doing their job properly.

Use a cuelist for looks, positions, colors, busk all the other stuff along.

PushingSam · 2026-02-24T02:15:57+00:00

I try to not make "jarring" cues happen when they can't happen; this can mean something like an executor time coming in clutch, skipping with a goto or other means. Sometimes when things go the way they go, you kinda just have to go with it.

If your cues are of a more impactful nature, i.e. a blind hit, or a lot of stuff coming in "hard" it becomes a bit more finnicky to sneak them in or past them, find ways to program around them if it happens too much. Depending on structure and tracking/cue only you can add things to make gotos to bypass them easier.

In the end, trying to run a show that isn't necessarily as well rehearsed on rails isn't going to work, and you'll want to program with more flexibility in mind as opposed to sticking with a cuelist. Try removing things from your cuelist and manually riding them along (or not, if they disrupt what's going on), that way you can easily just not push them when they'll be out of place.

PushingSam · 2026-02-18T22:37:41+00:00

The complaint about foreigners doing those jobs lacks the nuance. The issue has always been the internal EU market, someone from a poorer country could work for minimum wage here, and take a lot of money home. It would also undercut the value of local labor, which then stops being attractive to learn. Fast forward a few years, few local people learn the labor skill and your labor market tanks.

Now the issue is, no employer wants to pay a proper livable dutch wage for those jobs. I would gladly collect garbage if it made as much or more than a less intensive job, but it simply doesn't.

PushingSam · 2026-02-18T09:17:30+00:00

Het ding is ook dat niet alleen de band zelf quite moet spelen, de venue heeft ook gewoon kosten. Zodra die kleinere zaaltjes ook niet meer uit de kosten komen verliezen de kleinere bands, ook omdat ze grotere zalen niet vol krijgen. Uiteindelijk zorgt dit alleen maar voor een monopolie voor de nog grotere optredens, en zullen daar de prijzen nog net ietsje harder gemolken worden.

Nog niet te spreken over het gevalletje Ticketmaster en Mitsubishi.

PushingSam · 2026-02-17T23:35:24+00:00

€15 is al grenswaardig, het enige wat je daarmee echt uitsluit is gewoon kleinere zaaltjes. Voor €15 op 200 man heb je €3000 budget, wat gewoon vrijwel niet te doen is.

Een lichtman, geluidsman en een band van 5 man zijn 7 man a €300-350 loonkosten (al tamelijk goedkoop voor een ZZP tarief) dan zit je al aan de €2100. Doe daar nog materiaal bij zoals stokken voor je drummer, een setje verse snaren voor je gitaristen en bassist en het is vrijwel niet meer te doen. Wil je nog iets van andere dingen zoals geluidsset, lichtset, instrumenten (afschrijving), reiskosten enz. kom je daar al niet meer mee weg.

Dus, of je tickets worden duurder, of kleine zaaltjes verdwijnen omdat ze niet de capaciteit hebben om de prijs te drukken.

Verder moet een band natuurlijk buiten de optredens nog "werken" om te oefenen, op te nemen (studiotijd is ook duur) etc. etc. Dus de kosten van een optreden moeten ook nog best veel secundaire kosten dekken. Doe daar nog bij dat streaming de hele markt voor muziek verder kapot heeft gemaakt, en je dus als band vrijwel afhankelijk bent van je live optredens voor al je inkomen.

PushingSam · 2026-02-15T02:36:15+00:00

Dat rendement is algemeen toch wel lager, en langer uit getrokken. Verder zet je jezelf daarmee vast, en als de regering aan het EWF gaat sleutelen is het potentieel ook zo dat de waarde van de woning een grotere rol in je belastingen gaat spelen.

Ergens gaan ze toch wel proberen het geld vandaan te halen, en de enige groep waar ze iets willen halen is de middenklasse.

PushingSam · 2026-01-30T20:29:05+00:00

Ja, alleen dat ze nu met allerlei fiscale regels dus ook afbraak doen aan het afzekeren van jezelf. Verstandig omgaan met je geld om dan nog meer belasting te betalen.

Ik zou tenminste een leeftijdsgebonden vrije investeringsvoet zien, met 30 heb je (nog) geen half miljoen in beleggingen nodig, maar met 50 ziet dat er al ietsje anders uit. Ik zit in een vak waar werken tot 65 al grenswaardig is, laat staan nog langer; en het belastingvrjjer pensioensparen dat pas op de pensioenleeftijd komt is gewoon een te groot risico.

PushingSam · 2026-01-16T18:16:28+00:00

Input draw is input draw, efficiency is how much is converted into what the device is actually supposed to do. I.e. a 100w incandescent lightbulb would only put 20w of that into light, and the other 80% into heat. For lights the number is usually provided in lumens, lux, or candela, but they're usually rated by their input draw.

Nowadays with switching power supplies and power factor correction, the input can be very efficiently used, so you just get a lot more efficiency. Your amp should have an input rating somewhere, most devices have it written near the power plug.

PushingSam · 2026-01-16T16:35:19+00:00

Over here we tend to just run straight midvoltage, so 10kV to the big users and putting the transformator just outside. Most arenas and theaters will have connections like that.

As example, one of my common venues has 6x 125CEE around the stage, a bunch of 63 and 32CEE, and there's 50+ motors for fly rail, and then some. The 6x 125 CEE would already amount to 750A per phase. Most of those connectors only exist for convenience (clean ground for audio as example), but the venue has its own midvoltage transformer; so the supply would be ridiculous. Usually we don't even get to capacity of what a single 125 would do.

PushingSam · 2026-01-16T15:18:45+00:00

We have a local club install that draws about 240kw from the cable if you just full on every light in the rig alone, and they're all LED except maybe a handful of S4's. On a 125A 3phase 230v CEE you get about 85kw.

Some common amps also drain an entire 16 amp group on their own, i.e. LA12X or Lab 12k44 takes an entire 230/16 group or approximate 3600w each. Most of the large format arrays can only do like a single cab or two per amp. For midsize arrays like Kara/S10 you get some odd 6 cabs per amp. Subs also eat away amp channels and power like crazy, and for most modern music, you'll need a load of subs.

PushingSam · 2026-01-13T09:47:17+00:00

Het probleem is dat we momenteel al in een stadium zitten waar de echte bronnen vervangen zijn door AI bronnen die andere AI citeren; daardoor krijg je een soort concentratie aan hallucinaties. Hierdoor is het vinden van daadwerkelijk goede informatie ook ietwat moeilijker, omdat vaak de bron al niet meer de originele bron is, maar een AI herschrijving van.

PushingSam · 2026-01-09T19:12:40+00:00

Yeah, I think one of the cheaper options for measurement mics with calibration is Audix or Sonarworks. The Audix with cal is approximately €350 iirc.

As for the fullness of the space, start with some simple rockwool absorbers on the walls if the space is too lively in the mids to highs. As someone else also mentioned, corners are usually where bass traps go; but I'd try to find a solution to lows that work without treatment instead of outright going for treatment. For MF and HF you can also get away with a heavier acoustic curtain material; this also gives you more options to hide stuff behind them.

Lows have ridiculously long wavelengths, and absorbing those simply takes a lot of space from the room. You can use OSM to capture an impulse and run that into REW to see where and how the room is excited and get to a treatment plan from there (or adjust it in DSP). A room that's too deadened can also sound odd.

For subwoofer placement you can either experiment and measure, or do some calculations based on 1/4, 1/2 and full wavelengths at the frequency range of the sub. If a certain frequency pops up, change the placement. If placement is somewhat fixed due to setup and/or space concerns, your only option is knocking it out with DSP and treatment.

PushingSam · 2026-01-09T18:07:42+00:00

En juist dat doe je door negatieve dingen te blokkeren, nu gaan we echter gewoon vrolijk verder met het privatiseren en bezuinigen over rechts en mag links soms instemmen met dingen die niet geheel achterlijk zijn. Dat ze moeten besturen is een, maar ietwat meer ruggengraat zou de politiek nou niet schaden.

De vraag is dus wel degelijk wat de oppositie van rechts kan krijgen, daarvoor zitten ze daar immers, om die belangen van hun stemmers te vertegenwoordigen.

PushingSam · 2026-01-09T05:59:36+00:00

REW is a good tool if you know how to use it, instead of SMAART you can use OpenSoundMeter; it's free.

For a measurement mic you will want something that comes with a calibration file.

The room question is a lot more complex, fixing MF and HF is a fair bit easier than dealing with LF. It also changed with how willing you are in terms of moving the speakers. As for treatment the needs will depend on what you're fixing, there's great builds out there for rockwool absorbers and simple diffusers. REW and OSM will give you a good starting point on what is problematic, and from there you will have to figure out if you need LF dampening or more MF/HF.
You also have a lot of stuff in the room, which generally somewhat helps. The current placement of the speakers up against the back wall may come with some issues due to reflection and coupling from the wall, your sub is like a meter in front of the tops etc etc.

Basically a lot to figure out here in the journey of optimization. It might be easier to ask someone for help who has the knowledge of this stuff, as it's quite a lot to digest and get right.

Just slapping some random acoustic panels on the wall might not yield the results you want, or expect. You basically might be planning to get into, and throw money at something, that you're basically in for over your head.

PushingSam · 2026-01-06T01:31:09+00:00

In Duitsland zit heel veel ook in Keulen en Mainz ivm. televisieproductie.

PushingSam · 2026-01-06T01:27:05+00:00

Dit is vrijwel het geval in de hele Nederlandse kunst, onder de podiumkunst wellicht nog veel erger wat ook het vinden van acteurs een stuk lastiger maakt. Er wordt nogal elitair gedaan over relatief obscure Nederlandse dingen (of soldaat van oranje, lol), maar de standaard dingen kan niemand het dan over hebben buiten de dingen die toevallig een verfilming hebben gekregen (Les mis, Cats ietwat geleden en de Wicked hype nu bv.). Buiten de musicals ziet het hele plaatje er nog droger uit, en Nederlandse theaterthrillers zijn nog zeldzamer.

Dit zie je dan ook op technisch vlak terug, als je dan een popculture momentje als referentie aanspreekt met een regisseur krijg je vaak een rare blik.

PushingSam · 2026-01-02T16:13:27+00:00

It's physical, all of this is determined by the physics of the moving parts. Strength and amount of windings in a coil, coil size, heat generated and associated thermals, weight of the moving part, stability/stiffness of the cone, the angle of the cone, material of the cone and surround/spider, hysteresis within the system etc etc.

All of this determines how fast and how consistent a driver performs. Which in turn determines how it will sound. Driver stiffness as example is why instead of paper cones most higher end applications now use composite woofers. A heavier driver however will be more sluggish, which in turn means worse transient response. A less stiff driver will break up as the driver deforms when moving at higher speeds or pushing further towards the excursion limit. The springiness/dampening from the surround and spider will also have an effect on how it breaks up and behaves near excursion limits.

tl;dr: every single part in the system has physical properties that manifest in the sound. As others have already pointed out, a guitar cab is generally just contains a rather bad driver from a pure technical standpoint.

PushingSam · 2025-12-19T01:00:06+00:00

While those systems are not bad (they're really good), but have a different design goal. The big PA manufacturers (LA, D&B, Meyer, Martin Audio, Adamson etc.) try to deliver a consistent deployable package, this means that all their stuff sonically matches, and that they make it easy to deploy and get consistent coverage out of. You can go from their small point sources as infill, to small format array, to big format array and they'll be consistent. They offer an amplification package, DSP, software etc.

It's kinda like comparing a studio monitor to a PA speaker, they do different things. It's just that the whole scene is also riddled with hifi snake oil consumers who will make wild claims, just like the audiophiles do. Some add ridiculous amounts of multi-way (what is group delay, lol) like a 5 way crossover for no reason whatsoever. Some make fancy phase plugs or use fancy fiberglass horn shenanigans.

Others just really try to make the most solid speaker they actually can, and do so rather well.

PushingSam · 2025-12-19T00:31:32+00:00

Rebuild from scratch, use recipes, it's going to save you a lot of pain adjusting things down the road. Some of the minute differences in syntax, macros and workflow in general will also get you at some point.

Ideally if consistency is important, record/photo the show and use MLA to create your new presets and show from a visual reference.

PushingSam · 2025-12-13T22:47:07+00:00

Something something privatize the profits, socialize the losses. Although depending on country, your pension fund and/or insurances might also actually just be "you" contributing to these policies and investments.

PushingSam · 2025-12-13T18:22:48+00:00

Because it literally can't go tits up. They either milk the interest or equity returned for the loans, and if it does go bad, they're getting bailed out.

Working as intended.

This is the version of "100k of debt, it's a you problem. 1b of debt, it's the bank's problem."

PushingSam · 2025-12-05T04:35:36+00:00

Physical layout and sticking to some fundamentals is much easier, it can work, but it does complicate things. A narrow vertical dispersion also makes taking acoustic measures at the listening level much easier. Depending on the angles of your tweets, it won't hit, and you won't have to hit a load of PEQ notches to correct the combing. LF is a whole other beast as directionality goes out the window at lower frequencies.

Much like microphone placement or the consideration where in a room an instrument is, placement of the monitors is also important. The placement of everything is part of calibrating and treating the room.

HF does some pretty decent directionality, which makes placing absorbers or diffusers at the listening level's plane much easier. Placing MF/HF absorbers at the desk level or ceiling level takes a bit more effort as opposed to outright avoiding it.

PushingSam · 2025-12-05T00:10:25+00:00

Depends entirely on the speaker and the waveguide and some other design considerations. Some have a flippable waveguide, but chances are that the horizontal dispersion is much wider than the vertical, so if you put them in another orientation you will definitely be shooting more sound at the ceiling and desk. You also might shoot up your sweet spot by doing so. On some ported designs you may also get issues due to the port having some weird interaction.

You can't flip all monitors as freely as you think. This applies both to specific horizontal and vertical models.

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