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Sheriton last won the day on May 2 2014

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  1. All V75 systems come bundled with the necessary rack mount hardware. I suspect it's not (easily) available separately as you wouldn't normally need to buy it again. The "feet" on the rear of the V55 receivers look like they're in the same positions as the V75 but the mounting holes elsewhere are different. The V55 rackmount might be compatible, but certainly no guarantees there.
  2. Correct - it's only the transmitters that need to be changed. I don't know what voodoo the receivers employ but presumably they do listen with a sufficiently open ear to know which frequencies to monitor regardless of which mode is being transmitted. (Perhaps there's one common frequency between the two modes - I'll have to dig out the list of frequencies they use.) More mics shouldn't automatically mean more issues. You can theoretically use 12 together (14 in RF1) so I wouldn't expect you to experience additional problems just from adding another two. Usual RF good practice still applies e.g. being aware of near/far effects and not leaving one mic right next to the receivers whilst the others are at the far side of the stage. It does sound like you're playing in some tricky venues (from an RF perspective). I'm fortunate in that I have some control over what other kit is in use in the venues I use so I can minimise any issues before they arise. Although the L6 kit is great in a sympathetic environment, it may not always be the ideal choice where you have to fit in with whatever else is already in the venue. An enterprise grade access point right above the middle of the stage will always be tricky to deal with!
  3. You did change both mics to RF1 didn't you? The two modes are completely incompatible so you have to run them all in the same mode. There's no relationship between the channel numbers in one mode and the numbers in the other mode. Interesting. Although the L6 channel scan displays 14 channels, they aren't in any way related to the 14 WiFi channels. Sadly the scan is also only useful in RF2 and won't show anything meaningful about the 12 RF1 channels as they use a completely different set of frequencies. (Each RF1 channel uses four different frequencies spread throughout the 2.4G band. Each RF2 channel uses two frequencies.) WiFi is a tricky beast - so many devices are frequency agile and will jump around and/or only transmit intermittently, so unless a scan averages out data over a long period of time, it won't necessarily show useful data. I never actually bother with scans when using the L6 mics - as I routinely use 10+ of them, it's impossible to avoid any existing RF traffic so it comes down to physical placement of equipment rather than channel avoidance.
  4. Maybe something related to their power supplies? Have you tried swapping out their power adapters for known good ones? And swapping those PSUs to known good receivers? Failing that, probably a repair job.
  5. 1. I would always recommend RF1 over RF2. It's more robust; you won't notice the difference in a quiet RF environment, but once you have an audience full of mobile phones in, the extra security it offers will be very useful. It uses four frequencies to transmit duplicated data whereas RF2 only uses two so it's a lot more resilient to interference. 1.5. It's unlikely that your UHF troubles are directly related. You're not leaving a L6 transmitter right next to your UHF receivers / antennae are you? Or clustering all of your receiving antennae very close to each other? 2. There's no gain adjustment but the headroom is enormous. I've never managed to make one clip. Some mics are more sensitive than others so it's technically possible that a real screamer eating the mic might cause a problem but I doubt it. The receiver outputs are set to roughly the same level as an equivalent wired mic output so as long as you treat the mic preamp gain the same as you would with any other mic, you should be fine.
  6. Getting the receiver antennae up high is part & parcel of making sure that's not an issue. I've seen signal strength vary a bit if an actor is tightly surrounded by others but nothing show stopping. Preventing the TX antenna contacting bare skin is, I believe, a good idea although costume practicalities can get in the way of that. The L6 TX antenna is just a bare wire inside that dome so it's perhaps less of an issue than those packs that utilise an external flexible wire antenna.
  7. Bear in mind that you'll have hundreds of mobile phones between stage and receivers, all transmitting wifi and bluetooth in the same band as your L6 mics. I would put the recievers side of stage if you possibly can. They'll almost certainly work fine out front in an empty house but once the audience is in, it may be a different story and there's no way of testing them in those conditions without an audience. The lack of remote monitoring is my only significant frustration with these mics; I'm not usually working with a sound no. 2 who can keep an eye on the receivers.
  8. I regularly use up to ten V75 units for musical theatre without any problems so it's certainly possible. Your concerns about line of sight are very valid. I would never recommend running any radio receivers with built-in antennae at table top height - human bodies are very good at blocking radio signals, particularly as the frequencies get higher. If you get your antennae high up in the air with a clear "view" of the stage, they'll be much more reliable. I use the P180 paddles up above head height which are great for this but may not fit in your budget. The antennae loop through outputs on the V75 are also useful as you can daisy chain several receivers from one pair of antennae. Having a cluster of several receiving antennae very close to each other is bad practice so best avoided. RF2 mode is of no use except in very specific circumstances; as the V55 only offers 12 channels, I assume they're fixed in RF1 so that aspect should be fine.
  9. Before chucking them in the bin, I'd respectfully suggest learning to use them properly. It's quite likely that out of the box they're set to RF2 which is (in my opinion) pretty useless. If they are, change them to RF1 which you'll undoubtedly find is far more resilient.
  10. The "T" and a square on the receiver simply indicates that the corresponding transmitter is set to RF1 mode. The absence of that symbol means that it's operating in RF2 mode. I think the introduction of RF2 mode came a bit too late to be properly included in the manual, although there's usually a big sticker with some details on the outside of the bag containing the paperwork. The reason you experienced problems is that you can't mix & match modes - all mics have to be in either RF1 mode (for solid reliability) or RF2 mode (if you need to leave space for a specific WiFi channel). That fact that it was only the two RF2 mics that you experienced problems with is actually quite a good demonstration of the different levels of resilience to interference that the two modes offer.
  11. I had two V70 beltpacks repaired under warranty with that exact problem. Cast members complained that the packs were burning them...
  12. There was an issue with some early models of the beltpack that caused a partial short which would drain the batteries quickly and make the pack rather warm. That was a warranty repair as it was a known fault.
  13. Absolutely nothing wrong with doing it that way. If you want to go slightly further than the recommended number of receivers in the daisy chain, it's better to wire them this way.
  14. Sontec are the UK distributor for spare parts.
  15. As it's impossible for a mic to feed back all of the time, I suspect what Hal might have been experiencing was simply the pack generating a high pitched whine that sounded like feedback. I recall that's a fault that has occurred before. On the general topic of feedback... The best way to deal with it really depends on the scenario. It starts with the full system design, including placement of speakers and choice of appropriate speakers with polar patterns to suit the application. That stage will head off many issues before they even have the chance to arise. That said, we rarely have the luxury of using the perfect speaker in the perfect position so some electronics are often necessary. If it's a conference type scenario - one person speaking at a time - an auto mic mixer is your best friend. Most digital desks have these built in nowadays and they're also available in external hardware form and software plugin form. They just listen to which person is currently speaking and reduce the gain of all the other mics to intelligently keep the overall gain of the system below the feedback threshold. Properly set up, they work wonders. If it's theatre - musical or otherwise - the standard approach is to mix line by line. Only the person who's currently speaking has their mic open; all others on stage are lower or off. It's second nature to those of us working in theatre but for anyone from a rock 'n' roll background, it seems like very hard work. (And it is!) Careful programming of DCA assignments helps enormously. It's an essential technique to keep background noise low but with the added benefit of avoiding any risk of feedback.
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