SHEHDS fixtures -- any good?

Jay Ashworth

Well-Known Member
I've been getting a lot of Facebook ads for semi-theatrical looking luminaires from a company called SHEDHS.

They are Chinese, of course, but they'll let you select which power cord you want and *where you want the items shipped from* on the order form, changing the price as necessary. They appear to be targeting the not-quite-so-crappy market; they have, for example, an LED mover with 11 gobos and an 8 position prism for about tree-fiddy, and a bunch of other stuff that's way cheaper than traditional vendors, but not so cheap as the random-consonant Amazon seller market; like Neewer and a couple other sellers, they do appear to be trying to be a real vendor with a worthwhile trademark.

So this leads me to the masthead question: anyone deployed any of this stuff? What do you think of it? Color, noise, ruggedness, repair experience?
 
I still strongly advocate for at least something like ADJ or Chauvet DJ where there's a company with more of a history in the states to take care of better warranty support, etc. Also, I've seen and handled those exact Shehds washes in person. They feel like toys, look like toys, sound like toys, and dim and move like toys. BUT, and this is a big but, the guy who has them said when I saw them that most of them were still going after a few years. Higher failure rate than his Chauvet and ADJ and Elation stuff, but not like 50% bad like some will say you'll get. And he was able to get quad cases for them. So if you're OK with the you get what you pay for build quality and operation, they'll probably work for a while, and I've heard that Shehds will get things fixed for you (sometimes). There's also a bunch of MFGs selling their stuff exclusively on sites such as Amazon and eBay, check there too. Companies like Uking and Beetopper and OPPSK.

I had a big ol paragraph here about what better fixtures costing multiple times more I'd recommend, but that's not the point of this thread for sure. Cheap fixtures are cheap, but a lot of the lower end manufacturers have worked out some of their reliability issues to the point where they might look, feel, and act like toys, but they ain't gonna fail right away. Long story short, buy a Focus Flex L7 if you're willing to spend a medium amount of $ and want a decent wash fixture. I love those little guys, beat the crap out of 15 of them in the ADJ LDI rig and they held their own.

I'd do a search for Shehds on the "Everything Stage Lighting" facebook group - a wild wild west compared to here, I know, but there are a LOT of opinions (both good and bad) about Shehds on there from people with a good bit of experience.
 
Well... will a $300 fixture be equal to a $2000-$5000 fixture? Nope, something(s) had to come out to hit that price point. If one does not miss whatever those 'somethings' are, rock on, Garth!

As a former regional production shop manager I seldom wept when name brand fixtures from a now-Harman brand left the shop forever. These days? I'd not buy any fixture with a price over $1500 if there is a cheaper fixture with similar features, but I don't have to meet riders anymore.

The economics is that it will be cheaper to replace them than to buy and maintain a much more expensive product.

For the OP, who would be using these in his venue, buy the cheap stuff and see what you think.
 
I for one appreciate the fact that the low end fixtures are out there. I know what they are, and I know what they are not. I now have 6 cheap chinese movers, and without the price point wouldn't have any movers at all. 10 years ago? got into our first 10 LEDS with some blizzard puck fab5.. a few of which still work. Total outlay for 10 of them was less than 2 high end elipsoidals.

Some of them are probably 3 years old now... that's 15 productions... that's 120 performances.. not to mention all up rehearsal time.. Not bad for an outlay of about 100 bucks apiece. If one goes.. that's 30 bucks a year.. it did it's job.. As I mentioned in another thread I hate "throw away" philosophy.. but they got me in the door, let me learn about how to program movers, saved me hours of hanging pin spot specials, and god lights, and let me do lots of things I couldnt do before.

I'm sorely tempted on the shehds Leko. We have a row of high end lusters and phoenixes (15 total with a spare) on the FOH but I could sure see these on our first electric for the second tier of the stage. Unless of course someone dies and remembered us ahead of time.. which is how we often get money for things like high end Lustr2's
 
I for one appreciate the fact that the low end fixtures are out there. I know what they are, and I know what they are not. I now have 6 cheap chinese movers, and without the price point wouldn't have any movers at all. 10 years ago? got into our first 10 LEDS with some blizzard puck fab5.. a few of which still work. Total outlay for 10 of them was less than 2 high end elipsoidals.

Some of them are probably 3 years old now... that's 15 productions... that's 120 performances.. not to mention all up rehearsal time.. Not bad for an outlay of about 100 bucks apiece. If one goes.. that's 30 bucks a year.. it did it's job.. As I mentioned in another thread I hate "throw away" philosophy.. but they got me in the door, let me learn about how to program movers, saved me hours of hanging pin spot specials, and god lights, and let me do lots of things I couldnt do before.

I'm sorely tempted on the shehds Leko. We have a row of high end lusters and phoenixes (15 total with a spare) on the FOH but I could sure see these on our first electric for the second tier of the stage. Unless of course someone dies and remembered us ahead of time.. which is how we often get money for things like high end Lustr2's
My old shop was a Blizzard dealer and of the roughly 120 RockLights RGBW we sold locally, I think at least 85% are still in service 10+ years later.
 
Well... will a $300 fixture be equal to a $2000-$5000 fixture? Nope, something(s) had to come out to hit that price point. If one does not miss whatever those 'somethings' are, rock on, Garth!
Yup. The goal of this thread was to ascertain which "somethings" went, from first-hand experience.

As a former regional production shop manager I seldom wept when name brand fixtures from a now-Harman brand left the shop forever. These days? I'd not buy any fixture with a price over $1500 if there is a cheaper fixture with similar features, but I don't have to meet riders anymore.

The economics is that it will be cheaper to replace them than to buy and maintain a much more expensive product.
As long as they don't blow up in mid show. :)

For the OP, who would be using these in his venue, buy the cheap stuff and see what you think.
I'm not the TD or the GM in any of the houses in question. I'm just trying to decide whether to recommend people even look at them. 3 of the 6 or 7 houses that might be involved can't buy used, which does put a pinch in capabilities for them...
 
I'm sorely tempted on the shehds Leko. We have a row of high end lusters and phoenixes (15 total with a spare) on the FOH but I could sure see these on our first electric for the second tier of the stage. Unless of course someone dies and remembered us ahead of time.. which is how we often get money for things like high end Lustr2's
Look at the rather small lens size of that leko. A lot of the light never makes it out the front. Glass quality and lens size are everything in terms of leko efficiency.
 
They really are meant for the bar band market who want a "show"... and they do that really really really well. We're talking the cover bands from Long Island carrying gear to upstairs venues and backyard pool parties. Will they work for years? Probably. Are they a mac aura? No way. Does anyone care? Nope. Would I use it for theatre where it has to hit the exact mark night after night and color mix perfectly? Nope.
 
They really are meant for the bar band market who want a "show"... and they do that really really really well. We're talking the cover bands from Long Island carrying gear to upstairs venues and backyard pool parties. Will they work for years? Probably. Are they a mac aura? No way. Does anyone care? Nope. Would I use it for theatre where it has to hit the exact mark night after night and color mix perfectly? Nope.
There aren't many fixtures that will survive very long in typical theater use, especially in the setup/build/tech/dress days. Strike lamps by 9am, shuttered down until 7pm, off at 11pm. There's a small suns worth of heat in each one, I'm sure of it. The difference between cheap and "real" is the latter have better QC and engineering compliance, plus parts and technical support when things stop working as expected. That's expensive stuff and if livelihoods depend on it all running, the cost/benefit/consequence points intersect differently. And it's why I always suggest an in situ demo if at all possible.
 
There aren't many fixtures that will survive very long in typical theater use, especially in the setup/build/tech/dress days. Strike lamps by 9am, shuttered down until 7pm, off at 11pm. There's a small suns worth of heat in each one, I'm sure of it.
That's one of the huge benefits of LEDs, no more lamp burning away in them all day. Pretty much all the fixtures from even the lowly Amazon companies and companies like Shehds are all LED source except for their lamp beam and lamp hybrid models, which are more for clubs and concerts anyways. Still best to minimize fixture on time by shutting off when away from the venue because of power supplies, but a far cry from when I was striking a rig of HMI and MSR source movers only for them to sit and cook for a few hours hours between checks and show. Other than beam and hybrid fixtures, there aren't many lamp source movers left on the market.
 
That's one of the huge benefits of LEDs, no more lamp burning away in them all day. Pretty much all the fixtures from even the lowly Amazon companies and companies like Shehds are all LED source except for their lamp beam and lamp hybrid models, which are more for clubs and concerts anyways. Still best to minimize fixture on time by shutting off when away from the venue because of power supplies, but a far cry from when I was striking a rig of HMI and MSR source movers only for them to sit and cook for a few hours hours between checks and show. Other than beam and hybrid fixtures, there aren't many lamp source movers left on the market.
I'm in full agreement, but *theater tradition* proves nearly impossible to change. It's also one of the reasons we quit doing theatrical rentals of discharge lamp-based movers. It got stupidly expensive to repair heat-created damage to Mac 2ks (among others) because LX designers and master electricians do not lamp off the fixtures. The scenario I described above has been my experience, exclusively.
 
Just throwing my two cents in. A low cost (cheap) fixture can last a long time, if they are handled properly. Unfortunately, some of the theaters I work in, allow virtually anyone to do whatever they want to do with the lights in the theater. This is why I don't allow most productions to use my inexpensive fixtures.

I'm perfectly willing to set up a plot and allow a non-professional to run that plot, but even then, there are times when steps are done out of sequence and lights will not work as expected. Typically, I can fix these issues over the phone.

As a for instance, I have been using a set of ADJ Mega Par Profile Plus since 2018, and they still work perfectly, but no one else gets to fly them, connect them, configure them or do anything but access them through the plot I create in QLC+ (my lighting software of choice).
 
I'm in full agreement, but *theater tradition* proves nearly impossible to change. It's also one of the reasons we quit doing theatrical rentals of discharge lamp-based movers. It got stupidly expensive to repair heat-created damage to Mac 2ks (among others) because LX designers and master electricians do not lamp off the fixtures. The scenario I described above has been my experience, exclusively.

Do not lamp them off *overnight from day to day*??

That's... malpractice. If anyone did that in any of my 4 houses, they be paying for the lamps. If not the fixtures.
 
Do not lamp them off *overnight from day to day*??

That's... malpractice. If anyone did that in any of my 4 houses, they be paying for the lamps. If not the fixtures.
I have to differ from you on that. Especially on older VL fixtures which don't dim when the shutters were closed. Overheating is a serious problem especially when in rest mode. Normal standard for touring is yes, test before the show and leave them on until the show. I was initially lamp life concerned years ago "why are you leaving these fixtures on?" But very experienced touring people say it's worth leaving them on between testing and the show. Most important reason, too late to fix it during the show amongst other explinations.

I once did a table tracking all the lamps installed into each fixture on the "Walking With Dinosours" tour a few years ago over a period of a year. Results were astounding! First that the Mac 2K and the VL-3K lamp used the same lamp, but the VL-3K went thru a lot more lamps. (I don't have my table at home.) Also fixture damage, the Mac 2K fixtures were older in ballast and used crappier lamp sockets initially, but overall failed lamp inspections (I inspected every lamp under a magnifying glass) over that year, more problems on the VL fixtures especially later. VL fixtures don't dim when shutters are closed. In general, both fixtures used the same lamps with a rated lamp life of 750 hours. The dimming could in theory extend that, but "Change by 1,000 hours" became policy in general. But still the fact is expected lamp life of a lamp is still what it's lamp life is. Leaving a full intensity lamp shuttered for hours on end before the show was destroying the VL-3K fixtures and lamps faster.

Did have an idiot lamp changer on the tour in part causing problems... putting perfectly good lamps into perfectly bad lamp sockets. That's where I was able to come up with evidence of putting a good lamp into a bad lamp socket will cause the good lamp to fail about 100 hours less each time a new lamp was put into the bad lamp socket. My nick name for him was "Crack Pipe Willie" because he always described his reason for removing the lamps as crack pipes. No matter how many emails were sent to the tour about bad lamp sockets... he never really caught onto the concept of putting good lamps into bad sockets, and 20 or so years later still doesn't care. No matter how many e-mails to crew chief's and project managers... Crack Pipe Willie still often on tour with us, thankfully most stock has gone LED.

Also found out that the VL-1KA fixture broke a lot of lamps in using a follow spot lamp not rugged in design to be bouncing off dock plates while installed in a fixture. Blew thru a huge amount of those lamps.

Lamp hours do not change. If you "Do not lamp them off *overnight from day to day*??". - Tim Mc, you have a rated lamp life of a lamp leaving them on goes against. Manual for the fixture should specify operating hours verses lamp off time specifcation, and also lamp socket replacements. I would follow it. You also have air conditioning loads, electricity uesed and fixture maintenance. Not sure what current lamp sockets or QD terminals are rated for in fixture in question but in the above fixtures, they were rated for three lamps per socket when following lamp on/off requirements.

Offered some news today to the assistant Dpt. Mgr. of moving lights based on evidence. He was asking how some Mega Pointe lamps he was neeing to change today were getting up to 3,000 hours before needing to be changed. 1,500 hour expected or reccommended lamp life. I explained, brand new lights like a brand new car will exceed expectations when new. He was good with that. This has often been found and does throw off expectations of fixture needs.... It's normal and in part why above with the above WWD tour I had to negotiate a change by date due to new fixtures on the tour with the General Manager and touring staff.

Open for debate on malpractice. Learning your rational especially in paying for the lamps. Can go off line if wanted, but interested and curious about your policy. There is very no doubt very important reasons for your policy all should know about. I would follow the specificaions of the fixture manual for lamp off time.
 
I believe you're differing because you've misunderstood me.

[ looks again ]

Nope. I misuinderstood Tim. I wouldn't assume "strike a lamp" meant to turn it *on* unless I knew it was a real honest-to-Murphy carbon arc fixture. As I tried to imply, I assumed that he'd meant "leaving the lights on overnight" for whatever reason... and I've never seen anyone be that foolish. (Except that one time someone left the *entire rig* in our blackbox on overnight; it was nearly 100F ambient in there when we got there the next day... I vaguely remember someone thinking they had a Good Reason to do it, but they didn't.)
 
Ah' good same page. Sorry I misunderstood. Now the Murphy carbon arc... new topic I don't know much about. New post for you please to learn about such a fixture you cite. Fascinated by the subject, but new post please.

Example on my part note it's self feeding carbon arc for mystery hunt in why it went away after it's invention.

Macbeth Arc Lamp Co. #FF3 Carbon Arc Studio Wash Light (Studio Lamp). C.1890's-1910. Serial #6858. DC or AC Current 110V = 25 Amps, 2 in series 220v = 25 Amps. Was in very bad shape, full restoration including ceramic rheostat’s re-glued & re-wound + re-wired. Pneumatic shock absorber still functional sufficiently to sustain the arc? Tipple resistor “binding post” ballast core, two bridged and variable in tap (for voltage?), one not connected - for extra voltage attachment? Or as mentioned in 1916 on the use of the third core - hand feeding option??? Self feeding exposed carbon rod arms - kind of dangerous... by 1916 this operation was enclosed. Telescoping caster stand w/o Switch. Casters mostly broken but repaired - fragile. Fixture fell over in a catastrophic way at some point in body damage, breaking ceramic rheostat core & most very unique swivel caster assemblies. Stand now mounted to a sub caster platform heavy base. ½" Carbon Rods Replaced, In-Line Switch Added. Should Work! Swap Meet in Tenn. Buy. (Shop Owned.)

Amongst a few carbon arc fixtures in the museum I restore and learn about. Please new post on this.
 
So eduducate me, I'm getting old (sorry) slang or what Murphy Carbon Arc Fixture means to your generation as per a term in Murphy bed I know of perhaps related? And look at this way, you know what ozone feels like at the barn.. That's important for you to remember for next gen. Very lively discussion for me at least, and hopefully not offensive for you. Also hopefully not too much off topic, and interesting.
 

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