Theatre callback system .

[Christoff Snyman]

Dear hivemind,
I'm in the process of redesigning a theatre's callback system (speakers going to dressing rooms with a feed from stage) and I'm reaching out to see how others might have done it or have worked on systems that they enjoy worked with.
Some basic context for the setup, the dressing rooms each needs a speaker so they can hear what's going on the stage. We've got two theatres sharing the dressing rooms so it should be able to switch between the two as well as take auxiliary sources from control room but also be able to accept some overhead microphones for the shows where the actors are not wearing a headset.
So in summary, what callback systems have you used/installed that you know worked and can recommend. Budget is rather healthy so any suggestions welcome. Thanks in advance and happy gigging.

*Edit (added some more details)*
We are switching over to a Dante audio network as well so there's budget for something future proofed, we also get a lot of sound companies coming in for residencies and the left and right split won't always happen at the same location. As I will be acting as network/system tech for the entire building (3 studios, 3 theatres and a concert hall) I'm looking for something that I can control remotely from my office, I've got some ideas on how I might do it just checking if anyone else might have done it better already that I can base my design of. I'm sorry should have added this in my original post. If you had no budget restrictions how would you do it. Also we are completely replacing the speakers and cable runs so need some suggestions. Thanks again for any input, much appreciated.

 

[eadler]

The space we rent for community theatre productions (in a theatre complex) has ClearCom wall stations in each dressing room tied into the house comms system, with the ability to be switched (I presume in a patch room) between the theatres by the technical staff. They run an aux send from the house audio board (generally with house mics) in to the clearcom base station as program audio and use the director base station for the SM so calls can be made to all rooms or specific areas (I don't think dressing rooms are broken out individually). Seems to work quite well. We only ever use the 'all call' button. The newer intercom systems can talk with networked audio systems and directly address panels/packs through rows of switches but sometimes simpler is better for operation.

 

[Christoff Snyman]

Thanks for the response @eadler
We sometimes have shows going on in both theatres so we will have to be able to individually call certain dressing rooms. Which I know I will be able to with the clear com system. I just also need suggestions for the best way to pickup the performers if they are not wearing a mic and being able to switch to that when we don't have sound companies in that's providing us with a aux feed. I've got a idea of how I want to do it but I'm trying to approach it from different aspects to figure out the best way as well as get input from other creatives in the industry so any advice is greatly appreciated.

 

[Morte615]

You said you have a healthy budget and are planning a Dante backbone. I would look at something like a QSYS Core 110f - About $3k but it offers all the processing you need, switching inputs, rooms, ect. And is super simple to program, and lots of help from QSC also. As well as you could use it for all of your DSP and processing facility wide (though depending on number of systems may need to upgrade to a larger Core then.) It supports Dante (AES67 devices) native or with a Dante card. Though I would think about just using it's own streaming network instead, lots of the same benefits of Dante but it's all native and you don't need to think much about it after initial setup.

 

[macsound]

We previously used the clear com wall stations with a mic over the audience as the feed, but we found in the ensemble dressing rooms, the one wall station had to be turned up so loud, it would distort and those furthest away still couldn't really understand what was happening on stage.
So we switched to a 70v speaker system with wall volume controls and in those large dressing rooms had 4 wall mounted speakers above the vanity mirrors. We also placed these in the green room and kitchen area, places actors would commonly miss cues because the speakers were turned down so low.

 

[Calc]

You said you have a healthy budget and are planning a Dante backbone. I would look at something like a QSYS Core 110f - About $3k but it offers all the processing you need, switching inputs, rooms, ect. And is super simple to program, and lots of help from QSC also. As well as you could use it for all of your DSP and processing facility wide (though depending on number of systems may need to upgrade to a larger Core then.) It supports Dante (AES67 devices) native or with a Dante card. Though I would think about just using it's own streaming network instead, lots of the same benefits of Dante but it's all native and you don't need to think much about it after initial setup.

Not sure on the exact models, but I'll second that the Q-Sys cores are super easy to program and run and can do whatever you want. You can remote in to them to control whatever you need from your office too.
Do the feeds need to be switchable from inside the rooms? QSC does make small 4"(?) touch panels you could put in each room. Not sure how they're priced, but you said no cost limit

Our last upgrade put in the Q-Sys core, but we kept most of our old paging system. How it's setup:

Program Feed and paging mics are both fed in to the Core, a set of both for our two spaces. A priority ducker mixes them to a single channel for each performance space, then sends a feed for each to a 70v amp to be distributed to every room. Each room has a selector to pick which space you listen to, and a volume knob (all analog).
Clearcom is also switchable between spaces via patch panel. Each backstage space is wired for two channels independently, so you could really hook up both if you wanted.

 

[Christoff Snyman]

Not sure on the exact models, but I'll second that the Q-Sys cores are super easy to program and run and can do whatever you want. You can remote in to them to control whatever you need from your office too.
Do the feeds need to be switchable from inside the rooms? QSC does make small 4"(?) touch panels you could put in each room. Not sure how they're priced, but you said no cost limit

Our last upgrade put in the Q-Sys core, but we kept most of our old paging system. How it's setup:

Program Feed and paging mics are both fed in to the Core, a set of both for our two spaces. A priority ducker mixes them to a single channel for each performance space, then sends a feed for each to a 70v amp to be distributed to every room. Each room has a selector to pick which space you listen to, and a volume knob (all analog).
Clearcom is also switchable between spaces via patch panel. Each backstage space is wired for two channels independently, so you could really hook up both if you wanted.

No cost limit yes. Don't think it would be necessary to switch in the dressing rooms tho. I'll just do it on my side at the beginning of every show as the shows we do that requires dressing rooms runs at least 2 weeks so it won't take that much time to just do that once or twice a month.

 

[rwhealey]

Do you have a building-wide DSP already, or is that part of your network upgrade?

 

[RonHebbard]

Dear hivemind,
I'm in the process of redesigning a theatre's callback system (speakers going to dressing rooms with a feed from stage) and I'm reaching out to see how others might have done it or have worked on systems that they enjoy worked with.
Some basic context for the setup, the dressing rooms each needs a speaker so they can hear what's going on the stage. We've got two theatres sharing the dressing rooms so it should be able to switch between the two as well as take auxiliary sources from control room but also be able to accept some overhead microphones for the shows where the actors are not wearing a headset.
So in summary, what callback systems have you used/installed that you know worked and can recommend. Budget is rather healthy so any suggestions welcome. Thanks in advance and happy gigging.

*Edit (added some more details)*
We are switching over to a Dante audio network as well so there's budget for something future proofed, we also get a lot of sound companies coming in for residencies and the left and right split won't always happen at the same location. As I will be acting as network/system tech for the entire building (3 studios, 3 theatres and a concert hall) I'm looking for something that I can control remotely from my office, I've got some ideas on how I might do it just checking if anyone else might have done it better already that I can base my design of. I'm sorry should have added this in my original post. If you had no budget restrictions how would you do it. Also we are completely replacing the speakers and cable runs so need some suggestions. Thanks again for any input, much appreciated.

@CS Christoff; If / when you get to having 70 volt speakers in your dressing rooms with local 70 volt attenuators, you'll want to research what are termed "bypass attenuators". Bypass attenuators are normally rated by the maximum wattage they can safely control and "bypass" means they contain an internal bypass relay which effectively removes them from the circuit (turning them to full output) for the duration of pages.
Here's the problem and how they solve it:
As soon as you install local attenuators in green rooms, offices and dressing rooms, inhabitants will turn them down to maximum attenuation / zero acoustic output, forget they've done so and miss important pages.
One advantage to bypass attenuators is inhabitants can adjust monitor levels to any level from maximum to zero affecting only the level of monitor audio with pages coming through at full intensity regardless of the physical setting of the attenuator's actuator. Some inhabitants will want to hear everything in which case they can simply leave the attenuator turned up.
Some inhabitants will want to sleep between the matinee and evening and will want to leave the control turned down. The plus to having the internal bypass relay is that the relay will effectively bypass the attenuator's setting and turn it to maximum output for the duration of any pages.
Other things to know about bypass attenuators:
- The low-cost (cheap) ones are garbage, literally not worth your time to install them. One of my employers thought he'd found a bargain and bought a case of 100 cheap attenuators. Some of them worked when initially wired, were still working when tested hanging from their leads, were still working while being mounted within their back-boxes but became unreliably intermittent once a plastic or metal single gang cover plate was installed.
- Buy once / cry once normally applies: Buy top of the line bypass attenuators from long established name brands avoiding even their lower cost options; Soundolier, Atlas, and original Bogen from the days when they were manufactured in New Jersey come to mind. There are installations in my neighborhood originally installed in 1973 which are still fully (and reliably) operational, there's also another installation built in the early 1990's which is now on at least its third generation of attenuators. Optimistically you can still get what you pay for if you shop carefully. One of our local amateur venues is running with second hand attenuators removed from one of our 'pro' venues during an upgrade where every attenuator in the building was replaced and those which had seen little use (like the first aid room, laundry and elevator machine rooms) were still worth passing along to the amateur company.
Normally bypass attenuators are wired with four conductor cable, a pair to supply 70 volt audio and a second pair to supply 24 VDC to actuate the bypass relay for the duration of pages.
There are additional 'tricks' which can be done to provide "dim" or "confidence" levels in larger systems where multiple users may be paging to various sections of the system simultaneously from locations with differing levels of priority. These kinds of 'tricks' are somewhat beyond the scope of casual posts here on Control Booth forum.
Toodleoo!
Ron Hebbard

 

[Christoff Snyman]

Do you have a building-wide DSP already, or is that part of your network upgrade?

Will be part of the upgrade.

 

[Christoff Snyman]

@CS Christoff; If / when you get to having 70 volt speakers in your dressing rooms with local 70 volt attenuators, you'll want to research what are termed "bypass attenuators". Bypass attenuators are normally rated by the maximum wattage they can safely control and "bypass" means they contain an internal bypass relay which effectively removes them from the circuit (turning them to full output) for the duration of pages.
Here's the problem and how they solve it:
As soon as you install local attenuators in green rooms, offices and dressing rooms, inhabitants will turn them down to maximum attenuation / zero acoustic output, forget they've done so and miss important pages.
One advantage to bypass attenuators is inhabitants can adjust monitor levels to any level from maximum to zero affecting only the level of monitor audio with pages coming through at full intensity regardless of the physical setting of the attenuator's actuator. Some inhabitants will want to hear everything in which case they can simply leave the attenuator turned up.
Some inhabitants will want to sleep between the matinee and evening and will want to leave the control turned down. The plus to having the internal bypass relay is that the relay will effectively bypass the attenuator's setting and turn it to maximum output for the duration of any pages.
Other things to know about bypass attenuators:
- The low-cost (cheap) ones are garbage, literally not worth your time to install them. One of my employers thought he'd found a bargain and bought a case of 100 cheap attenuators. Some of them worked when initially wired, were still working when tested hanging from their leads, were still working while being mounted within their back-boxes but became unreliably intermittent once a plastic or metal single gang cover plate was installed.
- Buy once / cry once normally applies: Buy top of the line bypass attenuators from long established name brands avoiding even their lower cost options; Soundolier, Atlas, and original Bogen from the days when they were manufactured in New Jersey come to mind. There are installations in my neighborhood originally installed in 1973 which are still fully (and reliably) operational, there's also another installation built in the early 1990's which is now on at least its third generation of attenuators. Optimistically you can still get what you pay for if you shop carefully. One of our local amateur venues is running with second hand attenuators removed from one of our 'pro' venues during an upgrade where every attenuator in the building was replaced and those which had seen little use (like the first aid room, laundry and elevator machine rooms) were still worth passing along to the amateur company.
Normally bypass attenuators are wired with four conductor cable, a pair to supply 70 volt audio and a second pair to supply 24 VDC to actuate the bypass relay for the duration of pages.
There are additional 'tricks' which can be done to provide "dim" or "confidence" levels in larger systems where multiple users may be paging to various sections of the system simultaneously from locations with differing levels of priority. These kinds of 'tricks' are somewhat beyond the scope of casual posts here on Control Booth forum.
Toodleoo!
Ron Hebbard

Some really helpful information there thank you, will look into it. One of the things I was running through in the back of my head was how I would prevent the performers from turning the speaker down to 0 and missing a call.
I've got some decent experience to network installs and more live orientated lighting/sound so this is my first major revamp of a system that I will be overseeing so I'm making sure all of my bases are covered. We've got a local distributor for Ecler so I'm definitely going to schedule a demo with that to see if it meets my requirements. Definitely considering the QSC route as well and I'm trying to track down a distributor close by. (I'm from South Africa by the way.)

I'm also looking at upgrading the speakers in the dressing rooms and the distribution amplifier for it so suggestions for that is also welcome. Thanks again for all of the input and any future comments, much appreciated.

 

[BillConnerFASTC]

I'm pretty sure that "bypass” use to be called priority page. That was before ”page” took on a whole other meaning.

 

[RonHebbard]

Some really helpful information there thank you, will look into it. One of the things I was running through in the back of my head was how I would prevent the performers from turning the speaker down to 0 and missing a call.
I've got some decent experience to network installs and more live orientated lighting/sound so this is my first major revamp of a system that I will be overseeing so I'm making sure all of my bases are covered. We've got a local distributor for Ecler so I'm definitely going to schedule a demo with that to see if it meets my requirements. Definitely considering the QSC route as well and I'm trying to track down a distributor close by. (I'm from South Africa by the way.)

I'm also looking at upgrading the speakers in the dressing rooms and the distribution amplifier for it so suggestions for that is also welcome. Thanks again for all of the input and any future comments, much appreciated.

@CS Christoff; Still speaking with reference to good old solid reliable systems from the vacuum tube era and early solid-state days LONG before networks:
Desirable functions included:
- Locations which received only monitor audio with zero pages and / or interruptions. (Think audio for late-comers in lobbies and lobby washrooms.)
- Locations which received monitor audio which muted during pages. (So the pages wouldn't leak from the booths into the audience area during performances.)
- Locations which were normally silent and received pages only. ( Administration offices where the secretaries had nothing to do with production but needed to hear emergency announcements as well as the occasional 'All Call' pages for errant actors chasing a payroll problem.
- Locations which were off and were totally silent.
[I've also installed systems with flashing strobe annunciators which only activated in case of fire or similar genuine emergency pages. The last system I installed employing strobes was a multi-venue repertory theatre complex where we installed strobes within their private recording studio where no one in the studio was to be disturbed by sonic pages but definitely needed to be alerted to any genuine emergencies. The same venue had their own private printing / lithographing shop housing several VERY NOISY presses where their press-person wore serious hearing protection 40 plus hours per week. The lady who ran the print shop depended totally upon her strobes for EMERGENCY pages.]
System designers routinely achieved ALL of the above functionality with a matrix of 4 position lever switches or mechanically inter-locked push-buttons often referred to as "radio buttons".
Here's a quick explanation of how all of this functionality was reliably derived from only TWO 70 Volt amplifier channels:
- Locations receiving 'Monitor Only' were fed from the output of the 'Monitor Only' amplifier.
- Locations receiving 'Monitor with Page Over-ride' were fed from the second amplifier.
- Locations receiving 'Page Only' were fed from a third bus carrying the output of the second amplifiers but ONLY connected to the second amplifier's output during pages by a normally open relay which was only energized and closed during pages and only for the duration of a page.
- Locations desiring to be 'off' were either left disconnected or, better yet, connected to a grounded buss to minimize cross-talk between neighboring 70 volt speaker lines.
There you go @CS Christoff. ( Sorry! For some reason I can't get Control Booth's 'Auto Notification' function to activate for you.) @dvsDave. What gives with the 'Auto Notification' function at the moment.
Toodleoo!
Ron Hebbard

 

[Christoff Snyman]

@CS Christoff; Still speaking with reference to good old solid reliable systems from the vacuum tube era and early solid-state days LONG before networks:
Desirable functions included:
- Locations which received only monitor audio with zero pages and / or interruptions. (Think audio for late-comers in lobbies and lobby washrooms.)
- Locations which received monitor audio which muted during pages. (So the pages wouldn't leak from the booths into the audience area during performances.)
- Locations which were normally silent and received pages only. ( Administration offices where the secretaries had nothing to do with production but needed to hear emergency announcements as well as the occasional 'All Call' pages for errant actors chasing a payroll problem.
- Locations which were off and were totally silent.
[I've also installed systems with flashing strobe annunciators which only activated in case of fire or similar genuine emergency pages. The last system I installed employing strobes was a multi-venue repertory theatre complex where we installed strobes within their private recording studio where no one in the studio was to be disturbed by sonic pages but definitely needed to be alerted to any genuine emergencies. The same venue had their own private printing / lithographing shop housing several VERY NOISY presses where their press-person wore serious hearing protection 40 plus hours per week. The lady who ran the print shop depended totally upon her strobes for EMERGENCY pages.]
System designers routinely achieved ALL of the above functionality with a matrix of 4 position lever switches or mechanically inter-locked push-buttons often referred to as "radio buttons".
Here's a quick explanation of how all of this functionality was reliably derived from only TWO 70 Volt amplifier channels:
- Locations receiving 'Monitor Only' were fed from the output of the 'Monitor Only' amplifier.
- Locations receiving 'Monitor with Page Over-ride' were fed from the second amplifier.
- Locations receiving 'Page Only' were fed from a third bus carrying the output of the second amplifiers but ONLY connected to the second amplifier's output during pages by a normally open relay which was only energized and closed during pages and only for the duration of a page.
- Locations desiring to be 'off' were either left disconnected or, better yet, connected to a grounded buss to minimize cross-talk between neighboring 70 volt speaker lines.
There you go @CS Christoff. ( Sorry! For some reason I can't get Control Booth's 'Auto Notification' function to activate for you.) @dvsDave. What gives with the 'Auto Notification' function at the moment.
Toodleoo!
Ron Hebbard

Thanks for the run down of how the expanding of the system will go in the future. Since I'm upgrading the theatre to a Dante backbone in any case I'll most likely go the digital route for the callback system as I need to oversee the system from my office or remotely if need be. I've narrowed it down to either a Q-Sys system or a Ecler one so I've got demo's scheduled for both early next week. Next up on my buying list is new speakers for the dressing rooms so suggestions of reliable brands will be much appreciated. Thanks in advance.

 

[RonHebbard]

Thanks for the run down of how the expanding of the system will go in the future. Since I'm upgrading the theatre to a Dante backbone in any case I'll most likely go the digital route for the callback system as I need to oversee the system from my office or remotely if need be. I've narrowed it down to either a Q-Sys system or an Ecler one so I've got demo's scheduled for both early next week. Next up on my buying list is new speakers for the dressing rooms so suggestions of reliable brands will be much appreciated. Thanks in advance.

Hello @CS Christoff; I've two comments;
- Speakers; You're probably looking for 8" cones in ceiling or wall mount enclosures possibly along with paging horns in exterior (weather resistant) or noisy locations. In Canada we have RSC, Radio Speakers of Canada, and Marsland but they're likely unheard of in Africa. Ceiling speakers benefit from being housed in back-box enclosures to keep mice from eating the cones and other contractors from puncturing the cones with fish-tapes and push-sticks.
My second comment relates to accommodating differing paging modes for differing times of day. A few examples:
During rehearsals it may be desirable to page control, spot, projection and understudy viewing booths along with lobby corridors to catch any errant actors or actors standing by to enter via an auditorium entrance.
During performances it's likely desirable to NOT page any of these areas acoustically to minimize leakage into the performance spaces, you may wish to cover these spaces with cue lights and possibly in two or more colors. One of our larger repertory theatres uses (dual lamped for redundancy) red cue lights illuminated for 'standby' and extinguished for 'go' for actors along with similar green lights to cue musicians typically for drum rolls and bugle calls from various vomitory, main floor and balcony entrances. Two colors were often required for instances where both actors and musicians were standing by simultaneously at the same entrance. Other things to consider depending upon times of day.
Secretaries and administration tend to work 9:00 a.m. through 5:00 p.m. and primarily Monday through Friday while performers and crew more commonly worked 24 / 7 / 365. With multiple rehearsal rooms simultaneously rehearsing multiple productions this led to scheduling conflicts for various coffee and meal breaks to better accommodate use of the green room and kitchen staff.
Toodleoo!
Ron Hebbard

 

[RonHebbard]

Thanks for the run down of how the expanding of the system will go in the future. Since I'm upgrading the theatre to a Dante backbone in any case I'll most likely go the digital route for the callback system as I need to oversee the system from my office or remotely if need be. I've narrowed it down to either a Q-Sys system or an Ecler one so I've got demo's scheduled for both early next week. Next up on my buying list is new speakers for the dressing rooms so suggestions of reliable brands will be much appreciated. Thanks in advance.

Hi Christoff; I'm curious how you're planning to route different signals to different speakers and / or groups of speakers at different times? Are you planning to power each speaker with its own individual amplifier?
Here's where I'm coming from: In the heart of downtown Toronto, Ontario, Canada is The Four Seasons Centre. The venue is home to both the C.O.C., Canadian Opera Corporation, and the N.B.C., National Ballet of Canada. The heart of their paging system is housed in approximately one and a half 44 RU racks in a second basement central rack room housing 9 x 44 RU racks.
Their electro-acoustic consulting PEng decreed no more than 12 seventy volt speakers per amplifier channel.
All of their paging amplifiers are QSC's; 12 two RU units with four channels per unit for a total of 48 individual amplifier channels. Eleven of the amplifiers provide 44 channels at 70 volts including one spare channel.
The twelfth unit provides 4 low impedance channels including one spare channel.
All of the paging system's front end is BSS Blu units occupying approximately half of a rack across the room.
This totals 48 amplifier channels, including two spare channels, powering something over 400 speakers throughout the venue's lobbies, dressing rooms, rehearsal spaces, wig and slipper shops, Alexander room and back stage corridors. To fabricate this system with an amplifier per speaker would have pushed it FAR over budget. I'm interested in hearing more of your approach.
Toodleoo!
Ron Hebbard

 

[Morte615]

If going with an IP system, QSYS for example, and doing a rebuild I would recommend putting in 1 room per amp channel at least (a true 1 to 1 is nice also)
Then you can still zone out the paging system to at least every room, and still be able to do all your mixing and routing in your office.

As for speakers I usually like the QSC AcousticCoverage series. Probably the AC-C4T for Ceiling mount or the AC-S4T for the surface mount
(https://www.qsc.com/systems/product...ousticcoveragetm-series-ceiling-mount/ac-c4t/
https://www.qsc.com/systems/product...ousticcoveragetm-series-surface-mount/ac-s4t/)

They can be either 2-8Ohm or 70V and install simply with standard cabling. Of course in a system like this you can use just about anything but these are ones I usually spec for my installs (mostly Entertainment venues.)

 

[Christoff Snyman]

Hi Christoff; I'm curious how you're planning to route different signals to different speakers and / or groups of speakers at different times? Are you planning to power each speaker with its own individual amplifier?
Here's where I'm coming from: In the heart of downtown Toronto, Ontario, Canada is The Four Seasons Centre. The venue is home to both the C.O.C., Canadian Opera Corporation, and the N.B.C., National Ballet of Canada. The heart of their paging system is housed in approximately one and a half 44 RU racks in a second basement central rack room housing 9 x 44 RU racks.
Their electro-acoustic consulting PEng decreed no more than 12 seventy volt speakers per amplifier channel.
All of their paging amplifiers are QSC's; 12 two RU units with four channels per unit for a total of 48 individual amplifier channels. Eleven of the amplifiers provide 44 channels at 70 volts including one spare channel.
The twelfth unit provides 4 low impedance channels including one spare channel.
All of the paging system's front end is BSS Blu units occupying approximately half of a rack across the room.
This totals 48 amplifier channels, including two spare channels, powering something over 400 speakers throughout the venue's lobbies, dressing rooms, rehearsal spaces, wig and slipper shops, Alexander room and back stage corridors. To fabricate this system with an amplifier per speaker would have pushed it FAR over budget. I'm interested in hearing more of your approach.
Toodleoo!
Ron Hebbard

So the FOH already has their system setup to handle preshow music and announcements. This system will just be handling the dressing rooms and backstage areas. Which is still about 30 areas to cover so I will have to sit down and carefully plan it out. I'm definitely going to individually route them so I'm also in the process of figuring out where the best spot will be to house all of the dsp and amplifiers in the basement.

 

[Christoff Snyman]

If going with an IP system, QSYS for example, and doing a rebuild I would recommend putting in 1 room per amp channel at least (a true 1 to 1 is nice also)
Then you can still zone out the paging system to at least every room, and still be able to do all your mixing and routing in your office.

As for speakers I usually like the QSC AcousticCoverage series. Probably the AC-C4T for Ceiling mount or the AC-S4T for the surface mount
(https://www.qsc.com/systems/product...ousticcoveragetm-series-ceiling-mount/ac-c4t/
https://www.qsc.com/systems/product...ousticcoveragetm-series-surface-mount/ac-s4t/)

They can be either 2-8Ohm or 70V and install simply with standard cabling. Of course in a system like this you can use just about anything but these are ones I usually spec for my installs (mostly Entertainment venues.)

Thanks for the suggestion, I've got a QSC dealer in my area so will get a quote in for that.

 

[Christoff Snyman]

The current callback system (Not functioning)