# Music Stand Lights - AC, dimmable, LED



## kevinatblinn (Nov 24, 2015)

What are folks using for music stand lights nowadays? Must be AC powered, LED, and prefer dimmable. The dimming can be at the stand or on a dimmed circuit (the musicians would hate that.)
Thanks,
Kevin


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## Fountain Of Euph (Nov 24, 2015)

Clip on LEDs are pretty popular. Battery powered, and have two diffrent settings. 

Sent from Taptalk for Android, this was.


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## chawalang (Nov 25, 2015)

If you are filming any performance or having it broadcasted keep something in mind. If you use LED stand lights and dim them during a performance there is the potential as they dim that the camera will start to have a roll on the screen. I know they are made but are not cheap where you can change the setting from 50HZ to 60HZ. 

50HZ is usually used best for PAL and SECAM systems while 60HZ to NTSC systems.


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## SteveB (Nov 26, 2015)

A basic incandescent fixture such as the KlipLite Universal at Production Advantage runs $16. The LED version is $40. 

With a 60w T10 lamp at less then a buck, there is no possibility of saving on incandescent burn-outs. I think I go thru 3-4 lamps a year with 30 some odd fixtures.


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## techieman33 (Nov 26, 2015)

SteveB said:


> A basic incandescent fixture such as the KlipLite Universal at Production Advantage runs $16. The LED version is $40.
> 
> With a 60w T10 lamp at less then a buck, there is no possibility of saving on incandescent burn-outs. I think I go thru 3-4 lamps a year with 30 some odd fixtures.



Agreed, the only way I could see it making sense to go LED for stand lights is if they were battery powered and getting a lot of use.


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## RickR (Nov 26, 2015)

I've only seen ads, but the photos show a far more even distribution with LEDS than incandescents. Some are line powered, but I doubt they are dimmable.


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## ScottT (Nov 27, 2015)

While not for use in the US, I remember hearing that these are awesome.

Except on camera that is.

Also, "mains voltage" *does not *mean 120v!


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## themuzicman (Nov 28, 2015)

Even with a budget that would allow me to get a good LED fixture, I still purchase nothing but Manhasset incandescent music stand lights. They are cheap enough that when they break I don't feel bad about tossing them and buying a dozen new ones. They take standard lamps that fit into the aisle lights of most theaters I work in, and they are what the musicians expect in my experience. I either have lx drop me dimmable power or I run them to a variac with the MD or SM.


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## n1ist (Nov 29, 2015)

I haven't tried it, but it looks like there are a lot of 4W T10 LED bulbs out there that will fit the Manhasset lights.
/mike


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## DrPinto (Nov 30, 2015)

I'm a big fan of the Mighty Bright Duet 2 lights. We use them for tech as well as for music stand lights. The can be run on 3 AAA batteries or 120 volt wall transformer. You can pick them up for around $32 each with transformer. Each head contains 2 LEDs. You can turn 1 or 2 on independently on each head. They also make an optional inexpensive magnetic base for use on a flat metal surface or table.

http://www.music123.com/accessories...ed-music-light?rNtt=music stand light&index=8


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## peacefulone61 (Oct 20, 2017)

DrPinto said:


> I'm a big fan of the Mighty Bright Duet 2 lights. We use them for tech as well as for music stand lights. The can be run on 3 AAA batteries or 120 volt wall transformer. You can pick them up for around $32 each with transformer. Each head contains 2 LEDs. You can turn 1 or 2 on independently on each head. They also make an optional inexpensive magnetic base for use on a flat metal surface or table.
> 
> http://www.music123.com/accessories/mighty-bright-duet2-led-music-light?rNtt=music stand light&index=8


I have had these and am looking at replacing them They seem to break every show.


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## RonHebbard (Oct 20, 2017)

themuzicman said:


> Even with a budget that would allow me to get a good LED fixture, I still purchase nothing but Manhasset incandescent music stand lights. They are cheap enough that when they break I don't feel bad about tossing them and buying a dozen new ones. They take standard lamps that fit into the aisle lights of most theaters I work in, and they are what the musicians expect in my experience. I either have lx drop me dimmable power or I run them to a variac with the MD or SM.


 @themuzicman I'll vote in favor of your Variac rather than a dimmed circuit from an SCR / TRIAC dimmer as I'd be more concerned about magnetic radiation into mic level cables in your pit from the chopped sine waves as compared to the reduced voltage levels of the still pure [un-chopped] waves emanating from your Variac. I'm sure your MD's appreciate having local control as well, assuming you locate your Variac at an ergonomically acceptable position; within reach while standing / conducting while neither being in their way nor having to bend over to find it on the floor.
Toodleoo!
Ron Hebbard.


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## themuzicman (Oct 22, 2017)

RonHebbard said:


> I'll vote in favor of your Variac rather than a dimmed circuit from an SCR / TRIAC dimmer as I'd be more concerned about magnetic radiation into mic level cables in your pit from the chopped sine waves as compared to the reduced voltage levels of the still pure [un-chopped] waves emanating from your Variac. I'm sure your MD's appreciate having local control as well, assuming you locate your Variac at an ergonomically acceptable position; within reach while standing / conducting while neither being in their way nor having to bend over to find it on the floor.
> Toodleoo!
> Ron Hebbard.



It's really whatever the show calls for. I like to start with a variac at the conductor, if we have one. If it's a Keys/Conductor, chances are the SM gets the variac, and if timing is super critical then it goes to dimmed power so LX can just write it into their console. In dozens of musicals I can't say either a variac or dimmed power has ever been the cause of a buzz in my cables due to inducted radiation, and I generally tend to work on shows with pits that have upwards of 50 inputs, so I have cables everywhere. 

Sharing power accidentally (or on-purpose in less than fun road houses) has been the cause of buzz, but thankfully generally when that happens its a one-off venue and chances are dimming the pit to get total blackout is the lowest priority of the day. 

And to get it at an ergonomic position, I usually get an angled box built and I put an Atlas AD-11 female mic flange on it and get it to a good hand height on a round boom base mic stand. If I'm feeling especially generous I get a tilting VESA mount to C-Clamp and I clamp the box to the pipe that's holding the conductors FOH camera shot just so the conductor has a decent foot path free of any obstruction and can fully tilt the box, which is nice when you have sub MD's who are a different height.


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## RonHebbard (Oct 22, 2017)

themuzicman said:


> It's really whatever the show calls for. I like to start with a variac at the conductor, if we have one. If it's a Keys/Conductor, chances are the SM gets the variac, and if timing is super critical then it goes to dimmed power so LX can just write it into their console. In dozens of musicals I can't say either a variac or dimmed power has ever been the cause of a buzz in my cables due to inducted radiation, and I generally tend to work on shows with pits that have upwards of 50 inputs, so I have cables everywhere.
> 
> Sharing power accidentally (or on-purpose in less than fun road houses) has been the cause of buzz, but thankfully generally when that happens it's a one-off venue and chances are dimming the pit to get total blackout is the lowest priority of the day.
> 
> And to get it at an ergonomic position, I usually get an angled box built and I put an Atlas AD-11 female mic flange on it and get it to a good hand height on a round boom base mic stand. If I'm feeling especially generous I get a tilting VESA mount to C-Clamp and I clamp the box to the pipe that's holding the conductors FOH camera shot just so the conductor has a decent foot path free of any obstruction and can fully tilt the box, which is nice when you have sub MD's who are a different height.


 @themuzicman Understood and appreciated. IF magnetic / inductive coupling / interference were ever a problem, you could always have your Variac's power sourced from a mechanical / air gap relay module to maintain black-out control from the LX board. 
Toodleoo!
Ron Hebbard.


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