I have successfully implemented DMX programming at two Churches. I explained DMX addressing and control, comparing it to mailboxes and the post office.
DMX DMX Hardware Thread
- Thread starter Tyrone Blue
- Start date
>>>>I could post my book in daily doses, if that would work. It is a step into the future.<<<<
That would be awesome. I'd look forward to your insights for sure.
>>>>"Sound Active" is NOT professional.<<<<
Have to disagree with you here, as many others I'm sure do. But it all depends on your definition of "professional." It's fine for most DJ gigs. Not so for Broadway stage lighting. It's probably fine for many local bands playing in clubs in an area where the pool table usually is, but not so for the Peter Gabriel tour. It all depends, doesn't it?
GJ
That would be awesome. I'd look forward to your insights for sure.
>>>>"Sound Active" is NOT professional.<<<<
Have to disagree with you here, as many others I'm sure do. But it all depends on your definition of "professional." It's fine for most DJ gigs. Not so for Broadway stage lighting. It's probably fine for many local bands playing in clubs in an area where the pool table usually is, but not so for the Peter Gabriel tour. It all depends, doesn't it?
GJ
I like sound active mode , its what I know how to make work
I also like Sound Active mode - I usually do pairs or quads (master / slave). I'm limited in my experience with dmx but once you 'get' it, it isn't tough, it just takes time to create the scenes and motions.
For computer software my favorite software is Chauvet Show Xpress. So easy to program and also to layer scenes when running your show. I also have and like Luminair for a more portable ipad controlled/programmed option. I just feel more limited while running large live shows with Luminair because every action needs to have it's own complete scene programmed or sequence. I can't overlap scenes live as you can with Showxpress. For example program one movement with your moving heads and then just click a button to change the colors and or gobos while it's doing that movement. Show Xpress makes this easy. Luminair does not.
Why drive a Yugo when you can drive a Rolls?
I didn't mean to rag on anyone who uses sound active... not really... but maybe a little. Why not spend a couple of hours, and learn how to do it the right way?
Wouldn't it be nice (professional) to have all of your uplights at a wedding be blue... or red... or teal... all at the same time, then, slowly change colors? "Lighting Control" are the operative words. "Sound Active" is lazy. That's why the folks who design fixtures put that function in their fixtures... for lazy people.
The whole point of this thread is to teach you all DMX programming. Pro Bono... what do you have to lose?
You can't do this with sound active:
View: https://www.youtube.com/watch?v=bg3LznA0p2M
I didn't mean to rag on anyone who uses sound active... not really... but maybe a little. Why not spend a couple of hours, and learn how to do it the right way?
Wouldn't it be nice (professional) to have all of your uplights at a wedding be blue... or red... or teal... all at the same time, then, slowly change colors? "Lighting Control" are the operative words. "Sound Active" is lazy. That's why the folks who design fixtures put that function in their fixtures... for lazy people.
The whole point of this thread is to teach you all DMX programming. Pro Bono... what do you have to lose?
You can't do this with sound active:
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FIRST THING TO DO
So, the first thing to do is get a controller. Any one of the 12 fixture, 192 channel, 240 scene, 30 bank boxes will work. Get one, and I'll tell you how to make it work. NOTE: Use real DMX or DMX "compatable" cables. XLR looks the same, but it isn't. Then, one or more DMX fixtures that is under 16 channels (99% of the stuff "we" use, is under 16 channels). Let me know when you're ready.
So, the first thing to do is get a controller. Any one of the 12 fixture, 192 channel, 240 scene, 30 bank boxes will work. Get one, and I'll tell you how to make it work. NOTE: Use real DMX or DMX "compatable" cables. XLR looks the same, but it isn't. Then, one or more DMX fixtures that is under 16 channels (99% of the stuff "we" use, is under 16 channels). Let me know when you're ready.
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Dont misunderstand my like for Sound Active for not wanting to learn DMX, maybe its the DMX controller I am using, maybe its me, but my main issue right now with DMX , one, I have no idea how to DMX my Inno Pocket Scans, or use them in DMX , two, switching fixtures stops them from working, or changes the current settings I had them on.
Tyrone, I have nothing but respect for you. I am by far, an expert at dmx (not even close). I totally get DMX addressing. I have toyed with it a bit using a hardware controller, Elation dmx operator pro.
My only input (at this time and based on my own experience) is that the 'built in' shows are generally better than what I could program. They move, interact, colors, etc everything. It may be the 'lazy' way, but if the wheel is already built, why reinvent it, especially if my wheel is square and theirs is round? Is it truly 'lazy' if it's 'better'?
That in mind, I am in no way saying that Sound Active IS the way to go. For large or permanent installs, I can totally see using dmx. For mobile events with a small amount of fixtures? I'm not so sure. I also get that once you program your scenes and chase, it's there until you redo it. DMX certainly has its benefits. If I was uplighting a room and needed all the colors to be the same and be able to change them on command, DMX is the answer. If I need static, does it matter? If I need custom things, like a focused spot, absolutely dmx. If I have 8 or more moving heads, probably nicer to build a program in dmx. If I use 1-4, maybe not.
I am certainly not trying to initiate an argument or put you on the defensive. I'm just sharing from my side of the spectrum and where I am (which may be in the woods, I am a Tigger.
). I would like to learn more and be able to perhaps do / offer more.
My only input (at this time and based on my own experience) is that the 'built in' shows are generally better than what I could program. They move, interact, colors, etc everything. It may be the 'lazy' way, but if the wheel is already built, why reinvent it, especially if my wheel is square and theirs is round? Is it truly 'lazy' if it's 'better'?
That in mind, I am in no way saying that Sound Active IS the way to go. For large or permanent installs, I can totally see using dmx. For mobile events with a small amount of fixtures? I'm not so sure. I also get that once you program your scenes and chase, it's there until you redo it. DMX certainly has its benefits. If I was uplighting a room and needed all the colors to be the same and be able to change them on command, DMX is the answer. If I need static, does it matter? If I need custom things, like a focused spot, absolutely dmx. If I have 8 or more moving heads, probably nicer to build a program in dmx. If I use 1-4, maybe not.
I am certainly not trying to initiate an argument or put you on the defensive. I'm just sharing from my side of the spectrum and where I am (which may be in the woods, I am a Tigger.
). I would like to learn more and be able to perhaps do / offer more.
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No, I get it... I'm being "controversial". If you are happy with what you're doing, don't let me rain on your parade! And, maybe you are doing it right, and I'm the one who needs to comprehend your needs a little better.
I'm approaching this from a different mindset and perspective. You'll have no issues with me.
I'm approaching this from a different mindset and perspective. You'll have no issues with me.
I wouldnt say at all, I really want to get a better understanding of how to use DMX, if you are willing, I am willing.
FIRST LESSON FOR THE DAY
While not trying to re-invent the wheel, I'll attempt to explain DMX in easier terms with lots of pictures.
First: think of DMX, as 512 kitchen light dimmers all in a row. As you move the dimmer switch, the light gets dimmer or brighter. That's all DMX is (with packets of data, rather than voltage... but the result is the same).
So, imagine these 512 dimmer switches being connected to 512 light bulbs. Each light bulb has an address, and each dimmer is related to individual bulbs with the same address... so "slider 42", only brightens or dims light bulb 42. There you go... that's DMX!
Understanding the controller is the key to programming each of those bulbs. Keep in mind that "software" controllers actually has 512 dimmer switches (sliders), while "hardware" controllers has a lot fewer... so, the manufacturer has to configure the face of the controller to function those switches in an orderly fashion. Also keep in mind that most of the hardware controllers only control the first 192 channels of that 512 "universe".
So, with hardware, you are limited to a little less than half of the possible channels that are actually available (in most cases... you can actually buy hardware that will control more than 192 channels, but MOST DJs don't need more than that). Knowing how to set your switches and sliders, is the art of DMX lighting. Once you understand these basic ideas, you'll be able to push the correct slider to control the fixtures channels.
When I taught DMX lessons... I tried to wait until each student said "OK, I get that"... then, I could move on.
While not trying to re-invent the wheel, I'll attempt to explain DMX in easier terms with lots of pictures.
First: think of DMX, as 512 kitchen light dimmers all in a row. As you move the dimmer switch, the light gets dimmer or brighter. That's all DMX is (with packets of data, rather than voltage... but the result is the same).
So, imagine these 512 dimmer switches being connected to 512 light bulbs. Each light bulb has an address, and each dimmer is related to individual bulbs with the same address... so "slider 42", only brightens or dims light bulb 42. There you go... that's DMX!
Understanding the controller is the key to programming each of those bulbs. Keep in mind that "software" controllers actually has 512 dimmer switches (sliders), while "hardware" controllers has a lot fewer... so, the manufacturer has to configure the face of the controller to function those switches in an orderly fashion. Also keep in mind that most of the hardware controllers only control the first 192 channels of that 512 "universe".
So, with hardware, you are limited to a little less than half of the possible channels that are actually available (in most cases... you can actually buy hardware that will control more than 192 channels, but MOST DJs don't need more than that). Knowing how to set your switches and sliders, is the art of DMX lighting. Once you understand these basic ideas, you'll be able to push the correct slider to control the fixtures channels.
When I taught DMX lessons... I tried to wait until each student said "OK, I get that"... then, I could move on.
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What I've found is that there is a certain level of lighting use that makes a difference. For small to medium weddings not many of my clients care to have scanners or moving heads. I program what I'm using but with the small lighting setup I have, no one really knows or sees the difference.
Halogen fixtures couldn't just be turned on and off without getting burnt out bulbs. The fans in the fixtures are there to cool off bulbs after dimming them to prevent premature bulb burnout. What I'm getting at is DMX is more important with halogen fixtures. 10+ years ago, DJs using sound active with moving heads (that couldn't be turned off or dimmed) had the problem of their lights strobing or doing way too much at the wrong time. That still happens with LED fixtures in sound active, but they can be turned on and off without worrying about bulbs going bad.
It's still nice to have control of lighting even when using four fixtures IMO. If I want a scene of dim blue it's at my fingertips. Same goes with any scene or chase I have programmed myself (fades, blinking etc.) Programming takes time and clients don't seem to know the difference, but it's still worth the time to me. If my guests see another DJ the next week using sound active mode - that's when they'll see the difference.
Halogen fixtures couldn't just be turned on and off without getting burnt out bulbs. The fans in the fixtures are there to cool off bulbs after dimming them to prevent premature bulb burnout. What I'm getting at is DMX is more important with halogen fixtures. 10+ years ago, DJs using sound active with moving heads (that couldn't be turned off or dimmed) had the problem of their lights strobing or doing way too much at the wrong time. That still happens with LED fixtures in sound active, but they can be turned on and off without worrying about bulbs going bad.
It's still nice to have control of lighting even when using four fixtures IMO. If I want a scene of dim blue it's at my fingertips. Same goes with any scene or chase I have programmed myself (fades, blinking etc.) Programming takes time and clients don't seem to know the difference, but it's still worth the time to me. If my guests see another DJ the next week using sound active mode - that's when they'll see the difference.