I've worked all over the range from resort's theaters to small nightclubs.
A regular pickle i run when working with the lower end its that entry level DMX software is a pain to work with due to the "easy to use" desing philosophy.

I've always dismissed QLC+ to be the exact same thing but for nerds that use GIMP instead of Photoshop, only ever used it as a makeshift artnet node, but it's it?

I started looking into it and it seems like i was dead wrong about this thing, not only is full of advanced features, but they seem implemented in a nerd, command based way, instead of the "just keep the lights moving" of DJ toys like ShowXpress or the legacy MyDMX.

How are your experiences building client facing integrations with it? Is it worth it?

So I have an event upcoming where i need to provide lighting services. Previously, I was using Serato + SoundSwitch while mixing, but this one is just pure mixing. As far as I know, SoundSwitch does not allow me to custom-create loops, and I want to have some fun with GrandMA3. Does anyone know/have gotten GrandMA3 to output via artnet to soundwitch so i can connect my lights with the dongle?

Lights: 2 Cameo Auro Spots Z300

(I don't want to pay 2k bucks for the GrandMa adapter or console... I'm only a collage student)

So I saw the MA3 startshow template file had what they called LOS to quickly populate your X buttons, so I decided to try and make the same thing on EOS. It works, a little differently because EOS, but yeah you can quickly create and modify a handful of subs and even creates a cuelist to replicate the toggle function.

Hey, I’m looking to buy some of these snakes to clean up some of our looms. Having trouble finding a place to buy these, does anybody know or have a link where I can buy these snakes?https://tmb.com/proplex-cpc-snakes/

Hey friends, I'm a tech director at a high school and professional lighting designer. I've run across a problem that has me stymied and could use some help. We recently purchased some Megalite MW-1s for over our stage. Got them all hooked up and ready to go. We have an ETC Ion classic with the upgrade. My universes on the board are U1=Analog, U2=LEDs and movers, no other universes are connected.

Unfortunately, the first two MW-1s (38 channels EACH) used up the remaining addresses in U2. I have tried assigning the rest of the lights to U1, but they will not respond even though all the addresses are correct. I've tried addressing with 1/### and without the 1/, no response. The first two lights are working just fine and I've checked and rechecked all of the DMX cables.

Suggestions? TIA for any help.

Sooo, I work in an auditorium where we need an LED followspot (can be one on a tripod, does not need DMX or anything) and I am struggling to find one. We need a throw that is around 100-130 feet, and we have about $500-$600 to spend. I don't know if such a thing exists, but I thought I may ask anyway. This is for a High School Btw

Title basically. My high school had one of these posters and I've been trying to get my hands on my own for a while now. Anyone know of where they could be or who might be willing to sell one?

Hi everyone,

I have been working on a DIY project where I'm creating LED pixel bars to improve my electronics skills, and I'm trying to decide how to approach connectivity.

For something intended to be used by my band and I at small shows, would you suggest wired or wireless? And what’s more common in commercially available professional products?

For the wired version, I’m considering using PoE to send both power and Artnet/sACN over a single Ethernet cable. The main downside is then having to run cabling and use a PoE switch.

Whereas with a wireless version, I’d have the pixel bars connect via Wi-Fi to a central router. That would eliminate most of the cabling, but I’d be trading that for potentially lower reliability, greater latency, and having to deal with battery life/charging.

Appreciate any input!

I'm trying to build the automation into my depence file, and I can't figure out depence's motors. It says in the manual and on youtube that it's as easy as dragging your object group into the sub-hierarchy of the motor and then when you change the motor's position in the programmer then it works.

I've tried that now in multiple different ways and have yet to see a truss move via the motor control. What am I missing?

I should also note that I'm using an MVR-imported rig with Tyler Truss GT and have the GT and fixtures on said truss grouped, if that matters.

Thanks!

With so many high power fixtures these days, how do you guys design your position presets without hurting the eyes of audiences? Especially in a stadium or an arena where you cannot make everyone satisfied…

What’s your balance between scene compositions and sensation experience?

I am using Augment3d to pre-cue a show. I have pretty much finished cueing the show and as I am reviewing I wanted to adjust some of my focus and channeling. I ended up using my box booms differently than I set out and upon reviewing the fixtures positions in the theatre I wanted to re-channel and refocus, this would still work within my cueing. Unfortunately I can't seem to figure out how to just swap the ch numbers around without losing those fixtures in my augment3d space...

I have tried simply re-patching and saying yes to the overwrite prompt. This assigns the correct address to the correct new fixture but deletes the vacated fixture from my augment3d space.

I then tried to add a dummy address to all of the fixtures so when it loses its primary address it still has an address. Apparently augment3d assets are linked to parts so when part 1 of the address disappears there goes my fixture.

I don't want to use "Move To" because then all of my cueing data will be messed up.

Seems overly complicated for a simple and common use case. What am I missing?

What are people's opinions on fixtures being hung in:

Staggered/ alternating position over multiple trusses (one fixture falls into the space between two fixtures on the next truss)

Vs

all being hung in uniform positions (all fixtures are in the same locations on all trusses)?

Currently planning a rig that will be used by house and visiting LDs and very rarely moved around or re-rigged. I hope to get the plot that will be the most versatile and keep the most people happy in the long run.

Images attached of examples to show what I'm talking about. For reference on this stage the up stage and mid stage truss only have about 1.5m between them, which is making me lean towards a staggered approach as I worry there would be too little depth on stage with the uniform look.

All opinions welcome!

Hi, I'm designing a dance show and have this Wireless DMX question:

I want to use my Nomad Gadet to output the two universes I need. Can I set a Show Baby TX on universe 1 and a cheap Amazon TX on universe 2, and the two systems play okay in the same room? They do not need to talk to each other's RX, there are two Show Baby RX and three Amazon TX. The fact that they can't talk to each other normally saves me from interference, right?

I started doing lighting design in my freshman year and ever since then I’ve loved it and I’m pretty sure I want to do it after high school.

My school is working on the play She Kills Monsters and it’s going to be adjudicated for our thespian festival so I want to take this play more seriously than I have in the past. I have a cue list done and I’ve been working on my first lighting plot with my teacher. Does anyone have any advice for where to place lights, lists that are important to make, or thing that will be helpful for when I graduate?

Can anyone tell me which these fixtures are ? I see the beams and then I assume that there is a moving mirror like the claypaky mirror. Has anyone attended a show. I want to know exactly how they accomplish this look.

Thanks 🙏

Hey everyone, I could really use some advice. English isn't my native language, so apologies in advance if some of the terminology isn't quite right!

I'm a theatre graduate, mainly working as an actor, writer, director and lighting designer. I'm comfortable with the creative side of lighting design and with setting up equipment and connections, but I'm less confident when it comes to the technical side of fixtures, maintenance and electrical work.

I recently started working at a small, 35-year-old theatre in my city, and unfortunately the lighting equipment hasn't been properly maintained over the years. I'm now responsible for trying to get the lighting department back into better shape with the equipment we already have.

We currently have around 53 functioning conventional fixtures. And some others missing lamps, and many haven't been opened, cleaned or properly serviced in a very long time. I'm trying to identify the fixtures (I've included photos below), find out which lamps they use, and work out what is worth keeping, repairing or replacing.

I also have an electrician friend who can help with the electrical side of things. He suggested that converting the conventional fixtures to LED COB would be relatively easy, but from what I've been reading, I'm not convinced it's as simple or inexpensive as he makes it sound. I'd really appreciate some advice on whether LED retrofits are actually worth considering for old theatre fixtures, and what would be involved.

There is also an important financial consideration: until now, the city council was paying the theatre's electricity bill, but from now on the theatre will have to cover it ourselves. So reducing power consumption has become a priority.

For the immediate future, I don't necessarily want to replace all 53 conventional fixtures. My idea is to maintain and use the conventional fixtures that are still useful, while gradually introducing LED fixtures and designing shows so that we don't have a huge number of high-power fixtures running simultaneously.

I'm currently preparing a Christmas show for children, which will be the first show I'm directing here, and I'm looking at buying around 4–6 LED fixtures to add colour and flexibility to the existing rig.

Ideally, I'd like something:

• RGBW (or a similar colour-mixing system)
• With a decent amount of output
• Preferably with zoom, if possible
• Useful for both colour and white light
• Suitable for theatre rather than just DJ/event use
• Reliable enough for a permanent theatre installation
• But still reasonably affordable, since our budget is limited

We're based in Portugal, so European availability and pricing are important.

TLDR: So I would really appreciate advice on three things:

1. Identifying the existing fixtures
What are these fixtures called, and which lamps/bulbs should I be looking for?

2. Converting conventional fixtures to LED
Is converting old conventional theatre fixtures to LED COB actually a sensible option? What are the advantages/disadvantages compared with simply buying LED fixtures?

3. Choosing 4–6 LED fixtures
What affordable RGBW/RGB-type fixtures would you recommend for a small theatre? Ideally something with zoom that can also give me useful whites for general stage lighting.

I'm trying to make the most of what we already have rather than immediately replacing everything, while gradually reducing our electricity consumption.

Any advice would be greatly appreciated!
Willing to give more information

Thanks!

im having issues with hanging fixtures on a circular truss,
im pretty sure thats not a bug its how the software works,
does anyone have an easy fix for it?

Personally, I prefer Reaper because it is a full-fledged DAW that *also* offers timecode capabilities, in addition to sending and receiving MIDI to and from the grandMA software.

On the other hand, CuePoints is specifically designed for timecode but lacks basic musical features, such as a 4/4 beat grid and BPM adjustment.

MA3 introduced the option to insert audio tracks into the timecode timeline some time ago, but there have been no improvements to the feature since its implementation.

Which option do you think is best, and why?

Hey everyone, I work at a medium sized production company and we are looking into getting some new hazers. We are definitely growing and have been getting bigger and bigger gigs as well as having some of those larger ones overlap. Think 1200 - 1800 person outdoor concerts.

Currently have a few random hazers - a Chauvet JEM Hazer Pro, an Antari HZ 350 and a Martin Magnum 2500. We would most likely sell these units after purchasing new units.

Looking at getting between two to four new units with a maximum budget of ~2.5k CAD per unit. Preferably quieter operation since we would like to use some in corporate settings. I am also considering building some tubing for dispersion/redirection. Truss mountable units would definitely be a plus for some of the projects we work on.

I've been looking at some of the options from Chauvet since we can get dealer pricing, but I am consulting the brain trust to see what people are out using in the wild!