Tutorial Required for Set Up of Four Chauvet Intimidator 1.0 DMX Scann

[catchthebuzz]

Hi All

 

Does anyone have advice on how to set up four Chauvet Intimidator 1.0 scanners using a Chauvet TFX-16C Stage Designer and two Chauvet DMX-4 dimmer packs? I am basically looking for some decent scenes for band purposes. We are playing small to medium venues (200 to 1000 people). We are looking for some nice crossing scenes and vees with some static color changes. I am controlling the scenes from a foot controller that accompanies the light desk. I have a ten foot truss with the four scans at even intervals. I have various other lights set up, but I am most concerned with the scans. Any ideas would be greatly appreciated.

[mumbles]

And the question is...?

 

If you mean where to put them, then this depends on the size of stage etc, but at a guess would say spaced along the trus, so there is about a 1m gap between each of them, with the truss lifted to 10 feet or more.

 

You could however mean how to cable them, in which case, read the instruction manual for the scans, or have a search through the BR or wiki for DMX and how to run it. This will explain how to daisy chain the lights, and split the line of necessary.

 

Alternatively you may be seeking idea for programming the lights. Here you're likely to be on alosing streak on this forum, as I doubt many of us have any experience with the desk whatsoever, but having skimmed through the manual (which I'll assume you've read), I can have a go.

 

Although it doesn't say so, I guess the desk is HTP as opposed to LTP, which proboably makes your life easier for this.

 

What I would do, is go through programming in a set of of looks, with all fixtures, which can easily be called up on the foot controller. Then, starting with any generic fixtures, I would write a load of chases, this depends entirely on the rest of your rig, so that there is some decent colour flashingyness. Then, start thinking about colour chases and position chases for the scans (both with the dimmer recorded in as on), which can be overlayed to make a 'look' look different. With all these, you can switch between chases and scenes with the foot controller. Note, that this is based on an assumption that you can use multiple scenes/chases fomr the foot controller. If not, (as the doubt is creeping into my mind from the manual), then the scenes and chases will have to be a complete look, encompassing all the fixtures you will want for that particular look.

 

Alternatively, if your band is getting bigger, then you invest in a more powerful desk, as well as an LX op, who can program and run the show.

 

 

For other BRers info, the intimidator is here and the controller is here.

 

Hope this helps, but we can all be more help if you can specify what your problem is.

[colebrooke]

Hi,

Well I'm not a lighting guru, but I would start by having both scanners on the same DMX address. (You can always change them later if you want for more versatility). Then mess around on the desk to see what DMX channel does what on the scanner. I think there are around 7 DMX channels to control each parameter, but some scanners have less. You could then program some scenes on the desk with the scanners in a particular orientation or pattern. String a few scenes into a chase... program a couple of chases and you should be able to trigger these from your foot controller. What buttons does the foot controller have on it?

 

cheers

Justin

 

http://www.soundtruth.co.uk

[mumbles]

The scans only have 4 channels, so could if paired be used with just the 8 channels in front of you, however, as you seem to intend to program the whole lot, and run it remotely, this becomes defunct, and for a better show, I would keep the scans all seperate, so you can run chases on the shutter for all four, and can plot position for each one individually.

 

And, from further thought, I have come to the conclusion that the foot controller will only allow you to activate 1 scene/chase at a time, so you would need to includ everything that you want to be included, and create a load of presets.

[catchthebuzz]

Thanks for the replies. Sorry that my question seemed vague. Because I am a newbie, I guess I did not know the correct information to supply: I have never programmed DMX before, so thank you for your patience.

 

Yes, I always read the manuals. I understand binary and addressing (concerning the dipswitches) because of my computer background. I don't know if I should be assigning each fixture its own address or perhaps the same address. Would it be better to assign each light individually. What are the pros and cons of employing each method? The manual is vague concerning values for pans and tilts: well, not vague, it does not give any information at all. The fixture itself has four channels, 1) Color/Gobo, 2) Strobe, 3) Pan, and 4) Tilt.

 

OK...so let's say that I assign each light its own address:

• Light One - Dipswitch 3 on
  
• Light Two - Dipswitch 4 on
  
• Light Three - Dipswitch 3 and 4 on
  
• Light Four - Dipswitch 5 on
  

Does this make sense? That should give me four channels of DMX for each fixture? Do I then just play with values between 0 - 255 to figure out what color, strobe, pan, and tilt or would you already have some values that would work for me to program a few experimental scenes? Am I setting the address via the dimmer packs or the light desk. I know this is the part where you snicker to yourself and say, "Duh??? Where'd you find this guy?"

 

Here is a for example: What if we were doing Pink Floyd's Wish You Were Here? I want to start with a blue scene with the leftmost fixture pointing stage left and the rightmost fixture stage right and the two center fixtures slowly cross to an X on center stage. Would that be one scene? Then I would have to program additional scenes to step through? We do not have the luxury of hiring a light op, so I have to run the lights via the footpedal.

 

I hope I am asking the right questions.

 

In rsponse to colebrook's question, the foot controller has the following: 1) Full On, 2) Blackout, 3) Pattern Up, and 4) Step Up

 

The TFX-16CON is a 16 channel programmable console with MIDI & DMX interfaces. It features a 60 chase memory bank with 30 pre-built

chase patterns and 30 that are user programmable with 99 steps per chase. User can vary speed of chase, set

tempo with tap sync or let the music do the work by use of its audio (sound-to-light) mode. The provided

foot controller is a very handy tool for musicians, enabling access to full on, black out and chase changes.

[mumbles]

OK...so let's say that I assign each light its own address:

• Light One - Dipswitch 3 on
  
• Light Two - Dipswitch 4 on
  
• Light Three - Dipswitch 3 and 4 on
  
• Light Four - Dipswitch 5 on
  

Does this make sense? That should give me four channels of DMX for each fixture? Do I then just play with values between 0 - 255 to figure out what color, strobe, pan, and tilt or would you already have some values that would work for me to program a few experimental scenes?

This is probably the best way to start, and you can sit down with a pad listing the order (if the values aren't shown by the desk) of the gobos and colour.

 

 

Am I setting the address via the dimmer packs or the light desk.

I'm really sorry, but I don't get what you mean with this. Once you've set the addresses on the scans, and on any dimmers you have, you then patch the desk. For this desk, it'll probably be on a one to one patch, so if the fixtures are all in order from 1 to 16 (if you have scans and dimmers, you'll need to start pairing at this point), then pushing up fader one will affect ch 1 or 9 depending on the page your on. Hopefully this answers your question, but I'm getting tired, and thinking is becoming strenuous.

 

Here is a for example: What if we were doing Pink Floyd's Wish You Were Here? I want to start with a blue scene with the leftmost fixture pointing stage left and the rightmost fixture stage right and the two center fixtures slowly cross to an X on center stage. Would that be one scene? Then I would have to program additional scenes to step through?

For this desk, you'll need to program a chase of say 6 steps, with all the generic and scanner channels in, with the pan and tilt moving a bit each time. If this can be set to auto trigger this would look better, but if not, just tapping your feet to move on a step will do.

[Tomo]

Bear in mind that this is a simple way to get you started - once you've gained some experience with your kit, you can start trying out different ways of doing things to fin d the way you like best:

 

First of all, Binary:

1 2 4 8 16 32 64 128 256 (Note - the Intimidator needs 5 channels so can't be told to start at 512)

 

Dip 1 = 1, Dip 2=2, Dip 3=4, Dip 4=8, etc as above.

Add them all together to get the start address.

 

You'll need to address your dimmers and your scans.

 

Assuming your dimmers have 4 channels each and you want to control them all individually:

You'll probably want to address Pack A to start at DMX 1, and Pack B as DMX 5

This takes up 8 DMX channels.

 

Each Chauvet Intimidator needs 5 DMX channels.

 

So we'll address the first as DMX 9 (first unused address).

9 = 8+1, so we turn Dip 1 and Dip 4 ON (remember Binary above).

 

That makes 14 the next free channel - Oh dear, we've run out of channels on your controller!

So we'll give a few things the same address - no device knows or cares what address the other fixtures have, so this is fine as long as the things we pair are identical.

 

We'll give both dimmerpacks the same address: DMX 1

The first Intimidator then gets 5, which is 1 + 4, therefore Dip 1 and 3

The second gets 12 = 8 + 4, Dips 3 and 4

 

That takes us up to the full 16 channels, so we'll address the third as 5 and the fourth as 12.

That way, the first and third do the same thing, and the second and fourth also copy each other.

 

Unfortunately that's as good as you're going to get - it seems that you can't invert pan or tilt (although it might be on Dip 10), so units with the same DMX address will do exactly the same thing.

I'd suggest pairing units 1 and 3, 2 and 4 going across the truss, as that way you'll get crossing beams.

(And only crossing beams, but nevermind)

 

When it comes to programming them, one 'scene' or chase step is one 'look':

Position, colour, and dim everything nicely. Record a scene or chase step.

Reposition, recolour, and/or change brightness, and record another scene or chase step.

Remember that chases go round and round - steps 1,2,3,4...N,1,2,3 - so make sure that the final step looks nice when followed by the first step.

 

Keep doing that until you have a selection of static scenes and chases that you like.

 

Play with them, tweak them, make them look lovely - it's your gig, none of us can do that for you unless we are actually there watching and listening to you play.

 

I don't know how to set up or use the TFX-16CON - you'll have to read the manual for that I'm afraid.

[catchthebuzz]

Hi Tomo

 

The Chauvet TFX-16CON has 96 channels of DMX available according to the manual. Does this make addressing easier???

 

I assume I come out of my DMX Out on my lighting console to my DMX In on dimmer pack one. Do I then daisy chain to the other dimmer pack or can I go to a lighting fixture(s) and go to my second dimmer pack last in the chain?

[Tomo]

The Chauvet TFX-16CON has 96 channels of DMX available according to the manual. Does this make addressing easier???

Yes! If it can control 96 channels, then that should be enough to give everything unique addresses, allowing them to be controlled individually.

 

I assume I come out of my DMX Out on my lighting console to my DMX In on dimmer pack one. Do I then daisy chain to the other dimmer pack or can I go to a lighting fixture(s) and go to my second dimmer pack last in the chain?

Yes.

The order of the daisychain doesn't matter.

As long as every fixture is in the daisychain, there are no Y-splits in the cabling, everything expects Pin 3 to be Hot (+) data and there is a good terminator plug in the last DMX Out, it should work fine.

 

Life gets more interesting once you have more than 20 or so devices to plug in, or if you have some devices expecting Pin 2 to be Hot (+), but you don't have that problem.

[pete LD]

Hi Tomo

 

The Chauvet TFX-16CON has 96 channels of DMX available according to the manual. Does this make addressing easier???

hi Ive just had a read of the manual and its not looking hopeful. the desk has only got 16 channels, but you can patch from DMX 1 to 96! this sounds complicated but thats because I'm crap at explaining. if someone else understands that can explain it might be good!

But the bad news doesn't stop there! it also appears that only channels 1>8 are dimmerble? 9>16 are only on or off! sounds like the desk is aimed at someone with 8 dimmer channels and 8 switch channels. not really a moving light desk due to lack of channels.

I'm sure someone else thats perhaps not as tired can explain better!

good luck!

Pete

 

edit to fix quote

[Tomo]

hi Ive just had a read of the manual and its not looking hopeful.

Pete, you are correct on all counts.

I've just found a copy of the manual, and have never seen a desk that rubbish before.

 

I know you're not going to like this catchthebuzz, but that desk is NOT going be usable to control your rig.

 

It actually has 8 'fader' channels and 8 'switched' channels - so you can theoretically control ONE scan, and then use the 'switched' channels to flash the other lights.

 

All I can recommend is that you look for a replacement control desk. You've currently got 28 channels worth of lighting equipment, so a 48 channel desk would leave you with some room for expansion.

- The Behringer LC2412 is too small as well, as that's only got 24 channels - you'd need to replace it the moment you bought anything new.

 

Something like a Zero88 Jester or an ETC Smartfade 1248 would be suitable, combined with one or two MIDI footpedals.

[catchthebuzz]

Hey Tomo, Pete, Mumbles, and Colebrook

 

Thanks so much for all of your valuable insight. I have learned a lot from all of your comments. I guess I will have to ditch my current board and upgrade to a better unit. Yesterday I addressed all of my fixtures and was preparing some scenes, but I found out that it was just turning my scans on and off, similar to giving them a heart attack. I guess the board was fine when it was just changing scenes using standard pars, but it is definitely not sufficient for intelligent lighting. I am also thinking about ditching my pars and moving to LED fixtures as well, so I guess a board with more control would be necessary!

 

Thanks again. I will check out the ETC boards. I was looking at the prices of the entry level ETC board, but at this time it is kind of out of my price range. If I could pick up somethng for around $500, I might be able to swing it. Crap...if only I were rich I woud have a killer show...** laughs out loud **. I guess for now I will just have to daisy chain them and let them pound out scenes on audio setting.

 

If I could ask one more favor before I kill this thread. Would you mind giving me your feedback on another controller I am considering. It is in my budget, and I am wondering if it will do the trick:

 

http://www.musiciansfriend.com/product/Cha...mp;src=3SOSWXXA

http://www.chauvetlighting.com/fixtures/dmx55_fix.shtml

 

P.S. I wish I could afford more highend quality gear, but unfortunately, I cannot at this time.)

[mumbles]

If I could ask one more favor before I kill this thread. Would you mind giving me your feedback on another controller I am considering. It is in my budget, and I am wondering if it will do the trick:

 

http://www.musiciansfriend.com/product/Cha...mp;src=3SOSWXXA

http://www.chauvetlighting.com/fixtures/dmx55_fix.shtml

Having used something similar a few years back, I can only comment vaguely about that style of desk, and nothing particular about these.

My problem with them, is the lack of intelligence in the desk, and the lack of direct access to what what you're controlling. Compared to something like a Pearl, the programming will take ages, as you have to set the levels for each channel one by one, by faders, and not by choosing the, say, colour attribute and spinning a wheel to set what you want, and the desk working out all the values for what you want. This may not seem like much, and for the lights you propose, probably isn't too big an issue, but if you do start upgrading, this is likely to become an issue quite quickly. The other problem is with the lack of access. With a larger desk, palettes speed up programming, and make opping easier, as well as making reporgramming for a new venue easier, as you only need to change the palettes, not every scene and chase. Also, as before, it is more difficult to overlay scenes/chases than with subs. However, even though the desk may not be the easiest to use, it will do the job, though I don't know if you can use a midi footpedal with either of these. In terms of a preference, I wouldn't have a clue. However, if you can find a dealer, as opposed to an online shop, you may well be able to go and have a play, something which is a very good plan, as only you can know what is the best desk for you.

 

Hope this helps.

[Tomo]

Unfortunately, I don't think you'll find a desk that supports palettes for under USD $500, unless you go the laptop route and use something like Chamsys MagicQ software with a USB output dongle.

However, laptops have the issue of extreme stealability, plus being more complex to set up and more difficult to program due to the limitations of keyboard and mouse.

 

Both of the desks you mention appear capable from the specs available, but you really need to go and try them out.

They appear to have some moving light capability, but I've no idea how much.

 

Faders are perfectly acceptable for controlling pan and tilt, but they get more fiddly when running things like colour wheels!