Strand MX

[xandersears]

Hi all. Our school's got a Strand MX48 and seems remarkably keen to replace it, which bemused me because I can't really see why. In an attempt to scrape back what I think is a great desk's reputation, I had a peek through the manual and saw immediately that there were more features on the desk than anyone in the school has ever been able to use. So, I pieced together a little guide to use it better.

I've had to right most of it without having access to the board, so can anyone who knows the board give any insight into anything I've missed or got wrong? And am I missing something when I say there's little reason to spend thousands on an upgrade (moving lights aren't going to be an issue for a long while yet).

Thanks :wacko:

Guide below.

 

 

Quick Start PAC [Performing Arts Centre] Lighting Guide

 

Lighting in the PAC is controlled by a Strand MX lighting console, a model which is over 20 years old. However, it is incredibly powerful if you learn to use all of the features.

 

The information and full operators guide I used to make this can be found to download at:

Link

and there should be a printed copy in the PAC.

I won't try to go into the creative side of lighting here, just the technical.

http://www.strandarchive.co.uk/control/memory/mx/mx_diag.jpg

 

1. Preset A sliders  10. Bump Master  19. Effect direction controls with LEDs

2. Preset B sliders (in channel mode)  11. Channel / scene bump mode  20. Manual step control for effects bar graph 

Scene masters (in scene mode) 12. Bump to level or solo  21. Effects go / stop control 

3. Channel / scene LED displays  13. LCD display window  22. Audio sensitivity or MIDI tempo 

4. Channel / scene bump buttons  14. Display cursor and menu controls scene masters (in scene mode)  23. Effect fade in / out time 

5. Twin fader time controls  15. Record mode selector  24. Effect step time 

6. Hold control for A sliders  16. Number lock for keypad  25. Effects master control selector 

7. A/B masters with LED  17. Effect controls and LEDs  26. Blackout switch with LED

8. Channel / scene mode control 18. Effect type selectors with LEDs  27. Grand Master

9. C/D masters with LED control bar graph 

Note that the PAC board is a 48 channel model and so has 3 additional fader modules

How it works:

As is the standard, this board uses the DMX512 protocol to communicate. A wire comes out of the back of the board and into a socket in the wall (near the halogen light dimmer on the right). This then sends low voltage data signals to dimmer packs under the stage (big scary 415V boxes) that translate the low voltage data signal into a standard voltage mains current that is carried to the lighting bars on the roof of the PAC.

There, each light is plugged into a special round-pin socket.

 

Lighting controller

(pictured: 12 channel version of the Strand MX)

>>

Dimmer pack(s)

(pictured: generic dimmer pack)

>>

Lighting Fixture(s)

(pictured: standard 500W fresnel lantern)

 

 

 

Steps to deal with the lighting desk playing around

 

 

On the schematic above:

8 unlit 7 both at top 9 both at bottom

6 unlit 26 unlit 27 at top

 

Details:

Check that BLACKOUT is not set (red LED off).

Check that the GRAND MASTER FADER is at full (up).

Check that CHANNEL/SCENE is selected to SCENE (yellow LED illuminated), if CHANNEL is selected (green LED illuminated) press the button below the LEDs to toggle CHANNEL mode.

Check that HOLD is off (LED off). Move both CROSSFADER A and CROSSFADER B to the top and press HOLD to turn off this mode.

Set TIME CONTROLS to manual (top)

Move CROSSFADER A to maximum (top), and CROSSFADER B to minimum (top). Set CROSSFADER C to minimum (bottom), and CROSSFADER D also to minimum (top) [? Maybe bottom].

 

 

Basic Operation

The desk is usually used in Scene mode, a simple and effective way of controlling individual fixtures and pre-prepared scenes.

 

Looking at the desk, there are 3 banks of 12 channels making up the top row and one on the bottom left. Each channel has 2 faders (sliders).

Each of the four banks are identical to the others, controlling a different 12 channels.

The final section of the board is the bottom right and you can ignore almost all of it for standard operation.

Let's break it down further:

The 2 faders for each channel are coloured - green on top, pink underneath.

The green sliders control individual lights. Remember that what each slider controls is not permanently fixed - each controls the corresponding numbered socket on the lighting bar, and what is plugged in, where it is pointed and what colour it is can and is manually changed regularly.

 

The pink sliders underneath control stored scenes in scene mode. This is a collection of various lights at certain levels, bound to a single pink slider for convenience.

 

There are just a few other controls we need to look at to use the desk:

The Grand Master fader is at the bottom right of the board and controls the total output of the desk.

The blackout button above it toggles all lights on or off.

 

And that's all you need to know to control a pre-prepared show! Typically, you simply slide pink slider one up for a scene, back down at the end and move on the fader 2.

 

Recording a show

Of course, scenes don't record themselves. To record a scene, set the desired lights to the desired intensities with the green faders. When everything is correct, hit the Record button [15] so the red LED is lit. Select the flash button underneath the pink fader you want to associate with the scene, and select "Yes" using the buttons under the LCD display [13].

 

 

 

FADER MODULES

The fader modules comprise, for each channel, a Preset A Channel Fader, a Preset B Channel Fader, a Flash Button and an LED indicator.

 

Preset A Channel Faders

These form the upper row of faders, and each provide a dedicated manual control fader for one lighting channel. They are always live, except when Scene mode is selected and the HOLD facility is active. They are a means by which Scenes can be created.

 

Preset B Channel Faders

These form the lower row of faders, and each provide an additional dedicated manual control fader for one lighting channel when Channel mode is selected. In this mode they can always produce an output if the B Master fader is above 0.

 

In Scene mode one of four ‘pages’ of Scenes may be assigned to the Preset B Faders, and they become Scene Masters. Each fader then controls a single Scene. and any number of Scenes (up to the maximum number of faders) may be mixed to form complex lighting states.

 

Flash Buttons

When flash mode is selected, and RECORD is off, the Flash buttons can be used to flash either a Channel or a Scene to the level set on the Flash level fader, or can be disabled via the menu system.

 

In Channel mode they flash only their corresponding channels, while in Scene mode they provide a dedicated button for each Scene Master if Flash Scene is selected, or Channel if Flash Channel is selected.

 

The Flash buttons have a particularly important function in Record mode. When Record is activated and NO effect is selected, MX is placed in Record Scene mode, and pressing a Flash button will load a Scene onto the corresponding Scene Master. This scene may either be the Preset A Fader output, or the combined output from the entire desk, and this option can be set via the menu system at the time of recording. The Menu system provides a warning, and also an LED flashes, if you try to record a Scene in a memory which already contains a valid Scene, allowing the choice of overwriting that one or choosing an alternative Scene which is clear.

 

When Record is activated and an effect is selected, MX is in Record Effect mode, and the Flash buttons have different functions according to the Channel/Scene selection. In Channel mode, pressing a Flash button will add or subtract the corresponding channel to the group of channels used for the current effect step. In Scene mode, pressing a Flash button will cause the corresponding Scene to be used for the current effect step, and will cancel any other selected Scene.

 

LED Indicators

Each channel has a corresponding LED indicator above the Flash button, and the function of these LEDs is determined by the current operating mode.

 

When RECORD is OFF:

The LEDs always show the output from the Channels.

 

When RECORD is ON:

The function of the LEDs changes to provide information to help recording, rather than to provide information about the channel outputs.

In Record Scene mode (no effect selected), the LEDs are lit on those Scene Masters which contain a recorded scene, and therefore identify those Scene Masters which are free for other Scenes.

In Record Effect mode (any effect selected), and Channel mode selected the

LEDs show which channels have been selected as part of the current effect step. If Scene mode is selected, only one LED may be lit to show if a Scene Master is active for the current effect step and Scene Page.

Channel or Scene mode for a particular step can be displayed and modified via the Menu system.

 

 

 

Steppin' it up - More Advanced Features

http://image.bayimg.com/aabpeaadh.jpg

 

Crossfades

At this point, it is assumed that you have the required scenes for the play programmed into the board, in order, starting with pink fader 1.

Make sure crossfader C is at 0 (bottom) and D is at 0 (top)

Use the arrow buttons under the screen to move the cursor line to C: 1.5 (on the above diagram). Use either the +/- buttons or the keypad (effects selector area) to input 1.1. For D: 1.8, change it to 1.2.

Now, sliding fader C to the top will bring up scene 1 (scene associated with pink slider 1). Pushing C down and bringing up D will change to scene 2 and switch fader C to automatically control scene 3. Pushing both sliders together (up or down) will result in a smooth crossfade in which light levels should not dip at all, just smoothly transition. Adjust the Time C/D fader to make a smooth fade however fast you move slide. Neat.

 

Effects

Effects can be pretty useful. These are the supported types on the strand MX:

CHASE The selected Channel, group of Channels or Scene in the step flash in sequence. Only one step will be active at any time.

BUILD Similar to CHASE, except that each Channel, group of Channels or Scene remains on as the sequence advances. After the final step in the sequence all Channels or Scenes are de-selected and the BUILD repeats.

CYCLE Similar to CHASE, except that each step is performed as a dipless crossfade.

FLICKER The Channels or Scenes in an effect sequence are selected at random and flashed to random levels.

RANDOM Similar to FLICKER, except that the selected Channels or Scenes are flashed to full intensity.

AUDIO/MIDI Similar to CHASE, except that each step is initiated by the bass level of an audio source connected to the rear panel socket, or by the MIDI IN timing signal.

 

Here's how:

Hit Record and then the button for the type of effect desired (ie CHASE)

Press the flash button for each of the individual fixtures you want to include in the first "step" of the effect.

Hit the STEP button to move to the next step (see the LCD display) and select which lights for this step. Repeat until you have all the steps you desire (maximum of 48)

Adjust the FX fade time to 0, step time to 1 and FX master to 10.

Hit RECORD again to exit record mode.

Select the effect you just recorded by pressing the first effect select button (above CHASE)Hit GO.

Up to 6 effects can be playing at a time, and can involve whole scenes. See p37 of the manual onwards for more details.

 

 

Using the Strand MX in Channel Mode

If you've been following this guide through, you've probably poked around with most of the controls by now. However, we haven't even touched the A/B crossfaders.

I can't think of many times this would be useful, but the MX offers a completely different mode. First, hit the Channel/Scene mode selector [8] and the LED should turn green.

 

The green faders are now considered "A faders" and the pink faders are now considered "B faders".

Slide the A/B crossfades [7] to the top (A at 10, B at 0) and light your scene as desired. Using the pink faders, set up a different scene - you won't see any response on stage. Now, move the A/B crossfaders to the bottom and revel in your dipless crossfade to the B Fader scene. This allows you to prepare the next scene as you go without ruining the current scene.

 

Using the Hold Function

Channel mode is how lighting desks used to operate before the MX series became standard and made the generally superior scene mode popular. To retain the on-the-edge-of-your-seat, scene prepared 3 seconds before it goes out mentality of channel mode without losing the functionality of the pink faders to control preset scenes, the HOLD function can be used.

Set the MX back into Scene mode. The LED should turn yellow.

Set the A/B crossfaders to the top and set the desired scene on the A (green) faders. Now, hit the HOLD button and the current scene in stored to memory. The "A Active" LED goes out, the "HOLD" LED is lit and you can change the A faders to the next desired scene without affecting the output of the desk. You can then move the A/B crossfaders to the bottom to move from the held scene to the scene setup with the A faders. A handy diagram from the manual is below

http://image.bayimg.com/aabpfaadh.jpg

Hold mode can be exited only when the A/B crossfaders are back at the top.

 

 

Merry Christmas!

[spartacus]

Hi, I have no knowledge of the Strand desk, so can't help you there. Nor on your campaign to keep the desk. BUT:

 

I did write something similar, but covering both the technical and creative elements of lighting, as well as the general ways of doing things and theatre specific quirks. I know how much effort is needed to write it. It was slightly longer than I envisioned: 185 pages, and I still think it needs more (Some bits are copied and pasted from manuals and the internet, but about 70% I've done myself). I think that just shows how you can't really write down this stuff. I made a hypothetical show and did a step by step sort of thing to show the basics. Preset Making, Clip Making, Blackouts, etc. Just the stuff you need to get light on stage. And then did another section on more advanced uses, that aren't necassary but good to know when you can do the basics.

 

Anyway, I found that the hardest thing to cover is editing what you have already done. Just by reading through your work, you seem to miss this and a Ctrl+F doesn't seem to find 'edit' either. I think this should be covered in detail, because is often not the most intuitive way to get there. ie: you can't really figure out yourself how to edit a cue-stack, you do need to be told. Just my 2c.

 

Good luck!

[xandersears]

Thanks for the feedback :wacko: Indeed I didn't include editing in the guide because generally it's not a feature most people will need regularly at school, and I think keeping it simple is the way forwards. Luckily the full manual actually covers it quite well should anyone want to commit the time.

[Kazeja]

What might impress other users and aid the operators is to run MXterm software on a laptop and use the laptop as a monitor for the console. You will need to be running version 2.x software or possibly Bx version.

 

K

[Just Some Bloke]

Firstly you are absolutely right about there being no need to replace the MX if it's still working well and you don't use moving lights. It's a great board, very easy to use and very versatile. If I went to a venue that had one I'd be quite happy.

 

Secondly, I'm afraid I didn't read all of your manual as it's rather 'individual' in it's written style and probably says more about you personally than the MX! It does seem to cover most things (though I'm amazed that you always get everything right first time and never need to edit - I work as a pro LD and am editing constantly to try and get things better and better). However, I would just re-word the job of the DMX cable if I were you from

This then sends low voltage data signals to dimmer packs under the stage (big scary 415V boxes) that translate the low voltage data signal into a standard voltage mains current that is carried to the lighting bars on the roof

to something like

This sends data to the dimmer packs under the stage, telling them how bright to make the lights

or something along those lines. You seem to be talking in "tech speak" to people who may not care about electricity and just want the set to look nice! If you bear this in mind all the time you are editing your manual (you seem happy to edit the manual even though you don't edit your lighting states! :** laughs out loud **:) then you'll end up with something people will like and use.

 

Nice idea, by the way, to write an "idiot's guide". I hope it works and people realise the potential of the MX.

 

P.S. If the school decide to buy something else and you're looking for someone to take the MX off your hands please PM me! :wacko:

[xandersears]

What might impress other users and aid the operators is to run MXterm software on a laptop and use the laptop as a monitor for the console. You will need to be running version 2.x software or possibly Bx version.

Hmm, thinking about it, there is a rickety old PC in the booth with MXterm on it, that's just too noisy to use during shows so there's presumably a serial cable (serial?) lying around somewhere. Never thought of using my laptop - it's usually on for cues anyway.

 

Firstly you are absolutely right about there being no need to replace the MX if it's still working well and you don't use moving lights. It's a great board, very easy to use and very versatile. If I went to a venue that had one I'd be quite happy.

Yeah, having digested the MX manual I've moved on up, buying the £10 Chamsys interface and starting on the manual - boy is it one big leap up :s I'm learning the MagicQ software mainly as a hobby, but is it actually a viable interface for lighting purely with generics or is it more fuss than it's worth?

 

[...] It does seem to cover most things (though I'm amazed that you always get everything right first time and never need to edit - I work as a pro LD and am editing constantly to try and get things better and better). However, I would just re-word the job of the DMX cable if I were you [...] to something like

This sends data to the dimmer packs under the stage, telling them how bright to make the lights

or something along those lines.

Hmm, my thinking behind not putting editing in was that it's a feature that people wouldn't use enough to justify including it, but thinking about how often we overwrite a scene because we need to add a light, perhaps you're right :wacko:

 

Nice idea, by the way, to write an "idiot's guide". I hope it works and people realise the potential of the MX.

Thanks :** laughs out loud **:

[paulears]

Editing is not a luxury feature it's always been a fundamental requirement of lighting - even when cues were written onto paper and copied fader, by fader for the next preset!

 

The MagicQ system is great (have one myself) - but I still have a functional GSX and the MX is perfectly capable of running shows. Remember that when it came out it was often regarded as manual with memory, or a memory with manual control. Apart from the lack of dedicated mover control, it's a much better product than some of the current manual style controls - and they were reliable and solid in use. Never fall into the trap that old equates to bad, and new is better.

[xandersears]

Editing is not a luxury feature it's always been a fundamental requirement of lighting - even when cues were written onto paper and copied fader, by fader for the next preset!

You have me convinced, I'll edit (heh) a section in when I'm free :wacko:

 

The MagicQ system is great (have one myself) - but I still have a functional GSX and the MX is perfectly capable of running shows. Remember that when it came out it was often regarded as manual with memory, or a memory with manual control. Apart from the lack of dedicated mover control, it's a much better product than some of the current manual style controls - and they were reliable and solid in use. Never fall into the trap that old equates to bad, and new is better.

The MagicQ stuff is all mine, and I don't really have any intention of replacing school's MX with it, but just out of curiosity I was wondering if it is easier to run a (purely generics) show off it than an MX, similar, or more hassle in the end? I'm on my Christmas holidays so I won't get in to have a play for a good few weeks now :/

 

Incidentally, what does the GSX offer over the MX?

[themadhippy]

but just out of curiosity I was wondering if it is easier to run a (purely generics) show off it than an MX, similar, or more hassle in the end?

without a fader wing and touch screen I'll take the mx, 24/48 real subs is easier to busk than 10 and constant page changing

[rossmck]

Incidentally, what does the GSX offer over the MX?

 

Quite a lot ...

 

The GSX was based around the "GENIUS" OS, a stripped down version of the OS on the, still popular, 500 series. Was available with up to 125 channels, as opposed to the 48 channel maximum on the MX. Also the MX, if I remember correctly, didn't have a "GO" button as such for it's cuestack.. and was limited to around 96 'cues' the GSX is 200 cues with 30 effect sequences

 

The GSX had a standard VGA for display, and a floppy drive (as opposed to the storage cards) it also easily supported scrollers, more effects and things such as DMX Input and MIDI Show Control.

 

I was never a fan of the MX, always felt like a significantly stripped down GSX/LBX to me.. I still have a GSX alongside some newer, far more advanced, desks however for quite a few recent small straight theatre projects using only generics I've still used the GSX because it's simple (and small)

[Junior8]

Editing is not a luxury feature it's always been a fundamental requirement of lighting - even when cues were written onto paper and copied fader, by fader for the next preset!

. Never fall into the trap that old equates to bad, and new is better.

 

Indeed it has what every control should have a full set of manual faders on two presets and a decent memory. What more would a school want? Anyway in a school the control should not be for running shows most of the time - it should be a tool for students to try out their own lighting this is simple enough for that at least as far as older kids are concerned. Don't bother with lashing up a PC to it - just be looking out of the control room window. That's where the truth lies!

[Ynot]

Don't bother with lashing up a PC to it - just be looking out of the control room window. That's where the truth lies!

I suspect, Junior8, that you believe that by using the PC screen as a monitor Kajeja meant as a monitor for what's happening on stage...?

If so, this is FAR from the case, as the monitor would simply be a view of what is happening with the channels etc... That's definitely an option worth considering.

 

The MX is FAR from capable of visualisation.

[Junior8]

I suspect, Junior8, that you believe that by using the PC screen as a monitor Kajeja meant as a monitor for what's happening on stage...?

 

To the contrary actually. I meant quite literally what I said. If you have done the whole plot etc. yourself a look out of the window should tell you all you need to know about the state of each channel and anything that might have gone wrong. BTW I realise that this is a very old fashioned view probably so I am prepared to be shouted down...

[Ynot]

I suspect, Junior8, that you believe that by using the PC screen as a monitor Kajeja meant as a monitor for what's happening on stage...?

 

To the contrary actually. I meant quite literally what I said. If you have done the whole plot etc. yourself a look out of the window should tell you all you need to know about the state of each channel and anything that might have gone wrong. BTW I realise that this is a very old fashioned view probably so I am prepared to be shouted down...

Hmmm...

OK - I won't shout you down as such, because I too am old enough to recall setting lights without any visual display screens (having started my lighting experience on the old dimmers that are your namesake...).

But having such a display in front of you when programming (or even on manual fades) means that you have FAR better (and more precise) control over what you're doing. For example, using a 2-preset manual desk without a monitor, setting a 20 or 30% level just by looking at the travel on the faders could vary by 1 or 2 % either way, and in many cases at that level it could have a significant effect on the actual output from the lantern... Setting it from the numeric display on screen means you get it the same level for each performance.

[Andrew C]

When playing back, I like to be able to look at the next cue on the monitor to ensure that it is the state I want to come next. It has been known for edits to go wrong, the go button to be "double hit", etc.

 

That said, looking at the stage is the best way to see if the current cue looks right. The monitor can help work out why it doesn't!