Page 1 24/48, 48/96, 72/144 Two scene preset Lighting control system Version 3.1 Copyright © 2001 Electronic Theatre Controls, Inc. All rights reserved. Product information and specifications subject to change. Part Number: 4110M1009 Rev B Released: June 2001...
Page 3: Table Of Contents
Contents Chapter 1 Introduction ..........1 Using this manual .
Page 4 Setting default sneak time ......26 Enable / disable Blackout key ......27 Enable / disable Flexichannel .
Page 5 Selecting channels in Flexichannel mode ....56 Setting channel levels ........57 Channel sliders .
Page 6 Recording a cue with split fade times ..... . 86 Recording a cue with a wait time ......87 Recording cues with Link and Follow .
Page 7 Chapter 11 Groups ..........129 Recording a group in Stage .
Page 8 Modifying submasters in Blind ......164 Modifying submasters in Stage ......164 Re-recording submasters .
Page 9 Chapter 16 Effects ..........197 Blind Effects display .
Page 10 Setting the scene mode ....... 258 Express 24/48 ........258 Express 48/96 and 72/144 .
Page 11 Chapter 24 Dimmer monitoring ........263 ETCLink functions .
Page 12 Chapter 26 Accessories ..........309 Remote Focus Unit (RFU) .
Page 13 Appendix D Showfile ..........339 Show contents .
Page 14 Contents...
Page 15: Chapter 1 Introduction
Chapter 1 Introduction This manual covers the installation and operation of lighting systems containing ETC’s Express 24/48, Express 48/96 and Express 72/144 control consoles operating with version 3.1 system software. The differences between these consoles is shown under Appendix G Specifications, page 351.
Page 16: Using This Manual
Using this manual This manual provides instructions for using the console’s features and optional accessories. Setting up the console If you are setting up the system for the first time, see Appendix A Installation, page 313, and Chapter 3 System settings, page 21, for information about setting up your system.
Page 17: Navigation And Visual Feedback
Navigation and visual feedback Move through console menus and displays in the ways that work best for you. The console offers alternative navigational techniques and visual feedback that confirms your choices all along the way. Note how navigation and feedback information is collected in the table below.
Page 18: Output Level Conventions
Output level conventions The console uses both a highest level, or pile-on, convention and a last action convention to determine levels for channels affected by more than one control. Channels may be defined to operate with either convention. HTP channels The behavior of a pile-on channel is defined by the Highest Takes Precedence (HTP) rule.
Page 19: Enabling Ltp
Enabling LTP You can set a channel’s status to LTP or HTP as long as the channel is not used in Fixture Patch. If the channel is patched to a fixture, the personality controls the HTP/LTP status. All attributes (channels) are set to LTP by a personality except the intensity attribute.
Page 20 Effects LTP channels may be used to preserve an effect in certain channels regardless of levels in the effect. Also, multiple effects can run simultaneously, and other looks can be provided concurrently with effects. These features are available in the console when you use LTP channels. When an effect cue is sandwiched between two other cues, LTP channel levels in the effect cue are ignored when determining which control takes precedence.
Page 21: Moving Light Concepts And Terms
Moving light concepts and terms Fixtures Conventional lights, sometimes called fixtures, are single attribute devices whose intensity can be controlled by a console connected to a dimmer. In this User Manual, however, the term fixture is often used to refer to multi-attribute devices such as moving lights to distinguish them from conventional lights.
Page 22: The Only Command
The Only command Only is a particularly powerful console command. Use Only to restrict a selection while programming or creating a look on stage. When working with fixtures Use Only to restrict the selection of fixture attributes by category, such as when you are creating or modifying a cue, submaster, group or focus point.
Page 23: Using The Trackpad
Using the trackpad Use the Express trackpad to set rates and levels. The trackpad operates in three modes, single mode, double mode, and XY mode, described below. You can also set the trackpad’s sensitivity. Most of the time the trackpad is in single mode. If the Single console prompts you for a rate or a level, moving your mode...
Page 24: Electronic Backup Maintenance
Electronic backup maintenance Information in console memory is preserved by an electronic backup system for approximately 28 days. Within the limits of this system, if power should fail or if you shut down and then re-power, all programmed elements should be the same as they were. For additional security, ETC recommends that you routinely save to diskette as you go along and before shutting down.
Page 25: Help From Etc Technical Services
Help from ETC Technical Services If you are having difficulties, your most convenient resources are the references given in the index of this manual and the console Help system, which is explained under Keyboard Help, page 2. To search more widely, try the ETC website at www.etcconnect.com.
Page 26 Chapter 1 Introduction...
Page 27: Chapter 2 Monitor Displays
Chapter 2 Monitor displays Express operates with one color video monitor. This monitor provides information regarding your show, including a cue list, the current status of the console’s two fader pairs and a variety of user selectable displays. These displays allow you to create and run shows and to configure your console and your lighting system.
Page 28: Colors In Displays
Colors in displays The colors in which channel numbers and output levels are displayed on screen provide information about the channels. The following list shows the meaning of colors in Stage and Blind displays. Channel numbers/Standard patch Gray......Unselected channel. White......Channel not selected by Only function. Yellow ....Selected channel.
Page 29: Display Features
Display features Three of the console displays—Stage, Blind and Patch—share many features, such as a channel display area, command line and softkeys. This chapter’s illustrations of these displays are all labeled with these common features, and the explanations are given directly below. If some common features differ slightly for a particular illustration, such as the profile assignment in Patch, that information and other unique information for the display is given with the illustration.
Page 30: Stage
Stage The Stage display shows you the current levels of all active channels. Up to 100 channels appear on the display at a time. Display name Keypad corner Global settings Channel area Prompt area Fader Status Cue / Time Code List Attribute bar Softkeys...
Page 31: Fader
Fader Express has a special Fader display that allows you to isolate channels in the display according to whether they come from the A/B or C/D fader pairs. You may also separately display channels in background faders. Enter the Fader display from the Stage display as follows: 1.
Page 32: Flexichannel
Flexichannel When you enable Flexichannel, only channels used somewhere in the show will appear on the display screens, subject to the following rules: • Flexichannel displays channels whose levels are set, whether recorded somewhere in the show or not. • Flexichannel does not display channels whose attributes are changed unless their levels are also set.
Page 33: Patch
Patch The Patch display allows you to create and modify your patch. Patch moving lights in Fixture Patch, covered under Patching one fixture or a fixture range, page Display name Keypad corner Patch area Level assigned Profile assigned Prompt area Softkeys Patch area Lists channels in the first column, dimmers patched to channels in the...
Page 34 Chapter 2 Monitor displays...
Page 35: Chapter 3 System Settings
Chapter 3 System settings System settings allow you to customize the console for the number of dimmers and channels in your system, set system modes and screen formats, and choose default settings for a variety of console functions. The following illustration shows default settings. Chapter three includes the following sections: •...
Page 36: Setting The Number Of Dimmers
Setting the number of dimmers Your console is set by default to provide 1,024 DMX512 outputs from its 2 DMX512 ports, where each port provides up to 512 DMX512 outputs. All DMX512 outputs are represented in the Patch display as dimmers.
Page 37: Setting The Number Of Channels
Setting the number of channels You may find that in some circumstances you don’t need all the channels available in your console. The system default is the maximum number of channels the console can address. By reducing the channel count below this maximum, you can significantly reduce processing time and free console memory for other purposes.
Page 38: Setting Default Fade Times
Setting default fade times The console assumes default values for upfade and downfade times, but you can change them. Change all fade times at once by changing the default values, as explained below. You can also change fade times individually as explained under Recording a cue with a single fade time, page 85, and also under...
Page 39: Setting Default Level Key
Setting default Level key The console allows you to assign a value to the [Level] key. The default value is 100 percent. You may assign [Level] any value between zero and 100. Follow these steps to assign a value to [Level]: Keystrokes: Action: Selects Setup display...
Page 40: Setting Default Sneak Time
Setting default sneak time The sneak function allows you to fade or restore channel levels on stage in a specified time. The console allows you to assign a default Sneak time. For more information about the Sneak function, see page Follow these steps to set a new Sneak time: Action: Keystrokes:...
Page 41: Enable / Disable Blackout Key
Enable / disable Blackout key The console’s [Blackout] key may be enabled or disabled. The default condition is enabled. Follow these steps to enable or disable [Blackout]: Keystrokes: Action: 1. Press [Setup]. Selects Setup display 2. Select [1], System Selects System Settings menu Settings, and press [Enter].
Page 42: Set Grandmaster Type
Set grandmaster type You may set the Master slider to one of four control options. • Disabled Master slider does nothing. • Grandmaster Master slider controls all levels on stage except parked channels and independent channels. • Sub Grandmaster Master slider controls all levels on stage set by submasters.
Page 43: Record Lockout
Record lockout You may set the console to disable the Record function. This protects a finished show from inadvertent changes. To disable the Record function in your system, follow these steps: Keystrokes: Action: 1. Press [Setup]. Selects Setup display Selects System Settings menu. 2.
Page 44: Scene Mode
3. Press [1] [Enter]. Two scene mode is enabled a. If your console is an Express 24/48, the prompt that appears at step 2 reads Select scene mode, then press ENTER (1 = Two scene, 2 = One scene without subs, 3 = One scene with subs).
Page 45: Setting The Clock
Setting the clock The console clock is called a real time clock because it is set with respect to the true time for your location, not a relative time such as would exist for a time code signal. The console’s real time clock also functions as an astronomical clock, which means that you can set it for the latitude, longitude and time zone at your location and thereby control real time programs with respect to sunrise or sunset.
Page 46: Daylight Savings Time
Daylight Savings Time Action: Keystrokes: Prompt reads: 1. Press [1] [Enter]. Select Daylight Savings Time (1 = daylight time, 0 = standard time) 2. Press [1] [Enter]. Enables Daylight Savings Time. a. The clock does not automatically adjust for changes between daylight and standard times.
Page 47: Latitude, Longitude, Time Zone
Latitude, longitude, time zone Choose the latitude, longitude and time reference data from Appendix E for the city closest to you.The example below is for Middleton, Wisconsin at 43° 04´ N latitude, 89° 23´ W longitude and 6 time zones west of Greenwich, England.
Page 48: About Show
About Show About Show provides you with information about the currently loaded show. It tells you how many channels and dimmers your show is configured for and your utilization of recordable entities such as cues, submasters, groups, focus points, macros and time code events. This is important because not enough memory is available to store the maximum number of all recordable entities at the same time.
Page 49: Chapter 4 Patching Channels
Chapter 4 Patching channels Before you begin creating cues for a show you should first create your patch. The patch assigns individual dimmers to control channel numbers. The console’s Patch display allows you to assign any of the dimmers available to any of the control channels your console can address. You can use the console's default one-to-one patch, or you may create a custom patch.
Page 50: Selecting One-To-One Patch
Selecting one-to-one patch The one-to-one patch assigns dimmer 1 to channel 1, dimmer 2 to channel 2 and so on. If there are more dimmers than channels, the one-to-one patch assigns the first extra dimmer to channel 1, the second extra dimmer to channel 2, and so on.
Page 51: Creating A Custom Patch
Creating a custom patch The console's custom patching capability allows you to create virtually any dimmer to channel configuration you like. (Groups of dimmers may be assigned to single channels, but only one channel may be patched to a dimmer.) Hint: If you use the same patch for several shows, create the patch, and record it on a disk before you record any cues.
Page 52: Proportional Patching
Proportional patching Normally, dimmers output with a linear profile at 100 percent unless you scale them to a lower level. The console allows you to proportionally scale the output of an individual dimmer in the Patch display. example, if you enter a dimmer proportional level of 60 in Patch and set that channel to full in a cue or submaster, the dimmer will output at 60 percent.
Page 53: Unpatching Individual Dimmers
Unpatching individual dimmers When you unpatch dimmers, they are assigned to channel zero. Channel zero functions as a holding area in which you may store dimmers not included in your patch. It is not an actual control channel. Before you begin creating a custom patch, you may find it helpful to assign all dimmers to channel zero.
Page 54: Dimmer Profiles
Dimmer profiles A dimmer profile is a variable level sent to a dimmer during a fade that is related in some way to the percentage of fade completion. By varying the dimmer profile, you can compensate for nonlinear characteristics or other time-dependent variations in lighting instruments as well as warm filaments more slowly to increase lamp life.
Page 55: Assigning A Profile To A Dimmer
Assigning a profile to a dimmer You may assign one of the 32 alternative profiles to a dimmer. If you assign none, the console sets the dimmer to default profile 0, the uneditable linear profile. Following is the procedure for assigning a profile to a dimmer.
Page 56: Creating Or Editing A Profile
Also, the Profiles display contains the following information: • The profile’s number and name (if labeled - see Labeling Profiles below). • For each fade point, the percent of the fade complete at that point. Each fade point contributes 5% to the total fade. •...
Page 57: Clear All
Clear All For a selected profile, Clear All changes the intensity of all fade points to undefined. Clear to End For a selected profile, the Clear to End command sets as undefined the intensity of all those fade points above the selected one. Fill Between When intensities in a profile are undefined, such as when you use Clear All or Clear To End, you can use Fill Between to have them automatically...
Page 58: Captured Channels In Patch
Captured channels in Patch The console lets you select and capture channels without returning to Stage mode. This allows you to bring channels up on stage to view the proportional settings of dimmers assigned to a channel while you set them.
Page 59: Dimmer Check
Dimmer check The console’s dimmer check allows you to raise unparked dimmers to a specified level on stage, one at a time. Select the starting dimmer, set it at a level and then use [+] to check consecutive dimmers. You may do a dimmer check in any display except Patch and Park.
Page 60: About Dimmer
About Dimmer The About Dimmer display tells you about the characteristics, patch and use of individual dimmers. For the contents of the About Dimmer display when using ETCLink, see About Dimmer with ETCLink, page 47. For similar information about channels, see About Channel, page Go to the About Dimmer display as follows.
Page 61: About Dimmer With Etclink
About Dimmer with ETCLink If your console uses ETCLink to monitor dimmers in an ETC Sensor dimming system, the About Dimmer window displays additional dimmer monitoring information. The following expanded About Dimmer window appears if dimmer monitoring is enabled. • Label: The dimmer’s label, if any.
Page 62: Setting Dimmers To Dimmer Doubling
Setting dimmers to Dimmer Doubling ETC’s Dimmer Doubling technology can increase the controllable circuits of a 115 volt, 60 Hz dimming system. Dimmer Doubling converts the output of a single ETC Sensor or L86 dimmer into two separate signals. Both signals then provide discrete levels for two ETC Source Four lights. You must configure the console by setting the mode of the dimmer and the dimmer’s port before the dimmer will function in Dimmer Doubling mode.
Page 63: Patching To A Strand Cd80 Dimmer Rack
Patching to a Strand CD80 dimmer rack Strand CD80 dimmer racks have 48 dimmer slots. Each dimmer slot holds either two 2.4kW dimmers or one 6kW or 12kW dimmer. The console requires that you include all 96 possible dimmer numbers per rack in the patch.
Page 64 Chapter 4 Patching channels...
Page 65: Setting Channel Levels
Chapter 5 Setting channel levels Setting channel levels is the first step in recording cues, submasters and groups. Setting channel levels in Stage mode brings light levels up on stage. Setting channel levels in Blind mode does not affect stage lights. This chapter includes the following sections: •...
Page 66: Channel Modes
Channel modes The color and behavior of channels depends upon their modes. Selected channels Selected channels are channels over which you have immediate control with the keypad or level wheel. Their channel numbers are displayed in yellow and their levels displayed in red. You can select channels in all display modes.
Page 67: Channel Attributes Display
Channel Attributes display The Channel Attribute display shows the following settings for every console channel. • Independent Designates whether a channel is dependent upon or independent of Grandmaster, Flash, Release, Solo, and Blackout control. Indepen- dent channels have a “y” in the Ind field, while all others have no en- try in the Ind field.
Page 68: Editing In The Channel Attributes Display
Editing in the Channel Attributes display Channels not patched to fixtures may be fully edited in the Channel Attributes display. Use [Thru], [And] and [Except] if you wish to select multiple channels. Independent channels A channel is normally controlled by the Grandmaster, Flash, Release, Solo, and Blackout functions but can be made independent of them.
Page 69: Channel Data Type
Channel data type Channels normally contain 8-bit data but may be enabled to contain 16-bit data. Enabling for 16-bit data always involves the next channel in order as well. The enabled channel is called the “HI” channel because it holds the high-order bits of the 16-bit data.
Page 70: Selecting Channels
Selecting channels Using the keypad to set channel levels involves two steps: selecting the channels whose levels you want to modify, then entering output levels. • To select a single channel, enter the channel number preceded by [Channel] if the [Channel] LED is not lit. For example, [Channel] [1] selects channel 1 or just entering 1 will do it if the [Channel] LED is lit.
Page 71: Setting Channel Levels
On the Express 24/48, in one scene mode, you may also set the bottom row of sliders to be submasters instead of channel sliders. See Scene mode, page 30 for more information.
Page 72: Sneak
Sneak Sneak is a softkey that you can use to fade channels on stage to a level you choose in a specific time or to restore channels to the last level at which they were set with a fader or submaster. For example, if you bring up a cue, then change the look, you can use sneak to go back to the look created by the original cue.
Page 73: Channel Check
Channel check Use a Channel Check to check which channel controls which light. The console allows you to check channels by selecting a single channel and flashing it to a level. Once you have selected a channel you can then advance sequentially through the channels, checking one at a time.
Page 74: About Channel
About Channel The About Channel display gives you information about the characteristics, patch and use of individual channels. It can be displayed while in any other display. For similar information about dimmers, see About Dimmer, page Go to the About Channel display as follows. Keystrokes: Action: 1.
Page 75 • Attributes Channel characteristics, such as: The channel is independent. 16b Hi The channel controls the high bits portion of 16-bit data. 16b Lo The channel controls the low bits portion of 16-bit data. Flip The channel’s output has been reversed.
Page 76 Chapter 5 Setting channel levels...
Page 77: Adding Moving Lights To The Show
Chapter 6 Adding moving lights to the show The first step in working with moving lights is to add them to your show. Then, when your console has information about what types of fixtures, personalities and fixture attributes you are using, you are ready to customize your console to work most efficiently with them.
Page 78: Moving Light Functions Menu
Moving Light Functions menu Go to the Moving Lights Functions menu by pressing [Setup] [1][5] [Enter]. 1. Personality Setup - The console comes with default personalities already included in its system software code. These may not be sufficient for your purposes, however, and you may need to add additional ones.
Page 79: Personality Setup
Personality Setup You may find that the default personalities embedded in console software are sufficient for your needs. If not, you may be able to get the personality you need from ETC or create it yourself. See Personalities, page 7, to learn about these options.
Page 80: Loading Personalities Into The Console
Loading personalities into the console You may load additional personalities to your show if you find that the default personalities are not sufficient for your needs. Any personalities loaded to your show are saved with your show. Load personalities to your show from a diskette. If you obtained the extra personalities from ETC’s internet website, store them first on your hard drive, preferably in the Shows directory set up by Expression Off-Line.
Page 81: Viewing A Personality
Viewing a personality 1. From the Personality Setup display, type the number of the personality you want to view. 2. Press [S3], View Personality and the view display appears. To view another personality, scroll with the [+] or [–] keys. 3.
Page 82: Patching Moving Lights
Patching moving lights Fixtures are installed in the Fixture Patch display in numerical order, either singly or in ranges. Go to the Fixture Patch display There are two ways to get to the Fixture Patch display. Either select option 2 from the Moving Light Functions menu or press [S8], Fixture Patch, in the Patch display.
Page 83: Patching One Fixture Or A Fixture Range
Patching one fixture or a fixture range The following procedure makes use of the automatic cursor movement from field to field for efficient data entry. When patching a range, all range members receive the same assignments except as noted below. Alternatively, you can use softkeys at any time to make entries in specific fields, such as to individualize labels when fixtures are patched as a range.
Page 84: Editing The Fixture List
Editing the fixture list You may edit or delete fixtures individually or in groups in the Fixture Patch display. Editing a fixture 1. From the Fixture Patch display, enter the fixture number(s). 2. Use the left/right arrow keys to move to the field where you want to make a change.
Page 85: Attribute Setup
Attribute Setup Personalities may have as many as 64 attributes. Most of the 64 attributes have names that describe the function to which they are assigned, such as pan, tilt, gobo or strobe. The rest have either User or Reserved designations and are unassigned.
Page 86: Go To The Attribute Setup Display
Go to the Attribute Setup display The Attribute Setup display lists all attributes and identifies their category assignments. You can change the categories to which an attribute is assigned by adding or removing them in this display. Every attribute must be assigned to at least one category.
Page 87: Encoder Setup
Encoder Setup Encoders are rotating level setting devices that are either installed in some consoles or available as an attachment. Express consoles do not use encoders but can make use of encoder pages to provide easier access to a number of fixture attributes. The encoder Setup display allows you to change the assignment of fixture attributes among your level-setting devices and pages.
Page 88: Changing Assignments
Changing assignments Encoders and other level setting devices are assigned to 44 of the 64 available attributes by default. You may change the default settings to suit your individual needs, such as to reassign attributes that you most commonly select to suit your individual setup or preferences. You may not, however, assign an attribute to more than one location on a page.
Page 89: Working With Moving Lights
Working with moving lights Moving lights displays Moving lights and conventional lights use the same Blind and Stage displays. Each moving light, however, is distinguished in these displays by a gray bar surrounding the numbers of all channels in the fixture. Also, channels that carry the low order bits of 16-bit attributes have dimmed channel numbers.
Page 90: Working With Fixtures
Working with fixtures Following are some principles to keep in mind when setting fixture attribute levels. • If a fixture has a strobe attribute, that attribute must be set above zero so that the light can be seen. • The intensity attribute is selected by default unless you select an attribute.
Page 91: Setting Levels In The Fixture Box
Setting levels in the Fixture Box Use the procedure below this Navigation and Feedback table to set attribute levels in the fixture box. Navigation and Feedback - Fixture Box display ± Select fixture Select page Select attribute Page highlighted white Fixture attributes exist on page Page highlighted yellow...
Page 92: Fixture Focus With Solo
Fixture focus with Solo Solo provides a convenient way to point or otherwise adjust a selected moving light without the interference of others. Even better, you can increment through fixtures one at a time, adjusting as you go, with a single execution of the solo function.
Page 93: Chapter 7 Cues
Chapter 7 Cues The console allows you to save up to 600 cues per show. Cues consist of channel levels and cue attributes. Multiple attributes can be applied to one cue. This chapter shows you how to create and modify cues as well as copy and delete them.
Page 94: Cue Types
Cue types [Type] displays all but one of the fade type options described below. The subroutine option is discussed under Chapter 17 Subroutines, page 219. To select a cue fade type in Stage, Blind or Fader modes, press [Type], and enter the type number given in the prompt.
Page 95: Recording Functions
Recording functions The console has two record functions: Record and Track. Record saves all channels as they appear on the screen (what you see is what you get) in the cue, group or submaster you specify. When you use Record to record a cue, levels are recorded in only one cue.
Page 96: The Oversized Show
The oversized show If your show requires more than 600 cues, you can still run it by creating the show in segments, with each segment having less than 600 cues. Follow the procedures below to create and play back an oversized show as a series of separate show segments.
Page 97: Working With Cues In Stage
Working with cues in Stage When recording in Stage, such as to record a cue, group or submaster, you will commonly want to start without any live channels. For instance, you may want to create a new cue without using any of the lights placed on stage from a previous fade or channel selection.
Page 98: Working With Cues In Blind
Working with cues in Blind Blind mode allows you to create, preview or modify cues without affecting the current look on stage. If you prefer to work with live looks, you should work in Stage mode. Recording a cue in Blind Action: Keystrokes: Selects Blind display mode...
Page 99: Recording A Cue With A Single Fade Time
Recording a cue with a single fade time Unless you tell it otherwise, the console assigns default fade times to any cue you record. If you prefer, you may record cues with custom fade times instead. Fade times can be zero seconds to 99:59 minutes long. They may be expressed in minutes and seconds, or as fractions of seconds (in decimal format).
Page 100: Recording A Cue With Split Fade Times
Recording a cue with split fade times The console allows you to record cues with different upfade and downfade times. These cues are said to have split fade times. On the console’s display, the time to the left of the “/” refers to the upfade time; the number to the right refers to the downfade time.
Page 101: Recording A Cue With A Wait Time
Recording a cue with a wait time Wait time is the time that elapses between when you press [Go] and when the actual fade begins. You can record cues with a wait time of up to 99:59 minutes. Wait time may be entered in normal time format or in decimal format. When entered with a decimal point, the number must be less than one minute (0.1 to 59.9 seconds) to be accepted.
Page 102: Recording Cues With Link And Follow
Recording cues with Link and Follow When you record a cue, it automatically becomes part of the Cue List. The Cue List is a list of all cues, organized in numeric sequence. Normally, when you press [Go] to execute cues, the console plays them back in the sequence in which they appear in the Cue List.
Page 103: Follow
Follow [Follow] allows you to play a series of cues automatically. The [Follow] time indicates how long the console waits after the cue starts before the next cue runs. [Follow] plays back the next cue on the Cue List unless you use [Link] to specify a different sequence.
Page 104: Create Playback Loops With Link And Follow
Create playback loops with Link and Follow You can use Link and Follow to create cue playback loops in which a group of cues play back automatically and repeat. Stop a loop that was created by Link and Follow by pressing GO after the loop has played through at least one time.
Page 105: Linking A Macro To A Cue
Linking a macro to a cue [Link] allows you to automatically run a macro when a cue runs. If you link macro 6 to cue 1, then macro 6 runs when you play cue 1. If you want the macro to delay before running, one way is to start the macro with a Macro Wait of the desired length.
Page 106: Recording A Cue Using Solo
Recording a cue using Solo Solo is useful for setting existing channels to zero temporarily while you view or record selected channels. You can use Solo in Blind or Stage. When used in Stage, you can use solo to cut all lights except those selected, thus using it to identify specific lights.
Page 107: Labeling Cues
Labeling cues If you have Expression Off-Line, you may assign labels to your cues. Labels can consist of any combination of letters, numbers and symbols and may be up to 16 characters long. Follow these steps to label a cue: Keystrokes: Action: 1.
Page 108: Modifying A Recorded Cue Live
Modifying a recorded cue live Previous examples in this chapter illustrated how to record new cues. If you want to modify channels in a recorded cue, you can play back the cue in Stage, make the changes, and then re-record the cue. modifications immediately affect the look on stage.
Page 109: Modifying Cue Attributes
Modifying cue attributes If all you want to do is modify a cue attribute, such as cue timing, you can do that in Stage without first playing back the cue. Use the procedure below to modify cue attributes. Keystrokes: Action: 1.
Page 110: Updating Cues
Updating cues Update allows you to modify previously recorded cues, groups, submasters or focus points in Stage. Update takes levels from all captured and selected channels, and those selected may be restricted with the Only command. Updating an active cue The following procedure illustrates how to update a cue that has been played back.
Page 111 Updating a recorded cue You need not play back the cue to update it. The following procedure illustrates how to update any recorded cue. Action: Keystrokes: Selects Stage display mode 1. Press [Stage]. Selects fixtures 1 through 8 and sets 2.
Page 112: Using Update To Modify Fade Rate
Using Update to modify fade rate You may also use the Update function to record manually modified fade rates into cues. Follow these steps to update a rate for a cue running in a fader: Action: Keystrokes: Activates rate control 1.
Page 113: Copying Cues
Copying cues You may want to use a cue’s channel levels as the foundation for a new cue, group or submaster. Use the following procedure to perform a copy operation. This copy may be performed either in Blind or in Stage. To copy a cue to another cue in Stage, follow the procedure below.
Page 114: Inserting Cues
Inserting cues You may want to insert a cue between recorded cues. For example, you may want to modify cue 1 slightly and insert it between cues 1 and 2. You can number cues with a one-digit decimal. Therefore, you can insert up to nine cues between 1 and 2 (1.1, 1.2, etc.).
Page 115: Chapter 8 Track
Chapter 8 Track Track record function Track record is a way of recording new cues or modifying existing ones when you want certain channels or channel levels to continue unchanged in playback from cue to cue. Levels recorded into a tracked cue continue unchanged in subsequent cues until a new level is encountered.
Page 116: Track Record
Track record When you record a series of cues, you typically record the first cue, then build the second cue from the first. Some of the channels change, but many remain the same. The third cue is built from the second and so on. This procedure results in many channels being set to a level in one cue and staying at that level for several cues.
Page 117: Recording Modified Cues
Recording modified cues The difference between Record and Track is apparent when you modify a cue or insert a new cue between two existing cues. Record and Track produce different results. Using Record The following keys were pressed to release captured channels and play back cue 1.
Page 118 Using Track If you have tracked channels (all with the same level), you can make them track at a different level. Also, you can track channels at a focus point, but you cannot track through a channel set at a focus point. To illustrate, suppose you have tracked channels as shown in the example under Using record to create tracks, page...
Page 119: Inserting Cues
Inserting cues If you insert a cue in this sequence, Record and Track produce different results. Record saves changes only in the cue you insert while Track saves the changes you make and tracks them through the following cues. The example given below is in Stage. You can get the same results in Blind but with the additional advantage that you can pull channels from the immediately previous cue.
Page 120 Using Track When you insert a cue with Track, new channels track through the following cues until the console encounters a cue with a level previously recorded for that channel. The following procedure illustrates this use of Track, and the following illustration shows what results.
Page 121 Pulling channels in Blind If you insert in Blind using [Track], you can get a start on a new cue by using levels already defined in the previous cue. You can then add channels or modify levels in the new cue. From that point on, you can use either [Record] or [Track] analogously to the procedures explained above, depending upon whether or not you want the channels in the inserted cue to track into subsequent cues.
Page 122: Blackout Cues And Tracking
Blackout cues and tracking Sometimes you may add a channel to a sequence of cues that have not used that channel yet. For example, you may want to add a channel to all cues in a scene. To do this, add the channel to the first cue in the sequence and use Track to track the change through the remaining cues.
Page 123 If cue 5 is an allfade, the console records all unused channels at 00 percent. In the example below, an allfade enters 00 in channel 5, cue 5. When you track channel 5 through the sequence, it won’t track through the blackout cue.
Page 124 Chapter 8 Track...
Page 125: Chapter 9 Multipart Cues
Chapter 9 Multipart cues A multipart cue consists of up to eight parts, each of which is essentially an independent cue with its own channel levels and timing information. You may set the upfade, downfade and wait times for each part of a multipart cue.
Page 126: Recording A Multipart Cue
Recording a multipart cue In the procedure below, one or more parts are recorded to a cue. The maximum number of parts you may record to a cue is eight. Follow, Link and Label attributes may be assigned to the overall cue. Action: Keystrokes: Selects Stage display mode...
Page 127: Converting A Standard Cue To A Multipart Cue
Converting a standard cue to a multipart cue If you have already created a single-part cue, the console allows you to reconfigure it as a multipart cue. You can convert a standard cue to a multipart cue in either Stage or Blind mode, but it’s easier in Blind because levels are highlighted.
Page 128: Wait Times In Multipart Cues
Wait times in multipart cues You can set individual wait times of up to 99:59 minutes for each part of a multipart cue. The wait time is the delay between when you press [Go] and when the part begins. If no wait is recorded, all parts run simultaneously when you press [Go].
Page 129: Editing A Multipart Cue
Editing a multipart cue Once you have created a multipart cue, you can add or delete parts, add or delete channels from the parts, change channel levels, or change fade and wait times. Except for Update, all multipart cue editing is done in Blind.
Page 130: Adding, Deleting And Modifying Channels
Adding, deleting and modifying channels Follow these steps to edit channels in a multipart cue: Action: Keystrokes: Selects Blind display mode 1. Press [Blind]. Prompt reads: 2. Enter the cue number. Select cue number To select cue type, press TYPE Finds the Part softkey 3.
Page 131: Modifying Fade And Wait Times
Modifying fade and wait times If you do not assign fade and wait times to a part, the console assigns default times. No wait time will be recorded. Follow these steps to assign fade and wait times to parts to a multipart cue: Action: Keystrokes: Selects Blind display mode...
Page 132 Chapter 9 Multipart cues...
Page 133: Chapter 10 Playing Back Cues
Chapter 10 Playing back cues The console has two timed faders that allow you to play back recorded cues. Cue selection and playback can be automated, or you can control them manually. This chapter includes the following sections: • Selecting cues •...
Page 134 Timed faders The console has two timed fader pairs, called the A/B and C/D fader pairs, that allow you to play back recorded cues (A/B pair illustrated at right). The left slider (A and C) of each fader pair controls upfades. The right slider (B and D) of each fader pair controls downfades.
Page 135: Fader Keys
Fader keys Clear Each fader is equipped with a Clear key. To remove a cue from the fader, press the appropriate Clear key. Clear an effect cue by pressing either once or twice. If the effect cue is in an upfade or dwell time, pressing [Clear] once starts a downfade and pressing [Clear] again ends the downfade in the fader clear time.
Page 136: Cue List
Cue List The Cue List in the Stage and Blind displays, shown below, is a short list of cues in the show. Shown along with cues are cue attributes, such as fade timing, linking and the cue’s label, if any. Cue indicators The color in which a cue is displayed provides information about the cue’s current status.
Page 137: Fader Status Display
Fader Status display The fader status display consists of two windows located near the bottom of the Stage and Blind displays. These are illustrated below. Cue in fader Fader Downfade Upfade information information or effect fade times or effect step The fader status display provides information about the cues loaded to the console’s faders, including fade times and rates.
Page 138: Playing A Cue
Playing a cue Selecting a cue moves it to the top of the Cue List. It will not run until you press [Go]. Follow these steps to select a cue and play it on the fader of your choice. Action: Keystrokes: Selects Stage display mode 1.
Page 139: Controlling Fades Manually
Controlling fades manually The console provides two ways to take manual control of cue playback; manual override and rate override. Manual override Manual override allows you to use the fader sliders to take manual control of fade levels. When you take manual control of cue playback, moving the fader slider controls the fade.
Page 140: Rate Override
Rate override Rate override allows you to control both the fade’s rate and percentage of completion. When you play back a cue using rate override, the console controls the percentage of completion, but you control the rate. Rate override allows you to play back a cue faster or slower than the rate at which it was recorded.
Page 141: Quickstep
Quickstep Quickstep allows you to run through a show, checking all cues, without having to wait for fades. When Quickstep is active, the faders ignore all upfade, downfade, follow, and wait times. Cues snap immediately to their completed levels when you press [Go] or [Back]. To enable Quickstep and run a cue check, follow these steps: Action: Keystrokes:...
Page 142 Chapter 10 Playing back cues...
Page 143: Chapter 11 Groups
Chapter 11 Groups The console allows you to record frequently used combinations of channels into units called groups. You may record up to 500 groups. Once you record a group, it can be combined with other channels and groups to create cues, submasters, effects, focus points or other groups. The principal difference between a group and a cue is that a group cannot be played back through a fader or slider.
Page 144: Recording A Group In Stage
Recording a group in Stage The following example illustrates the creation of a group using newly selected channels. Keystrokes: Action: 1. Press [Stage]. Selects the Stage display 2. Press [1] [Thru] [5] [Full] Select channels and set levels [And] [8] [And] [1][0] [At] [5] [Enter].
Page 145: Recording A Group Using Solo
Recording a group using Solo You can use Solo to selectively record into a group in the same manner as using Solo to selectively record into a cue. There are two ways to select channels with Solo: while clearing other independent channels such as other lights and while clearing ALL other channels, including non- independent ones.
Page 146: Group Editing Mode In Blind
Group Editing mode in Blind Add or delete channels or change channel levels in a recorded group by first entering Group Editing mode in Blind. You can also set group levels with reference to a focus point. Keystrokes: Action: 1. Press [Blind]. Selects Blind display mode 2.
Page 147: Working With Groups In Stage
Working with groups in Stage Displaying a group To view a recorded group on stage, follow these steps: Keystrokes: Action: 1. Press [Stage]. Selects Stage display mode 2. Press [Group] [2]. Selects group 2 Prompt reads: Group mode – Select group number to use as group 3.
Page 148: Updating Groups
Updating groups Update allows you to modify previously recorded cues, groups, submasters or focus points in Stage. Update takes levels from all captured and selected channels, and those selected may be restricted with the Only command. Updating an active group The following procedure illustrates how to update a group that has been placed on stage.
Page 149 Updating a recorded group You need not place a group on stage to update it. The following procedure illustrates how to update any recorded group. Action: Keystrokes: Selects Stage display mode 1. Press [Stage]. Selects channels and sets levels 2. Press [5][0] [Thru] [7][5] [At] [9] [Enter].
Page 150: Labeling Groups
Labeling groups If you have Expression Off-Line, you may assign labels to your groups. Group labels can consist of any combination of letters, numbers and symbols, and may be up to 16 characters long. Follow these steps to label a group: Action: Keystrokes: Selects Blind display mode...
Page 151: Deleting Groups
Deleting groups Delete a group from memory in the Stage, Blind or Fader displays. Deleting a group has no effect on any cues, groups, submasters or focus points into which the deleted group was previously recorded. Delete a group in Stage as follows: Keystrokes: Actions: 1.
Page 152: Using Cues And Submasters As Groups
Using cues and submasters as groups You may treat channels recorded in a cue or submaster as if they were in a group, such as to bring them up in Stage or record them into other cues or submasters. For example, follow this procedure to bring up a cue in Stage as a group: Keystrokes: Actions: 1.
Page 153: Modifying Cues Or Submasters
Modifying cues or submasters You can use groups to modify cues or submasters. In the illustration below, a submaster is modified by a group. If any of this group’s channels are already in the submaster, the levels of those channels are modified to match the levels in the group.
Page 154 Chapter 11 Groups...
Page 155: Chapter 12 Focus Points
Chapter 12 Focus points When working with moving lights, sometimes the attributes of several lights are stored together in a group and the group recorded into one or more cues. If the group changes, such as if the lights are repositioned toward another point on stage, the cues need to be manually updated or replaced to account for that change.
Page 156: Recording A Focus Point
Recording a focus point You can create a focus point in Stage, Blind or Fader displays using all the same techniques available to create groups. Recording a focus point in Stage The following example illustrates the creation of a focus point containing settings for the intensity and position attributes of several fixtures.
Page 157: Recording A Focus Point Using Solo
Recording a focus point using Solo You can use Solo to selectively record into a focus point in the same manner as using Solo to selectively record into a cue or group. There are two ways to select channels with Solo: while clearing other independent channels such as other lights and while clearing ALL other channels, including non-independent ones.
Page 158: Working With Focus Points In Stage
Working with focus points in Stage Placing a focus point on stage You can place an entire focus point on stage with or without the focus point references, then record those channels into something else. If the references are present, you know the channels will automatically update where they were recorded if their levels change in the focus point.
Page 159: Updating Focus Points
Updating focus points Update allows you to modify previously recorded cues, groups, submasters or focus points in Stage. Update takes levels from all captured and selected channels, and those selected may be restricted with the Only command. Updating an active focus point The following procedure illustrates how to update a focus point that has been placed on stage.
Page 160 Updating a recorded focus point You need not place a focus point on stage to update it. The following procedure illustrates how to update any recorded focus point. Action: Keystrokes: Selects Stage display mode 1. Press [Stage]. Sets fixture 8 intensity to full 2.
Page 161: Editing A Focus Point In Blind
Editing a focus point in Blind You may modify a focus point in Blind. For example, add or delete fixtures or set levels of fixture attributes. Follow the procedure below to set fixture attribute levels in a focus point. The selected fixtures need not already be represented in the focus point. Keystrokes: Action: 1.
Page 162: Labeling Focus Points
Labeling focus points If you have Expression Off-Line, you may assign labels to your focus points. Focus point labels can consist of any combination of letters, numbers and symbols and may be up to 16 characters long. Follow these steps to label a focus point: Action: Keystrokes: Selects Blind display mode...
Page 163: Deleting Focus Points
Deleting focus points Delete a focus point from memory in the Stage, Blind or Fader displays. If any cues, groups or submasters are linked to the deleted focus point, the links are retained but the levels of the linked channels are set to zero. Delete a focus point in Stage as follows: Keystrokes: Actions:...
Page 164: Setting Levels With Focus Points
Setting levels with focus points Focus points are commonly used as level setting devices for fixtures, but they can be used to set levels for individual channels as well. First, create a focus point with a certain characteristic, such as all fixtures pointed to a particular location or set to a certain color.
Page 165: Chapter 13 Submasters
They can also be used as building blocks when you create scenes, cues or other submasters. NOTE: On the Express 24/48, in one scene mode, you may set the bottom row of channel sliders to be your 24 submasters. In two scene mode you will not be able to use submasters.
Page 166: Submaster Types
Submaster types Submasters can be pile-on, inhibitive or effect. Pile-on submaster A pile-on submaster consists of channels recorded at proportional levels. If a pile-on submaster’s channel levels are higher than established channel levels, the submaster’s levels take precedence (except as noted below). If they are lower, the established levels take precedence.
Page 167: Changing Type
Changing type You can change a submaster’s type by using the [Type] key. When you change a submaster type, levels recorded in the submaster are retained. This means that you can change a submaster from pile-on to inhibitive and back without losing any level or timing information. If you change the type to effect, channel and level information is erased.
Page 168: Submaster Pages
Submaster pages Express has ten pages of submasters. A page is a block of console memory that contains one set of recorded submasters, corresponding to the submaster sliders. The ten pages of memory increases the number of possible submasters to 240. The console displays the message Sub page 1 (2, 3...) in the upper left corner of the display to indicate the current submaster page.
Page 169: Submaster Bump Buttons
Submaster bump buttons A bump button is located immediately below each submaster slider. The bump button’s function depends on its status (see below) and on whether the submaster has a programmed fade. If the submaster does not have a programmed fade, the bump button allows you to bring up the submaster’s contents on stage instantly.
Page 170: Submaster Leds
Submaster LEDs Each submaster bump button contains an LED. The state of the LED indicates the current state of that submaster, as shown in the chart below: Color State Meaning –– Submaster not loaded. Green Solid Submaster loaded. Green Slow Blink New submaster.
Page 171: Recording Submasters
Recording submasters You can create submasters in Stage or Blind mode. Follow these steps to record a simple, pile-on submaster: Keystrokes: Action: Selects Stage display mode 1. Press [Stage]. Creates look 2. Select channels and set channel levels. Prompt reads: 3.
Page 172 Adding fade and dwell times You can add fade and dwell times to a submaster from Stage or Blind mode. To add fade times to a submaster, follow these steps in either mode: Keystrokes: Action: Prompt reads: 1. Press [Sub]. Select submaster number To select submaster type, press TYPE...
Page 173 Hold dwell time If you record a submaster with a dwell time of Hold, the submaster fades up when you press the bump button, then holds until you press it again. To add a dwell time of Hold to a submaster, follow these steps: Action: Keystrokes: Prompt reads:...
Page 174: Adding A Rate To A Submaster
Adding a rate to a submaster Rate allows you to record submasters that play back faster or slower than their recorded fade times. This can be especially helpful when you are trying to calculate complex timing information for effects loaded to a submaster.
Page 175: Specifying A Submaster's Page
Specifying a submaster’s page You may specify the page to which you record submasters. For example, if page 1 is loaded, you can record a submaster to page 2. To do so, follow these steps: Keystrokes: Action: 1. Create a look in Stage. Prompt reads: 2.
Page 176: Inhibitive Submasters
Inhibitive submasters Creating Inhibitive submasters allow you to limit the output of a group of channels. Channel outputs are limited to the level at which you set the slider. An inhibitive submaster set at 10 (100 percent), does not affect channel output.
Page 177: Adding Channels
Adding channels Once you have an inhibitive submaster, use the following procedure in Blind to add channels to it. Keystrokes: Actions: 1. Press [Blind]. Selects Blind display 2. Press [Sub] [1][5] [Enter]. Selects sub 15. All channels in sub 15, if an inhibitive submaster, are displayed with “IN”...
Page 178: Modifying Submasters In Blind
Modifying submasters in Blind To modify a submaster in Blind, follow these steps: Keystrokes: Actions: Selects Blind display 1. Press [Blind]. Prompt reads: 2. Press [Sub] [1]. Select submaster number To select submaster type, press TYPE Brings up current level settings for 3.
Page 179: Updating Submasters
Updating submasters Update allows you to modify previously recorded cues, groups, submasters or focus points in Stage. Update takes levels from all captured and selected channels, and those selected may be restricted with the Only command. Updating an active submaster The following procedure illustrates how to update a submaster that has been brought up on Stage.
Page 180 Updating a recorded submaster You need not bring up the submaster to update it. The following procedure illustrates how to update any recorded submaster. Action: Keystrokes: Selects Stage display mode 1. Press [Stage]. Selects fixtures 1 through 8 and sets 2.
Page 181: Live Control Of A Submaster's Rate
Live control of a submaster’s rate In Stage mode, selecting a submaster and pressing [S5], Rate, allows the timing of the submaster to be controlled by the trackpad or by keyboard entry. Follow these steps to change the rate of an active submaster in Stage. (This procedure also works if the submaster is not active.
Page 182: Labeling Submasters
Labeling submasters If you have Expression Off-Line, you may assign labels to your submasters. Submaster names can consist of any combination of letters, numbers and symbols, and may be up to 16 characters long. Follow these steps to add the name “Bedroom wash” to submaster 4: Keystrokes: Action: 1.
Page 183: Copying Submasters
Copying submasters You can copy a look from a submaster to another submaster, to a cue, a group or a focus point. Follow the procedure below: Keystrokes: Actions: 1. Press [Blind]. Selects Blind display mode 2. Press [Sub]. Prompt reads: Select submaster number To select submaster type, press TYPE...
Page 184: Copying Cues Or Groups To Submasters
Copying cues or groups to submasters To copy a look from a cue or a group to a submaster, follow these steps: Keystrokes: Actions: Selects Blind display mode 1. Press [Blind]. Prompt reads: 2. Press [Cue] (or [Group]). Select cue number To select cue type, press TYPE Selects cue to copy 3.
Page 185: Lists And Spreadsheets
Chapter 14 Lists and spreadsheets You can display lists of cues, submasters, groups and focus points on the monitor using a softkey in the Blind display. These lists allow you to change the timing of cues and submasters and label items on the list. They also allow you to delete items from a list.
Page 186: Cue List
Cue List The Cue List allows editing of upfade, downfade and wait times; link and follow settings; rate; and cue label. This list also allows you to delete cues from your show. Up to 18 cues are displayed on this Cue List at one time. Screens can be paged if there are more than 18 cues in the show.
Page 187: Submaster List
Submaster List The Submaster List allows editing of bump button status; upfade, downfade and dwell times; type; rate and label. This list also allows you to delete submasters from your show. Enter the Submaster List from softkeys in either Blind or Stage. In Blind, press [Sub] [S2], Sub List.
Page 188: Editing Submasters
Note the following with regard to defaults in the Submaster List display: • Pile-on is the default type for a newly defined submaster. • Bump status does not display unless changed from the default, which is “enabled.” • Dwell time defaults to “manual.” •...
Page 189: Deleting Submasters
7. Press [5] [Enter]. Specifies 5 second downfade time Prompt reads: Select submaster type (1=Pile-on, 2=Inhibitive, 3=Effect) 8. Press [2] [Enter]. Specifies inhibitive type. Prompt reads: Use keypad to select submaster rate (0-2000, 100=Normal) Specifies rate 200. Prompt reads: 9. Press [2][0][0] [Enter]. Select submaster numberType submaster label (F6=clear to end,...
Page 190: Group List
Group List The Group list shows all the recorded groups in the show by number and label. The list can be paged if there are more than 54 groups in the show (18 groups shown per column). Groups may be labeled in the Group list or deleted there from the show, either individually or in ranges.
Page 191: Deleting A Group
Deleting a group Follow this procedure to delete one or more groups in the Group List display. Action: Keystrokes: 1. Press [Blind] [Group] Displays Group List [Enter] [S2], Group List. Prompt reads: Select group number(s) 2. Press [S6], Delete Group. Prompt reads: To delete group(s), press number(s) and press ENTER To cancel, press CLEAR...
Page 192: Labeling A Focus Point
Labeling a focus point If you have Expression Off Line, follow this procedure to label a focus point in the Focus Point List display. Action: Keystrokes: 1. Press [Blind] [Focus Point] Displays Focus Point List [Enter] [S2], Focus List. Prompt reads: Select focus point number(s) 2.
Page 193: Working In Spreadsheets
Working in spreadsheets Cues, submasters, groups and focus points each have their own spreadsheets. You can modify or delete in all spreadsheets and create in all but the submaster spreadsheet. Channels and groups may be added to all spreadsheets singly or in multiples or ranges. Channels may be set at focus points and focus points may be added, singly and in multiples or ranges, in all but the focus point spreadsheet.
Page 194 Creating cues Cues may be created in the cue spreadsheet with or without tracking enabled. After entering the cue spreadsheet as explained on the previous page, create a cue with the tracking option enabled as follows. Keystrokes: Actions: Sets tracking enabled 1.
Page 195 Replacing channel level As a convenient editing technique, you may specify a particular level to change for a channel or number of channels. After entering the cue spreadsheet as explained earlier in this section, replace channel level as follows. Keystrokes: Actions: Prompt reads: 1.
Page 196: Submaster Spreadsheet
Submaster spreadsheet Press [Blind] [Sub] [S3[, Spreadsheet, to go to the submaster spreadsheet. Editing submasters After entering the submaster spreadsheet as explained above, edit a submaster with the following procedure. Keystrokes: Actions: Prompt reads: 1. Press [S1], Select Sub. Select submasters Selects submaster 5 2.
Page 197 Deleting submasters After entering the submaster spreadsheet as explained above, delete a submaster as follows. Keystrokes: Actions: Prompt reads: 1. Press [S6], Delete Sub. To delete submaster(s), select number(s) and press ENTER To cancel, press CLEAR Selects submasters 5 and 6 2.
Page 198: Group Spreadsheet
Group spreadsheet Go to the group spreadsheet as follows. Keystrokes: Actions: Selects the group mode of the blind 1. Press [Blind] [Group] display [Enter]. Shows the group spreadsheet 2. Press [S3], Spreadsheet. Creating a group After entering the group spreadsheet as explained above, create a group as follows.
Page 199 Editing groups You may edit a group in the group spreadsheet. Follow all steps in the procedure under Creating a group on the previous page except Press [S1], Select Group in step 1. Deleting groups After entering the group spreadsheet as explained on the previous page, delete a group as follows.
Page 200: Focus Point Spreadsheet
Focus point spreadsheet Go to the focus point spreadsheet as follows. Keystrokes: Actions: Selects the focus point mode of the 1. Press [Blind] [Focus Point] blind display [Enter]. Shows the focus point spreadsheet 2. Press [S3], Spreadsheet. Creating focus points After entering the focus point spreadsheet as explained above, create a focus point as follows.
Page 201 Editing focus points You may edit a focus point in the focus point spreadsheet. Follow all steps in the procedure under Creating a focus point on the previous page except Press [S1], Select Focus in step 1. Deleting in spreadsheet After entering the focus point spreadsheet as explained on the previous page, delete a focus point as follows.
Page 202 Chapter 14 Lists and spreadsheets...
Page 203: Chapter 15 Park
Chapter 15 Park Park allows you to set channels, dimmers and fixtures at levels that are maintained on stage. These levels are not recorded into cues and are independent of most other instructions, except as follows: • [Blackout] will turn off parked dimmers, channels and fixtures unless they are independent channels.
Page 204: Using The Park Display
Using the Park display Illustrated below is the Park display that you reach with a softkey in the Stage display. The parked channels and dimmers are displayed in the Park display with their levels and focus point links, if any. Parking dimmers Park a dimmer by specifying the dimmer number and level.
Page 205: Unparking Dimmers
Unparking dimmers Unparking one dimmer Unpark one dimmer at a time as follows: Action: Keystrokes: Selects Stage display 1. Press [Stage]. Prompt reads: 2. Press [S6], Park, [Dim]. Select dimmer number(s), then press ENTER to park, press AT to select level, or press RELEASE to unpark Unparks the dimmer 3.
Page 206: Parking Channels
Parking channels Park a channel by specifying the channel number and level. You may park multiple channels at once. Set the level using the keyboard or with reference to a preset focus point. When channels are parked, a yellow alert appears near the top of the command display that reads Park Enabled.
Page 207: Unparking Channels
Unparking channels Unparking one channel Unpark one channel at a time as follows: Action: Keystrokes: Selects Stage display 1. Press [Stage]. Prompt reads: 2. Press [S6], Park. Select channel number(s), then press ENTER to park, press AT to select level, or press RELEASE to unpark Unparks the channel 3.
Page 208: Parking Recorded Channels
Parking recorded channels Cues, submasters, groups and focus points may all be parked, either at the levels recorded for their channels or at a proportional level. example, if all your worklights are recorded in a group, you could park that group at once, rather than park the worklight channels individually.
Page 209: Parking Fixtures
Parking fixtures You can park fixtures, one at a time or in ranges, either at levels set from the keypad or at a focus point. When you park a fixture, all channels patched to the fixture are parked whether you select them to set levels or not.
Page 210: Unparking Fixtures
Unparking fixtures When you unpark a fixture, all channels patched to that fixture are unparked. After unparking a fixture, its attribute levels revert to the levels the console assigns to them. Action: Keystrokes: Selects Live display 1. Press [Stage]. The fixture box appears and is set to 2.
Page 211: Chapter 16 Effects
Chapter 16 Effects An effect is a cue or a submaster that can run in a variety of patterns called chases. Each effect step contains channels. When the step runs, channel level is controlled when the channel is specifically addressed. An effect can be positive, with lights starting off and being turned on in patterns, or negative, with lights starting on and being turned off in patterns.
Page 212: Blind Effects Display
Blind Effects display Effects may be created or edited in the Blind Effects display. You enter the Blind Effects display from Blind as soon as you specify the effect type for a new cue or submaster. You also enter the Blind Effect display as soon as you specify a cue or submaster that already exists as an effect.
Page 213: Effects In Stage
• Out - The Out Time, the meaning of which depends upon whether the effect has a positive or negative attribute. For a positive effect, the Out Time is the time the effect step takes to fade from its High Level to its Low Level.
Page 214: Creating An Effect In Blind
Creating an effect in Blind The first step in creating an effect is the same for Stage or Blind. Following is the procedure for creating the effect in Blind. Keystrokes: Actions: The blind display defaults to cue 1. Press [Blind] [1] [Type]. selection and you specify cue 1 Prompt reads: Select fade type (1=Crossfade,...
Page 215: Notes On Working With Steps In Blind
Notes on working with steps in Blind • Steps may be specified one at a time or in ranges. • Channels at Full in the Blind Effects display do not show the level (except when set at a focus point). •...
Page 216: Adding Groups Or Focus Points
Adding groups or focus points The procedure for creating steps by adding groups or focus points to them in the Blind Effects display is shown below. All channels in a group or focus point are added to the step(s) together but they may be edited individually later.
Page 217: Adding Grouped Channels
Adding grouped channels The procedure for creating steps in the Blind Effects display by adding grouped channels from cues or submasters to them is shown below. All channels in a group or focus point are added to the step(s) together but they may be edited individually later.
Page 218: Creating An Effect In Stage
Creating an effect in Stage Build an effect in Stage while viewing the results with captured channels. You can work with individual channels or with channels in cues, groups or focus points. Channels may be added to steps in any of the following ways: •...
Page 219: Adding Groups Or Focus Points
Adding groups or focus points The procedure for creating an effect in Stage and adding one or more recorded groups or focus points to its steps is shown below. Keystrokes: Actions: Specifies cue 6 1. Press [Stage] [Cue] [6]. Prompt reads: Select cue number To select cue type, press TYPE Defines the cue as an effect type...
Page 220: Adding Grouped Channels
Adding grouped channels The procedure for creating steps in the Stage by adding channels grouped from cues or submasters is shown below. Keystrokes: Actions: Specifies cue 7 1. Press [Stage] [Cue] [7]. Prompt reads: Select cue number To select cue type, press TYPE Defines the cue as an effect type 2.
Page 221: Modifying The Effect
Modifying the effect You can set channel levels or add channels to steps with Update in Stage. In Blind, however, you can do these and many more editing functions, such as deleting channels from steps, inserting or deleting steps and modifying the attributes of the effect.
Page 222: Editing Channel Levels
Editing channel levels Regardless how channels were added to the effect, channels may be individually edited in the effect, either individually or in ranges. Levels may be set with the keypad or with reference to focus points. Follow the procedure below to edit channel levels in a recorded effect cue that has at least 5 steps.
Page 223: Deleting Channels
Deleting channels Delete channels from a previously created effect step with the following procedure. Keystrokes: Actions: Go to the Blind Effects display 1. Press [Blind] [Cue] [1]. Prompt reads: Select cue number To write effect, press STEP Specifies step 5 2.
Page 224: Inserting Steps
Inserting steps You may insert a new step in place of an existing one in an effect. The inserted step takes the place of the selected step and other steps are renumbered. For instance, if inserting a step at number 5, the existing step 5 becomes step 6;...
Page 225: Deleting Steps
Deleting steps You may delete any step from an effect, which causes other steps to be renumbered. For instance, if deleting step 5, step 6 becomes step 5; step 7 becomes step 6, and so on. For example, to delete step 5, follow these steps.: Action: Keystrokes: Selects cue 2...
Page 226: Modifying Effect Attributes
Modifying effect attributes Attributes control how the effect plays its steps. Set effect attributes by pressing [S7], More Softkeys, [S8], Attribute. Except for setting a random rate, make one or more softkey selections. Each softkey toggles the effect attribute, so pressing it can either add or remove the selection. Effect attributes are defined as follows: •...
Page 227: Modifying Step Timing And Levels
Modifying step timing and levels Once all steps are defined for an effect, you can either accept the defaults or you can change one or more settings in a single operation. The step defaults are as follows: • Step Time 0.2 seconds •...
Page 228: Effect Fade Times
Sets step out time to 2 seconds and 7. Press [2] [Enter]. advances to the next field Prompt reads: Select low level Sets low level to 10 and advances to 8. Press [1][0]. the next field Prompt reads: Select high level Sets high level to 90 and advances to 9.
Page 229: Changing Upfade, Dwell And Downfade
Changing upfade, dwell and downfade Follow these steps to change the effect’s fade times: Keystrokes: Action: 1. Press [Blind] [Cue] [2]. Selects cue 2 in the Blind display 2. Press [Time] and enter the Prompt reads: upfade time. Enter effect upfade time 3.
Page 230: Changing Dwell Only
Changing dwell only Follow these steps to change only the effect’s dwell time: Action: Keystrokes: Selects cue 2 in the Blind display 1. Press [Blind] [Cue] [2]. Prompt reads: 2. Press [Time] [Time]. Enter effect dwell time Prompt reads: 3. Enter the dwell time. Enter effect dwell time Prompt reads: 4.
Page 231: Setting A Random Effect Rate
Setting a random effect rate An effect runs at a rate set by the submaster or cue in which the effect is recorded. It can also run at a random rate within minimum and maximum parameters. Set the minimum and maximum parameters with the following procedure to control the range of randomness of the effect.
Page 232 Chapter 16 Effects...
Page 233: Chapter 17 Subroutines
Chapter 17 Subroutines A subroutine is a cue that controls the playback of a series of recorded cues. Subroutines are similar to linked cues, except that they have more playback options. You can use subroutines and effects to create similar looks. However, subroutines have some advantages over effects.
Page 234: Steps
Steps All subroutine steps are either cue steps or style steps. A cue step contains an existing recorded cue, which may be an effect cue. The subroutine lets you change levels and fade rates for the cue step without changing the original cues. A style step contains an instruction that controls the subroutine’s playback pattern.
Page 235: Style Steps
Style steps The following playback styles are available for subroutines. A style is assigned to a step. When the subroutine runs, the steps play back in numeric order, until the subroutine reaches a style step. The style step then determines whether the subroutine will loop, bounce, hold, or end and run a different cue.
Page 236: Creating Subroutines
Creating subroutines Create subroutines in the Blind display. A subroutine can have up to 100 steps. Each step lists a cue or a style. To create a subroutine, follow these steps: Action: Keystrokes: 1. Create the cues you want to use in your subroutine. Displays Blind mode screen 2.
Page 237 Selects step 6 to edit 15. Press [S1], Step, [6] [Enter]. Prompt reads: 16. Press [S8], Style, to select Select style of subroutine command a subroutine style. (You (1 = Loop, 2 = Bounce, may need to press [S7], 3 = Jump to cue, 4 = Hold for go) More Softkeys, first.) Selects Jump to cue style for step 6 17.
Page 238: Editing A Subroutine
Editing a subroutine To edit a subroutine, select the step you wish to change by pressing [S1], Step, and entering the step number. Use [And] and [Thru] to select multiple steps. You can either use softkeys to find your way around the Step Display or navigate with other console controls, as shown in the following table.
Page 239: Chapter 18 Macros
Chapter 18 Macros A macro allows you to record a series of keystrokes and later replay it with one or two keystrokes. This can simplify complex tasks that you perform often. You can record up to 2,000 macros, depending on how large they are.
Page 240: Creating Macros
Creating macros There are two ways to create a macro. You can create it in Macro Editing mode, entering and editing keystrokes without actually executing the instructions, or you can use the console’s macro Learn mode to record a sequence of keystrokes as you perform the operation. You can include any key or button on the console except [Enter Macro] in a macro.
Page 241 Inserts a five second wait into the 6. Press [5] [Enter]. macro Prompt reads: Select operation(s) for this macro – press ENTER MACRO when done (Wheels, trackpad and sliders are not valid entries in macros) Sets channels 1 through 10 at Full 7.
Page 242: Using Macro Editing
Using Macro Editing The Macro Editing display allows you to create or edit macros without affecting channel levels. Some of the softkeys in this display, such as [S2], Replace, and [S7], More Softkeys, are for editing purposes only and cannot be entered into a macro. Others, such as [S1], Select Macro, and several softkeys available after first pressing [S7], More Softkeys, may be entered into a macro.
Page 243: Macro Wait
Follow these steps to create a macro to record a show to diskette: Keystrokes: Action: 1. Press [Setup]. Selects Setup display screen 2. Select 8, Macro Editing, Selects Macro display screen and press [Enter]. Prompt reads: Select macro number, then press ENTER 3.
Page 244: Linking Macros
Linking macros Any macro may end with a link to another macro. When macros are linked, the first macro runs, then the second macro follows automatically. Press the appropriate macro key at the end of your sequence to create the link. Pressing the macro key automatically ends and stores the macro.
Page 245: Using Submasters In Macros
Using submasters in macros Submaster bump buttons can function in macros in three different ways: 1. as a normal bump button; 2. to always fade a submaster to full (regardless of its current condition); 3. to always fade a submaster out (regardless of its current condition). To include a bump button that starts a timed submaster or changes the direction of a running fade, press the submaster bump button while programming the macro.
Page 246: Playing Macros
Playing macros As a macro runs, the LED in the macro’s key flashes. Only one macro may run at a time. To run macros 1 through 5, press the appropriate macro key. For example, to run macro 1, press [M1]. To play a macro recorded in [M1] - [M5], follow these steps: Keystrokes: Action:...
Page 247: Modifying Macros
Modifying macros Editing mode In the Macro mode display, you can edit macros in Insert or Replace modes. In Insert mode, if you highlight a keystroke and type another keystroke, the console inserts the new keystroke before the highlighted one. In Replace mode, if you highlight a keystroke and type another keystroke, the console replaces the highlighted keystroke with the new one.
Page 248: Copying Macros
Copying macros You may want to copy a macro or use macros as building blocks for new macros. To copy contents of one macro to another, follow these steps: Actions: Keystrokes: Selects Setup display 1. Press [Setup]. Selects Macro display mode 2.
Page 249 Auto channel check This macro automatically runs through each channel with a two second wait between each channel, beginning with channel 1. You can effectively pause the check by cancelling the macro at any channel. If you replay the macro after the cancellation, the check begins at the next channel in sequence.
Page 250 Chapter 18 Macros...
Page 251: Chapter 19 Link Lists
Chapter 19 Link lists Console channels can control devices that have more than one controllable feature, such as a color scroller. By linking channels using the console’s Link List, you can link channels together for simultaneous control on the trackpad. Any channel not used in ML Fixture Patch may be linked.
Page 252: Link List Overview
Link List overview Press [Setup] [1][1], Channel Attributes, [Enter] [S7], Link List, to reach the Link List display When two or more channels are used together, such as the color and intensity channels for a color scroller, the Link List allows you to determine which axis of the trackpad will control each channel.
Page 253: Setting Up A Link
Setting up a link To set up a link, you must assign at least one channel to the X channel list and one channel to the Y channel list. In the following example, two color scrollers are linked so that their color settings are controlled by the trackpad.
Page 254: Inserting A Link
Inserting a link Use the edit features softkey [S5], Insert Link, to insert an empty link number ahead of the selected or specified link. All subsequent links will be renumbered. Note: The order in which links are recorded does not affect their operation. However, your numbering may be useful to you in terms of logical organization.
Page 255: Moving A Link
Moving a link Use [S7], Move Link, to renumber a link or a group of links. All links in a group will be renumbered sequentially. To move a link to an empty space on the Link List, follow these steps: Action: Keystrokes: Selects Channel Attributes display...
Page 256: Deleting A Link
Deleting a link Use [S6], Delete Link, to remove a link from the Link List. All subsequent links will be renumbered. To delete a link, follow these steps: Keystrokes: Action: 1. Press [Setup] [1][1] [Enter]. Selects Channel Attributes display 2. Press [S7], Link List. Selects Link List display Prompt reads: Select link number...
Page 257: Chapter 20 Diskette Functions
Chapter 20 Diskette functions This chapter includes instructions for using console diskette options. The console is equipped with a 3.5-inch disk drive on the console’s right end panel. The following options are described in this chapter: • Diskette management • Formatting diskettes •...
Page 258: Diskette Management
Diskette management The console lets you save one show on a double-sided, high density (1.44 MB) 3.5-inch diskette. This feature allows you to back up your shows for safety. It also allows you to transfer your shows to other consoles, work on more than one show at a time and use more than 600 cues in a show by loading a second show into memory.
Page 259: Contents Of The Showfile
Contents of the showfile When you write to diskette, everything that you programmed into your show and everything that you set in the console to make that show happen are stored in a single showfile. Show and configuration information, however, may be read separately from the showfile. The System Configuration contents of the showfile are defined as all those things you set in the console that commonly remain the same for all shows.
Page 260: Reading From Diskette
Reading from diskette You can read either the show or the system configuration contents of a showfile, or you can read both together. See Appendix D Showfile, page 339, for a breakdown of what components are stored in each. CAUTION: The information you read from diskette takes the place of whatever you had before the read in your console’s memory.
Page 261: Read Show Components Only
Read show components only Frequently you do not need to overwrite system configuration settings but only want a different showfile in console memory. For that purpose, read show contents only into memory with the following procedure: Keystrokes: Action: 1. Insert diskette in disk drive.
Page 262 Chapter 20 Diskette functions...
Page 263: Chapter 21 Printing
Chapter 21 Printing The console supports parallel printers, including some laser printers. Printer installation is described in Installing a printer, page 322. This chapter includes instructions for using the console’s print options. the following printouts are introduced and explained in this chapter. •...
Page 264: Printer Options
Printer options Before you begin printing, verify that your printer is installed correctly and that it is turned on. For instructions on installing printers, see Installing a printer, page 322. All print options are located on the Print Functions menu. To display the menu press [Setup], then select [5], Print Functions, and press [Enter].
Page 265: Printouts Available
Printouts available Following is a list of all 17 options on the Print Functions menu and an explanation of the printout each will produce. 1. Stage Display - Reports the settings of all channels on stage. 2. Cues - Lists cues in the show by number and attributes. Also gives the levels of all channels in each cue.
Page 266 Chapter 21 Printing...
Page 267: Chapter 22 Clear Functions
Chapter 22 Clear functions This chapter includes instructions for using the console’s clear options. Each of the following clear functions is explained and illustrated on the following pages. • Show • Cues • Groups • Submasters • Show and patch •...
Page 268: Clear Functions
Clear functions Each option on the Clear Functions menu erases information regarding a console function from the console’s memory. If that information is saved in a show on a diskette, it can be restored to the console. Otherwise, the information is lost permanently. Warning: Be certain to save your shows on disk before erasing information you may need in the future.
Page 269: Clear And Reset Options
Clear and reset options Following is a list of all 14 options on the Clear Functions menu and an explanation of the function of each. 1. Show - Erases all information pertaining to the show except patch information and the system configuration. 2.
Page 270 Chapter 22 Clear functions...
Page 271: Chapter 23 Two Scene Preset
Chapter 23 Two scene preset Express provides a two scene preset function with the A/B faders. When in the two scene mode, the C/D faders remain available to run recorded cues. Two scene preset allows you to change the look on stage by using the two banks of channel sliders and the A/B faders to simultaneously fade one look out and bring a new one in.
Page 272: Setting The Scene Mode
Setting the scene mode The procedure for setting the scene mode differs for the Express 24/48 compared to that for the Express 48/96 and 72/144 models because the bottom row of sliders on the 24/48 functions as either channel sliders or submasters depending upon your choice.
Page 273: The Two Scene Faders
The two scene faders When two scene mode is enabled, the A/B faders control the scenes and function in reverse with respect to each other. When both faders are up, as shown above, fader A is at full and scene A (controlled by the top row of channel sliders) is up on stage.
Page 274: Two Scene Status Display
Two scene status display When two scene mode is enabled, the A/B fader status display in Stage and Blind becomes the two scene status display. This display shows the current level of each scene on stage. If you use a timed crossfade, the display not only shows scene levels but also shows the current time settings and counts down the fades as they happen.
Page 275: Manual Crossfades
Manual crossfades In a crossfade, you normally set the channel settings for one scene blind (without affecting live settings) while the other is live. When you want to change from one scene to another, you use the crossfaders to simultaneously fade the live scene out and bring the next one up. Follow these steps to create scenes and run a show using manual crossfades: Keystrokes:...
Page 276: Timed Crossfades
Timed crossfades Use the A/B fader controls to run a timed crossfade from one scene to the other. Keystrokes: Action: 1. Set up the new scene on Selects Channel Attributes the channel sliders. display 2. Press [A/B Rate]. Prompt reads: Select scene upfade time, then press ENTER 3.
Page 277: Chapter 24 Dimmer Monitoring
Chapter 24 Dimmer monitoring ETC consoles may be connected to ETC Sensor dimming systems via the ETCLink communication protocol. In this configuration, the console operates a dimmer monitoring system that provides you with a wide range of dimmer status information, including overall dimming system status and specific information about individual dimmer modules and dimmer racks.
Page 278: Etclink Functions
ETCLink functions Go to the ETCLink Functions menu by pressing [Setup] [9] [Enter]. Make selections from this menu to branch to the variety of options available in your dimmer monitoring system. Enabling ETCLink Before using ETCLink functions, you must enable your console to work with the ETCLink network.
Page 279: Error Messages
Error messages ETCLink provides messages for a wide variety of conditions, including information regarding your dimmers, racks, system, data, ports, and loads. These messages fall into two categories, fatal messages and secondary messages. Fatal messages deal with anything that could potentially terminate or drastically change the look of your show.
Page 280: How To Enable / Disable Etclink Error Messages
How to enable / disable ETCLink error messages Action: Keystrokes: Selects Setup display 1. Press [Setup]. Selects ETCLink Functions menu 2. Press [9], ETCLink Functions, [Enter]. Prompt reads: 3. Press [6], Display Enable/disable display of ETCLink Advisories, [Enter]. advisories (1 = Enable all, 2 = Enable fatal error advisories only, 0 = Disable) Enables all ETCLink error advisories 4.
Page 281: Etclink Displays
ETCLink displays Dimming system status The System Status display provides information about your Sensor dimming system. Press [Setup] [9] [Enter] [1] [Enter] to access the System Status display. • Double Firing Mode shows whether that mode is enabled or disabled for your system. If Double Firing Mode is disabled, doubled dimmers function as normal dimmers.
Page 282: Dimmer Rack Status
Dimmer rack status The Rack Status display provides information about specified dimmer racks, including rack type, starting address, port information, voltage, frequency, and ambient temperature. Press [Setup] [9] [Enter] [2] [Enter] to access the Rack Status display. Press [S6], Select Rack, [#] [Enter] to select a specific rack, [+] to select the next rack, or [–] to view the previous rack.
Page 283: Dimmer Status
Dimmer status The Dimmer Status display provides information about dimmers, including size and type, recorded load, firing mode, output curve, rack, slot, panic mode, and boost. Press [Setup] [9] [Enter] [3] [Enter] to access the Dimmer Status display. Up to 16 dimmers are shown in the display at once. If a dimmer has an error condition, the entire dimmer row is highlighted in yellow (ordinarily the line is in gray).
Page 284: Monitoring Dimmers
Monitoring dimmers When used in conjunction with Sensor Advanced Feature dimming equipment, the console allows you to monitor individual dimmer loads in your system. This can greatly simplify troubleshooting by identifying such things as burned out lamps, and incorrectly lamped or unplugged fixtures. When dimmer monitoring is in use, Sensor electronics constantly monitor dimmer loads.
Page 285: Record Loads Procedure
Record Loads procedure Perform a Record Loads any time you relamp your fixtures, change the type of fixtures you are using, change the dimmer numbering scheme, or make any other significant changes to your system. In general, Record Loads should be the last step in setting up your system. When you perform a Record Loads, the system records load information for dimmers set at a level above zero or for a list of dimmers.
Page 286: Load Check Procedure
Load Check procedure Load Check compares the current load on selected dimmers with their recorded loads. The system checks load information only for selected dimmers. To identify the dimmer(s) you wish to check, use either the console or the CEM to set the desired dimmers at a level above zero. The system checks 24 dimmers per rack at a time until all dimmers at levels above zero have been checked.
Page 287: Clear Loads Procedure
Clear Loads procedure Clear Loads allows you to clear recorded loads information for selected dimmers, thus disabling dimmer monitoring for those dimmers. This can be useful if you know that the load on a dimmer or group of dimmers will change over the course of a show and don’t want to receive load error messages every time it happens.
Page 288: Setting And Unsetting Dimmers
Setting and unsetting dimmers If your console is connected to an ETC Sensor dimming system by an ETCLink network, you may use your console to set and unset dimmers at the dimmer rack. Note: For more information on setting dimmers, see the Sensor CEM User Manual.
Page 289: Working With Sensor Backup Looks
Working with Sensor backup looks A backup look is a recording of a selected look on stage stored in the Sensor CEM. The Sensor system allows you to use either your console or any CEM to bring that look up on stage. You may save and use up to 32 backup looks.
Page 290: Playing A Backup Look
Playing a backup look Playing a backup look brings up the recorded look on stage. You may play back a backup look from the console or from a CEM. Only one backup look may be on stage at a time. If there is a backup look on stage when you bring up a new one, the second look replaces the first.
Page 291: Chapter 25 Control Interfaces
Chapter 25 Control interfaces The console can control and be controlled by a wide variety of external devices. These control interfaces may be as simple as a switch and as complicated as another piece of electronic equipment. They may be timed or asynchronous.
Page 292: Midi
MIDI MIDI (Musical Instrument Digital Interface) is a digital communication protocol that allows you to interconnect musical instruments and digital electronic equipment, such as lighting control consoles. The console supports MIDI Show Control 1.0 (MSC) and a subset of MIDI known as ETC MIDI.
Page 293 ETC MIDI message formats The following table lists MIDI message formats used to control the console. All numbers are in hexadecimal format. Note off message format <8n><kk><vv> Note off status MIDI channel number (0-F) Key number (0-7F) Note off velocity (0-7F) Note on message format <9n><kk><vv>...
Page 294 MIDI Message definitions Submaster bump switch execution Submasters 1 - 12 C5 - B5 #60 - #71 Submasters 13 - 24 C6 - B6 #72 - #83 Note: C5 = MIDI note #60 or middle C. Cue execution in AB fader pair Next cue Program change 0 Cues 1 - 127...
Page 295: Midi Show Control (Msc)
MIDI Show Control (MSC) The consoles recognize the following MSC commands, which may be either transmitted or received (all other commands are ignored): • • Stop • Resume • Fire Configuring MIDI Show Control The console can receive MSC information, send MSC information, or both.
Page 296 MSC commands received by the console Consoles enabled for MSC accept the following MSC commands. When the console receives one of these commands, it executes the command immediately. In order to accept MSC commands, the console’s receiver Device ID must match the target device ID for the MIDI device sending the signals.
Page 297 MSC commands transmitted by the console MIDI Show Control (MSC) allows the console to send the following commands to MIDI devices. If MSC output is enabled on the console, the console automatically sends the MSC commands. The console’s transmitter Device ID must match the device ID for the MIDI device receiving the signals.
Page 298 MSC frame packet to run a cue: An MSC frame packet consists of several bytes. Byte types, their hexidecimal values and explanations are given in the table below. Value Byte type Explanation (Hex) Start Byte Start of System Exclusive Message Start of message Send Channel Send transmit channel number or 7F = “All...
Page 299 Examples In the examples below, MSC frame packets are sent using transmit channel 66 (42 hexidecimal). Go A/B: F0 7F 42 02 01 02 30 00 31 00 31 F7 Go C/D: F0 7F 42 02 01 01 30 00 32 00 31 F7 GO CUE Cue1 A/B fader: F0 7F 42 02 01 01 31 00 31 00 F7...
Page 300: Real Time Programs
Real time programs The console allows you to create up to 500 real time programs that can run automatically when you’re not there. For example, you may wish to turn on the work lights for a choir rehearsal between 7 PM and 9 PM on Monday and Wednesday.
Page 301: Enabling / Disabling Real Time Programs
Navigation and Feedback - Real Time Programs display ± Select a program Select a field to edit Select new field data White row Indicates program selected Yellow coloration Indicates field selected Enabling / disabling real time programs Real time programs are enabled by default. Follow the procedure below to enable or disable real time programs: Keystrokes: Action:...
Page 302: Creating Real Time Programs
Creating real time programs You can create a real time program that references either the absolute local time or the astronomical times of sunrise or sunset. Also, you can specify either the days the program will run or a particular date. Days and absolute times Use this procedure when you want to specify days of the week and absolute times.
Page 303 Referencing sunrise or sunset To reference sunrise or sunset rather than absolute time, substitute the partial procedure below as explained under Days and absolute times, page 288. This example sets the time to 10 seconds before sunrise. Action: Keystrokes: Prompt reads: Select astronomical A.
Page 304: Editing Real Time Programs
Editing real time programs Once you have created a real time program, you can easily make changes to it and others in the Real Time Programs display. Press [↑] or [↓] to move from one program to the next. Press [←], [→] to move through program options.
Page 305: Copying Real Time Programs
Copying real time programs Action: Keystrokes: Selects Setup display mode 1. Press [Setup]. Selects Real Time Programs display 2. Press [1][2] [Enter]. Prompt reads: 3. Press [S7], More Select program number(s) to copy, Softkeys, [S2], Copy then press ENTER Program. To cancel, press CLEAR Selects programs 1 through 5 to copy 4.
Page 306: Time Code
Time Code You can create and run shows that respond to programming based on a standardized time code protocol. The console responds to the Musical Instrument Digital Interface (MIDI) time code. The console generates an internal time code in the MIDI protocol. The console also can run under external MIDI.
Page 307: Creating A Time Code Program
Creating a time code program You can create a time code program in either of two ways: by definition in the Time Code Events display or live after activating Learn Mode in the Time Code Events display. The cues, submasters or macros that you include in time code programs must be pre-recorded.
Page 308 Creating a program by definition Use the following procedure to define a time code program in the Time Code Events display. A time code program created in this manner is not recorded until you leave the Time Code Events display, which sorts the program’s events as well.
Page 309 Creating a program using Learn Mode Learn Mode allows you to record macro keys, submaster bump buttons and fader [Go] keys into time code events as you go along. Because you are making real-time decisions about the timing of events, you can record a program live in Learn mode without specifying code times.
Page 310: Sorting/Recording Events
Sorting/recording events Events are recorded when sorting is done. Sorting is done when you leave the Time Code Events display or you end the time code Learn Mode. You can also force sorting without leaving the Time Code Events display. A reason for sorting before leaving the Time Code Events display arises when you are playing the program you are currently editing.
Page 311: Resetting Loop Time
Resetting loop time A time code program loop plays from the first event time to the last event time, then resets and plays again. Any events with code times before the first time or after the last time are ignored. The resettable loop time can run from five seconds to 24 hours.
Page 312: Deleting Time Code Events
Deleting time code events Follow these steps to delete time code events: Keystrokes: Actions: 1. Press [S7] until [S6] reads Delete Event. Prompt reads: 2. Press [S6], Delete Event. Select event number(s) to delete, then press ENTER To cancel, press CLEAR Enters events 5 and 6 to delete 3.
Page 313: Copying Time Code Events
Copying time code events If you are creating a series of similar time code events, you may find it easier to create one event and then copy that as the basis for additional events. Follow the procedure below to copy a selected event or range of events to different code times: Actions: Keystrokes:...
Page 314: Moving Time Code Events
Moving time code events Follow this procedure to move a selected event or range of events from one code time to another. The event will move to the new time when you sort the event list or leave the Time Code Events display. Actions: Keystrokes: 1.
Page 315: Editing Events
Editing events You may add, change or delete events in the Time Code Events display. The changes are effective when you quit the Time Code Event display or press the Learn Mode softkey twice. Follow the procedure below to edit a time code program: Actions: Keystrokes: Selects field to edit...
Page 316 Or, if you wanted to move ten events five seconds later in a program: Actions: Keystrokes: 1. Press [S7] until [S1] reads Select Event. Prompt reads: 2. Press [S1], Select Event. Select event number 3. Press [1][1] [Thru] [2][0]. The time field is highlighted 4.
Page 317: Running A Time Code Program
Running a time code program You can run a time code program in three ways: using the console’s internal time code clock, using an external time code clock or manually. When using the external time code source, the internal clock serves as a back up to continue the program if the external clock fails.
Page 318 External time code clock When running a real time program with an external clock, the event list pointer jumps to agree with the frame of the external clock. Sometimes the timing signal is not yet present even though the external clock is enabled, causing a delay in the execution of the program.
Page 319 Manual playback The [Manual Mode], [Pause Mode], and [Step] softkeys allow you to manually control playback of time code events without a time code source enabled. Press [Time] to select an event out-of-sequence by specifying its code time. Use either the Manual Mode or Pause Mode softkeys to ensure that neither an internal nor an external time code clock can run events while you are creating or editing a time code program.
Page 320: Remote Macros
Remote macros The remote macro feature provides the ability to control up to 4 console macros from locations up to 1,000 feet away. Typically the Remote Macro control device is a four button control station. The remote macro terminals on the console rear panel control macros 1,901 through 1,904.
Page 321: Remote Trigger
Remote trigger The remote trigger function allows you to program a macro to send an On or Off signal to any external device that responds to a remote contact closure. This signal can control any external event (for example, a sound machine or a bubble machine).
Page 322 Chapter 25 Control interfaces...
Page 323: Chapter 26 Accessories
Chapter 26 Accessories Chapter 26 provides information about the following lighting system accessories: • Remote Focus Unit (RFU) • Alphanumeric keyboard • Console lights • Expression Off-Line For accessory installation instructions, see Appendix A Installation, page 313. For purchase information, please contact your local dealer or ETC. Express Two Scene Preset User Manual, v.3.1...
Page 324: Remote Focus Unit (Rfu)
Remote Focus Unit (RFU) The Remote Focus Unit (RFU) is a small, portable control panel you can use from a remote location, such as in the house, on your studio set or from backstage, with or without a remote monitor. You can control most console functions (not submasters) with an RFU.
Page 325: Alphanumeric Keyboard
Alphanumeric keyboard The Express console does not support an alphanumeric keyboard. However, if you have either a Remote Interface Unit or a Remote Video Interface unit attached to your console, you can attach an alphanumeric keyboard to that peripheral device and achieve the same results. The keyboard’s function is to allow you to assign labels (also called names) to your show and to elements of it, including cues, submasters, groups, channels, dimmers, time code events and fixtures.
Page 326: Console Lights
Console lights Express provides two 3-pin female XLR type connectors at the top rear of the console for the attachment of optional Littlite gooseneck console lights. Littlites come in 6-inch (6X-HI), 12-inch (12X-HI), and 18-inch (18X-HI) lengths. They are available from ETC or from your dealer. CAUTION: Use of any other brand but Littlites is not recommended by ETC.
Page 327: Appendix A Installation
Appendix A Installation This appendix includes instructions for installing your console and optional accessories. Chapter 3 System settings Chapter 4 Patching channels include instructions for entering the software settings you will probably update before you begin a new show. Appendix A includes the following installation procedures: •...
Page 328: Console's Back Panel
Console’s back panel External device fuse If you have an external device such as console lights, an RFU or a remote macro controller connected to the console and it doesn’t operate, check the External 12V fuse. This fuse is located in a pop-out receptacle located next to the RFU port.
Page 329: Installing The Console And Monitor
Installing the console and monitor Follow these steps to install the console and its monitor: 1. Place console on a hard, stable, flat surface. Leave at least six inches of space behind console for ventilation and cable clearance. Console should be at least six feet from dimmers and high-current AC lines. CAUTION: Do not leave the console in a road case tray or on a soft surface.
Page 330: Understanding Etcnet
Understanding ETCNet The console is capable of operating with other devices in local area networks. ETC has two such networks, ETCNet and ETCNet2, and both operate using Ethernet protocols. None of the Expression-family consoles are capable of operating directly on ETCNet2. One exception is through the use of a ETCNet2 DMX Node as a DMX-to-ETCNet2 converter, but this network configuration will not be discussed in this User Manual.
Page 331 Express Two Scene Preset User Manual, v.3.1...
Page 332: Connecting Dimmers To Console
Connecting dimmers to console These instructions explain how to connect DMX512 outputs and provide DMX512 connector pinout specifications. The console provides two DMX512 output ports for a total capacity of 1,024 outputs. Follow these steps to connect dimmers to your console: 1.
Page 333: Configuring The Dmx512 Ports
Configuring the DMX512 ports Once your console is installed, you may need to reset some hardware configuration settings. The Output Configuration screen allows you to reset the starting dimmer numbers for your DMX512 ports, set your ports for dimmer doubling and adjust the DMX512 signal speed if your dimming system requires a slower signal.
Page 334: Setting The Port To Dimmer Doubling
Setting the port to Dimmer Doubling If your console is controlling an ETC Sensor dimming system that can operate in Dimmer Doubling mode, each dimmer and the port to which the dimmer is connected must be individually set to support that feature. Moving light fixtures cannot be patched to a doubled port.
Page 335: Installing An Alphanumeric Keyboard
Installing an alphanumeric keyboard Although your console does not support an alphanumeric keyboard, you can connect a keyboard to a Remote Interface Unit or Remote Video Interface. Use the optional keyboard to assign labels to many features of your shows, such as to name the show and the cues, submasters, groups, timed events and programs within it.
Page 336: Installing A Printer
Installing a printer The console supports parallel printers, including most laser printers. Printer functions are described in Chapter 21 Printing, page 249. Follow these steps to install the printer: 1. Insert the parallel printer cable into the connector labeled Parallel Printer on the back panel of the console.
Page 337: Installing Midi
Installing MIDI Connect the console to any MIDI equipment using a standard MIDI cable. There are three round, 5-pin, DIN-type connectors labeled MIDI In, MIDI Out, and MIDI Thru on the back of the console. Turn console power off, then connect the cable from the MIDI Out of the electronic instrument or sequencer to the MIDI In on the console.
Page 338: Installing Remote Macros
Installing remote macros The console provides four remote macro inputs through the 15-pin connector on the back panel labeled Remote Macro. A user-supplied remote device connects to the console via a 24 AWG, aluminum-shielded, multi-conductor cable with one twisted pair designated for each switch (Belden 9507 S-R PCV Insulated or Alpha 5477 80 Deg.
Page 339: Wiring Remote Macros
Wiring remote macros There are three typical ways to wire the Remote Go function: 1. Connect all -Macro pins (pins 2, 4, 6, and 8) to ground (pins 12 and 13) and switch the leads connecting the +Macro pins (pins 1, 3, 5, and 7) to +12 Vdc (pins 14 and 15) as shown in the following diagram.
Page 340: Upgrading Software
Upgrading software Upgrading a console NOTE: If upgrading system software in a lighting playback controller (LPC), some of the steps below are slightly different because LPC controls are different. See your LPC QuickGuide for information about these differences. Express software upgrades are distributed in kits that contain one or more upgrade diskettes and usually an installation document.
Page 341 Characteristics of the display The display contains the following three elements: (1) the title line, (2) an inventory of network devices, and (3) the Remote Units list. The title line names the display and identifies the version of code on the diskette you used to bring up the display (the upgrade diskette).
Page 342 Appendix A Installation...
Page 343: Appendix B References
Appendix B References Remote Interface devices Until the appearance of ETC’s ETCNet2 devices, the only way you couId perform remote network operations was with ETC’s Remote Interface Unit (RIU) and the Remote Video Interface (RVI). ETC continues to support the RIU and RVI devices but no longer sells them. This section covers the installation of the RIU and RVI devices with your system.
Page 344 RIU DIP switch and jumper settings The RIU’s main circuit board contains one 8-switch DIP at location S1 and a set of 14 jumpers at location J22, as shown in the illustration below. 1. Remove the screws that secure the top panel. 2.
Page 345: Remote Video Interface (Rvi)
Replacing RIU fuses The Remote Interface unit contains two pop-out 6.25 Amp fuses at the left side of the rear panel. Inspect and replace as explained below. 1. Turn off the device. 2. Remove the power cord. 3. Pull the fuse tray out of its holder by placing something sharp behind the tab on the bottom of the cover.
Page 346 Remote Video Interface settings The RVI Processor Board is the lower circuit board in the Remote Video Interface (RVI). It contains one 8-switch DIP. Under normal conditions, these switches will never need to be changed. If the settings get changed and you need to restore them, find the switches at location S4 and adjust the settings as listed below.
Page 347: Installing Remote Video Monitors
RVI ETCNet DIP switch settings In order to enable the RVI for use on the ETCNet network, you must verify or adjust the settings of two sets of DIP switches. You will need to use a pin or a similar fine-pointed object to set the switches. To set the switches, follow these steps.
Page 348: Using Thinnet With Older Consoles
Using thinnet with older consoles Older model Express consoles supported thinnet as well as twisted pair wiring for networking. The thinnet option is no longer available for Express consoles or Express Lighting Playback Controllers. If you are using one of those older models and wiring with thinnet, however, follow the instructions below.
Page 349: Appendix C Error Messages
Appendix C Error messages Diskette error messages Bad Disk Disk is unformatted or defective. Try formatting it. If that doesn’t work, try a different disk. Corrupted Disk This disk is defective. Try formatting it. If that doesn’t work, try a different disk.
Page 350: Etclink Errors
ETCLink errors ETCLink is the communications software that serves the Dimmer Monitoring System, explained in Chapter 24 Dimmer monitoring, page 263. ETCLink provides advisory messages for a wide variety of conditions, including information regarding your dimmers, racks, system, data, ports, and loads.
Page 351: Secondary Messages
Secondary Messages Dimmer # has a load, but the recorded load is zero. Because the recorded load is zero, the Dimmer Monitoring system is unable to determine whether the dimmer has a load error. The load on dimmer # has changed. Because the dimmer output is not at a high enough level, the Dimmer Monitoring system is unable to determine the size of the load.
Page 352 Appendix C Error messages...
Page 353: Appendix D Showfile
Appendix D Showfile Each showfile saved with version 3.03 (or later) system software contains recordings or settings in two general programming classifications. Some programming pertains directly to the show, such as recordings of cues, groups and focus points. Other programming pertains to your system configuration, such as clock or MIDI settings that seldom if ever change.
Page 354: Configuration Settings
Configuration settings Read show results Certain configuration information is included with show contents information when you do a Read Show From Disk operation. These items are identified below by the display in which each may be edited. Setup display Show name System Settings display Number of channels Number of dimmers...
Page 355: Appendix E Softkeys
Appendix E Softkeys Stage [Stage] Stage 2 Sneak Enable/Disable Quickstep Update Sub List Background Overrides Solo Only Previous Page Follow Next Page Park Delete Stage 2 Stage 3 More Softkeys> More Softkeys> Fixture Flash Stage Stage 3 [Stage] [Fixture] [Only] Part Position Load Sub...
Page 356 Blind/Group [Blind] [Group] Group List Group SS Select Group Select Group Group List>Group List Create Group Spreadsheet>Group SS Replace Level Previous Page Previous Page Previous Page Next Page Next Page Next Page Delete Group Delete Group Delete Group Only Fixture Return>Group Return>Group Blind/Focus...
Page 357 Blind/Submaster Sub List Sub SS Bump Status Select Sub Hold Rate Replace Level Previous Page Previous Page Next Page Next Page Delete Sub Delete Sub Return>Sub Return>Sub Blind/Cue/Effect [Blind] [Cue /Effect] (CE) CE 2 CE 3 Step Step Cue List>Cue List Step Time Follow Spread Sheet>Cue SS...
Page 358 Blind/Subroutine [Blind] [Cue/Subr] Subr 2 Step Step Cue List>Cue List Select Cue Spread Sheet>Cue SS Rate Previous Page Type/Level Next Page Insert Step Delete Cue Delete Step Subr Subr More Softkeys> More Softkeys> Style Up/Down/Follow Stage/Fader [Fader] Fader 2 Fader 3 Select Fader Enable/Disable Quickstep Update...
Page 359 Setup - System Settings (1), Output Config (2) and Clear (4) System Settings (1) Output Configuration Clear Functions Purge Flexi DMX512 Port Reset System DMX512 Mode Starting Dimmer DMX512 Speed Return>Setup Return>Setup Return>Setup Setup - Print (5) and Options (6) Print Functions Options Stop Printer...
Page 360 Setup - ETC Link Functions (9) Dimmer Status (3) Load Management (4) Print Screen System Status Load Check Select Dimmer Record Loads Rack Status Clear Loads Cancel Return>ETC Link Return>ETC Link Setup - Profiles (10), Channel Attributes (11) Profiles Channel Attributes Profile Independent Link...
Page 361 Setup - Moving Light Functions (15) Personality Setup Fixture Patch FP 2 From Disk Select Fixture Select Fixture Start Channel View Personality Personality DMX512 Port/Start Previous Page Remote Dimmer Next Page Swap Focus Delete Personality Delete Fixture Flip More Softkeys >FP Reset Defaults More Softkeys>FP2 Return>Moving Light Ftns...
Page 362 Appendix E Softkeys...
Page 363: Appendix F Time And Location
Appendix F Time and location United States cities City, State City, State City, State City, State Time Zone (Standard) Time Zone (Standard) Time Zone (Standard) Time Zone (Standard) Latitude Latitude Latitude Latitude Longitude Longitude Longitude Longitude Albuquerque, NM ....+ 7 West ......35° 03´ N....106° 37´ W Anchorage, AK .....+ 10 West ......
Page 364: Cities Outside The United States
Cities outside the United States City, State City, State City, State City, State Time Zone (Standard) Time Zone (Standard) Time Zone (Standard) Time Zone (Standard) Latitude Latitude Latitude Latitude Longitude Longitude Longitude Longitude Abuja, Nigeria......- 1 East ......9° 12´ N ....7° 11´ E Algiers, Algeria......
Page 365: Appendix G Specifications
Appendix G Specifications Differences between the three models at a glance. Express 24/48 Express 48/96 Express 72/144 Dimmers 1,024 1,024 1,024 Maximum Channels Channel Faders Two-scene operation 24 Channels 48 Channels 72 Channels Submasters Electrical • Voltage input 100-240 VAC, 50-60 Hz •...
Page 366: Playback Controls
• Integral LEDs on all submasters • Programmable fade and wait times 126. On the Express 24/48, the 24 submasters are also the bottom 24 channel faders on the console. Appendix G Specifications...
Page 367: Channel Functions
• Live and programmed rate control • Submasters either overlapping pile-on or inhibitive • All submasters programmable with effects • Update function • Control keypad features • Spreadsheet editing • Submaster list Channel functions • 8-bit and 16-bit data types •...
Page 368 Group functions • Up to 500 groups • Any cue or submaster may be accessed as a group • Spreadsheet editing • Group list Focus point functions • up to 99 preset focus points • Hard key for quick access •...
Page 369: Size And Weight
• Remote Interface Unit • Remote Video Interface • Remote Macro controls • Console lights Size and weight Express 24/48 • 43 x 15 x 6 inches • 30 pounds Express 48/96 • 43 x 24 x 6 inches •...
Page 370 Appendix G Specifications...
Page 371: Declaration Of Conformity
Appendix H Declaration of Conformity Express Two Scene Preset User Manual, v.3.1...
Page 372 Appendix H Declaration of Conformity...
Page 373: Appendix I Limited Warranty
Appendix I Limited Warranty Electronic Theatre Controls, Inc. (ETC™) THIS WARRANTY IS CONTINGENT ON warrants to the original owner or retail THE CUSTOMER’S FULL AND TIMELY customer (Customer) that during the COMPLIANCE WITH THE TERMS OF warranty period ETC will repair or replace PAYMENT SET FORTH IN THE “TERMS...
Page 374 commencement of performance and/or ability to obtain supplies and raw materials, delivery shall not constitute a waiver of government regulations, labor stoppages, these terms and conditions or any casualties, fire, and other causes beyond acceptance of any terms and conditions our control.
Page 375 and one-half percent) per month late No failure of ETC to insist upon or compel payment penalty. ETC will have the option compliance by the customer with any of of withholding performance under any and these terms and conditions shall be all orders from the Customer if an invoice constructed as a waiver by ETC of its right remains unpaid after 30 days.
Page 376 Appendix I Limited Warranty...
Page 377: Index
Index Numerics Bump buttons Enable/Disable ....29 16-bit Status ..... . 155 About Channel .
Page 378 Fader ..... . 121 Cue check ....127 Functions .
Page 379 Part of multipart cue... 115 Write showfile ....245 SMPTE events ....298 Display Submaster .
Page 380 Enable Set cue default ....24 Blackout key....27 Subroutine .
Page 381 Maximum number ... . 141 Programming ... . . 162–163 Print ..... . . 251 Insert Recording with solo .
Page 382 LEDs Specifications ....354 Submaster ....156 Sub-Bump ....231 Submaster type change .
Page 383 Explained ..... 3 Personality Fixture Box, no encoders ..77 About Channel ....60 Fixture patch .
Page 384 Clear ..... . . 255 Create..... . 288 Channel levels .
Page 385 Strand CD80 ..... 49 Swap twisted pair ... . 316, 327 Style step .
Page 386 Channel color ....52 Explanation....81 Viewing cues .

This manual is also suitable for:

Express 48/96 Express 72/144

ETC Express 24/48 User Manual

Chapter 1 Introduction

Chapter 2 Monitor Displays

Chapter 3 System Settings

Chapter 4 Patching Channels

Chapter 5 Setting Channel Levels

Chapter 6 Adding Moving Lights to the Show

Chapter 7 Cues

Chapter 8 Track

Chapter 9 Multipart Cues

Chapter 10 Playing Back Cues

Chapter 11 Groups

Chapter 12 Focus Points

Chapter 13 Submasters

Chapter 14 Lists and Spreadsheets

Chapter 15 Park

Chapter 16 Effects

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Summary of Contents for ETC Express 24/48