The first of the year makes me think about people starting out in automated lighting programming. One of the concerns for a newbie is deciding on a console to master. There are many things to consider when shopping for a lighting console. Essentially, in the United States there are only a few popular brands of automated lighting consoles. There are also many other lesser-known ones at various levels of cost and industry acceptance. As a freelancer, you often will be asked to make the console decision for a production or venue. While this can be overwhelming, it also can be fun.
What’s on the Field
There are over 100 lighting consoles or software applications sold around the world. However, the lighting industry has embraced only a few as standard for most productions. Every programmer should have knowledge of these consoles, their terminology and how they operate. Some of the most popular consoles in the United States are (in alphabetical order): Avolites, Chamsys, Compulite, ETC, Flying Pig Systems, Jands, Leprecon, MA Lighting, Martin, Strand, Virtuoso and Zero 88. Be aware of the various consoles and their particular uses; understand a little of each.
Learn What’s Around You
Before picking a console to learn, decide what type of productions you will be involved with. If you are going to work at a specific venue, then you need to study the console already on site. However, if you are a freelance programmer working in your city, call around or visit the rental shops in your area. Ask which consoles they stock; find out which ones they rent the most. Learn these, as well as the others they have in inventory. This way, you will be prepared when they need a programmer who knows how to use their desks.
Once you discover what is available in your area, go to the manufacturers’ Web sites and download the manuals and off-line editors. Also, sign up on the forums and begin reading what other users have to say. You should look to see if the manufacturers have training courses or materials. Get in touch with the programmers in your area who are currently using that particular console type. They are usually happy to teach you, as long as you do not steal their gigs.
Selecting a Console
If you are hired by an LD to program a show, he or she will often ask what type of console you would like to use. You will typically want to select the one that you know best, but you also need to know of a few others in case this console type is not available. You will also need to decide which console is correct for the production. If you are programming for a festival that requires lots of on-the-fly programming and playback, then you will want a console with lots of hardware buttons and timing overrides. Similarly, if MIDI show control and/or SMPTE timecode are required, you should ensure your console supports their use. Other considerations include networking (allowing multiple programmers at a time), number of DMX outputs, monitors and other accessories.
You should also consider the LD’s working style. If the LD likes to call out fixture numbers and other information, then a console with direct key-pad entry would suit best. Otherwise, you will spend a lot of time clicking buttons or selecting items from a screen. Some designers prefer to have a monitor available to them, while others will never look at the console. All these points must be considered.
The Festival Situation
If you are asked to specify a console for use at a music festival or other event that will have many “visiting” LDs, then you need to select a popular console. If you choose a console unfamiliar to most people, they will be at a loss when they arrive at your front of house. By selecting a console that most people have seen before, or are likely to have a show disk for, then you will create a much friendlier environment. I remember reading on a forum where someone was planning to use a brand new type of console on a festival. This raised lots of concern, as most visiting LDs would be unfamiliar with it and would have to spend lots of time learning the desk. With most festivals, the term “lots of time” is unheard of.
The Touring Solution
When selecting a console for a tour, you must consider the itinerary for the tour. Although tours usually carry the console with them around the United States, most will typically rebuild the lighting rig when touring overseas. This means that the console must be one that is easy to locate in most parts of the world. If you select the latest offering from a small console manufacturer, the tour might have trouble finding this same console when in Europe. Furthermore, if the console is only owned by one or two companies in the U.S., then it will be difficult to find a replacement on the tour should a console have problems or if a truck is late to a venue.
All the Right Features
A lighting console’s features are important to consider when making your selection. If the software provides tools that allow you to program quickly and efficiently, then the desk is probably a good choice. However, if the initial setup of the console is time consuming, the syntax strange and the key layout nonintuitive, then a different console might be required. Additionally, some consoles provide unique features such as direct sup-port with certain media servers, visualizer and other lighting products. If selecting media clips visually from a console will assist you in your pro-gramming requirements, then you should shop for a console with this feature. Most consoles share the same basic features, often with different names, and your designer or other programmers will be expecting your console to have these same features. So don’t specify a console just because it can do something exciting and new, unless you are positive that it can also do all the tried-and-true automated lighting console functions.
The Bottom Line
Selecting a console is an individual choice. All lighting consoles send the same DMX512 data to your lighting fixtures; therefore, they all essen-tially do the same thing. However, still consider the costs, features and availability of a particular console. It is also advisable to become familiar with several different consoles so that you can select the correct one for each specific production or use. With some careful planning and studying, you can easily determine which console is best for you.
E-mail the author at brad@theschillerfamily.com.
