The Basics
First and foremost, you must understand how to enter the DMX starting addresses for your fixtures so that they match the units on the other end of the cable. As previously mentioned, this is what enables the communication between the console and the various controlled products. Your console’s user manual will assist you in learning how your specific console allows you to enter the patch information.
It is best to assign your user numbers to the fixtures before you even begin the patch. The user numbers are the numbering scheme that the programmer assigns the various fixtures in the console. For instance if you have 12 wash fixtures, 12 spot fixtures and 10 LED lights, you need to determine how you will refer to these in your programming. There are many methods of numbering, which I won’t get into with this article, but it is essential that you number them in a manner that works for you. These are the numbers you will be working with as you program, so they are very important. Once these are assigned, then you will know what DMX addresses to assign for each light. Alternately, you can use the console to patch and automatically determine the DMX addresses for each fixture. Either way, you must match the user numbers to the correct DMX start addresses.
Fixture Alignment
With a patched rig of fixtures, the next step is usually to determine if the fixtures all move the same direction when you pan and tilt them. I personally prefer to have all my fixtures pan towards stage right when I turn the pan encoder towards stage right. I also like to have the fixtures move upstage when I turn the tilt encoder clockwise (I think of this as increasing, or going “up”). Each programmer usually has different methods. The most important concept is to align your fixtures so that they are all moving in the same direction when you adjust the encoder or use a trackball.
Within the patch screen on most automated lighting consoles, you can enable pan or tilt inverts. These are essential when fixtures are rigged in different manners. For instance, fixtures hanging in the rig will pan the opposite of those placed on the floor. By selectively enabling the pan or tilt invert on specific fixtures, you can align your fixtures so they all respond to the same encoder movement. It is best to set this before programming, as some consoles invert the actual data and not just the encoder movement. In some cases, making these changes after programming has begun may result in fixtures pointing in odd places.
It is also a good idea to always ask the crew to NOT enable any pan or tilt inverts directly on the fixtures. If you always perform this function from the desk, then anytime the show is remounted or a fixture swapped there will be no confusion. Most consoles also allow you to swap the pan and tilt settings entirely so that turning pan will actually adjust the tilt on a fixture, and vice-versa. This is useful when fixtures are rigged at odd angles or on vertical positions.
Setting Limits
Oprah likes to tell people that they need to set limits and boundaries with others so that relationships work within certain parameters. Much in the same manner, you can set limits on parameters within the patch functions of most consoles. By limiting a parameter, you can adjust its true maximum or minimum value. For instance, if you have four 500W fixtures and two 750W fixtures, you may want them to all appear the same onstage. You can limit the maximum intensity of the 750W fixtures to a level that is equal to the 500W fixtures’ full intensity. This way when you put the fixtures at full, the console will actually limit the output to 75 percent of the fixtures’ capability. In the console data it will still read as full, but the DMX data will be limited accordingly.
This can also be useful with position information, as you can limit the pan or tilt range of a fixture. By doing so, you can ensure that a fixture never projects to a certain location onstage. Limits on other parameters such as media server folders, zoom settings or gobo wheels can prove handy in many situations.
Adjusting Defaults
Another powerful function usually found within the patch parameters of a console is the ability to adjust the default values of parameters. Typically an automated lighting console uses fixture libraries to provide programming parameters for fixtures. The lighting console manufacturer will include default values for all parameters within this library. These default values are the data that is sent to fixtures when no specific programming is sent. For example, the intensity will usually be at zero, the shutter open, the color white, no gobos, etc. You may decide that it is better to default a fixture with the CTO in so that you do not have to remember to make this adjustment each time you select the fixture. Alternately, you might change the default media settings on a media server so that they “turn on” in open white. I find adjusting the defaults of fixtures to be extremely useful when configuring a show file prior to programming.
Patch to Perfection
Automated lighting programmers must understand the basic patch functions of their console, because without a proper patch there will be no control of the fixtures. However, most consoles provide many other tools within the patch options. By understanding these tools and how to use them, you can increase the effectiveness of your patching. From simple functions such as pan and tilt inverting to complex limits and defaults, there is tremendous power contained within the patch window of your console. Take a look, read the manual and get busy configuring the patch data to put it to work for you.