DMX: Streaming unidirectional protocal running at 230kbps, asyncronous. No error correction, no flow control. Operates in a serial-type method.
What else you need to know?
Don't split/Y DMX signalling. Use a DMX terminator(can also be made, cheaply and just as good as a paid for one). Use DMX cable, even if it looks identical to XLR(and it's wired the same, but trust me, use DMX cabling even though XLR will work).
One of the best technical resources is right here.
But I'm just a sound guy.
I see too many people try to mix on stage. Then they do a sucky mix and sucky performance. I can only imagine the more you try to do on your own, the overal quality dives down as well. I'm just of the opinion of doing it right.
My suggestion is to basically work with a dedicated group of professionals. Sure, the technical people can double up on certain tasks. The main thing is they emphasize on ensuring the performer(s) is able to concentrate on the task at hand. I recommend this to all performers. Then again, because most club owners are cheap, they expect you to work for $5 for an entire night of music. Out of that, you're expected to give a chunk to the house sound guy, who doesn't give a rat's you-know-what about you and it's just going through the motions. Or you're in a place with no gear and you've got to do the total one-man show.
As a result of my philosophy of no compromise and getting things done properly, I'm finding that I'm getting fewer wedding gigs. I cost too much. Yeah, well, enjoy your $5K sawdust cake!
Good sound costs money. Good lights cost money. Good music costs money too. I guess with people happy with lousy sounding MP3's, you can see quality is becoming less and less important.
The DMX Operator 192 would be idea for your environment. The concept of MyDMX being the end-all be-all solution just isn't feasible. I remember paying $400 for Master Tracks Pro for the Mac, which grew nicely with me. Now I have Sonary Home 6, which does a lot more and costs a ton less. With lighting software, it doesn't evolve as quickly as sequencing. Sometimes the low-cost solution isn't the way to go. In this case, it's not like we're talking a Shure KSM9 vs an SM58, where one is the old standby(SM58) and the KSM9 is the ideal option(opinion, not my choice though). Both get the job done and it's basically a "this or that" scenario. With DMX, specifically MyDMX vs Compu Live, Compu Live was designed to be a more thoroughly thought out product with more features built in. And you're paying the extra for such premium features.
Now, as far as intuitive, that's a matter of opinion. I've seen so much that MyDMX was relatively intuitive to me AFTER I got past certain roadblocks. In some cases, doesn't matter, some people just can't think a certain way and so sometimes a great product is unusable as a result. From what I see, if MyDMX is a scaled back version of Compu Live, then wow.
MyDMX suits my live sound company. I have intels, moving heads, Par cans and hi-tech effects. I have a DMX Operator(pre 192). While the tools I have aren't top of the line, they get the job done. Now, sound is a whole other thing, but that's a whole other thing to deal with. My focus is on sound first.
Back to DMX Resources, I suggest that you set up your stage rig, start playing, run into an issue(or create a scenario that produces and issue) and then ask here if you can't figure it out.
Unlike some other companies in this marketplace, ADJ stands behind their products.
I don't work for ADJ, I'm just a satisfied end-user.