Color Fusion and general DMX inquiries

Sorry to hear about the problems at the hotel.

DMX addressing MUST be done when the fixture is powered off, otherwise it will not work. It is a good practice to do all of your cabling with the fixtures powered down. Intelligent fixtures seem to prefer powering on all hooked up to one another rather than being powered on and then chaining them together.

The terms master and slave only comes into play when you are using the fixtures in a stand-alone mode of operation, meaning no DMX controller. They utilize built-in programs and sequences to operate instead of the individual scenes and chases you may program with a DMX controller. Using master and slave mode (stand-alone) means that you will not be able to control them. Addressing them individually allows you to control all aspects of each fixture individually.

When trying to get them to strobe in sync, make sure all of the fixtures are activated for programming, and then alter the correct channel on the controller to get them to work in sync. This way, instead of trying to sync up the strobing one at a time, you can set the strobe frequency at one time for all fixtures at once.

Hope that helps.

Best,
-Tech

OK, it does make sense about the programming and connectivity. Just, with dip switches, I figured more of an "analog world" environment.

Now, talking about the response in regards to strobing:
I powered off all fixured before leaving for the night(did mains and lighting the day before). Everything was working as far as DMX is concerned. This resolves the issue of changing and plug and play issues I already showed a lack of knowledge of.

So, Day 2, both Color Fusions are going, full on red, and I adjust the strobe, using a low setting, and they were both strobing out of sync. Both were set to identical channels(starting at Channel 1).

I'll screw with them more later. The strobing was a nice bonus and not a selling point to me. I doubt I'll use the strobing that much.

I hear what you're saying, I understand and agree. It does make logical sense. It is also quite possible that I may have overlooked a dip switch setting or something. I have not touched the lights since the event, so if I did something wrong, it should still be right there athte fixture.

Even if this pair never syncs up for strobing, I doubt they will be going in for service for that issue. Definately a good time saver fixture for me. When I do smaller events, now I only have to run two fixtures and no dimmer packs. Huge time saver! I will be using them again on October 1st for an event I have, along with some new fixtures I am ordering on Monday. I am getting some movers!

Nice! May I ask which moving yokes specifically? (Brand, wattage, model)

I believe I know why you are having those strobe problems.
You need dmx cable and not mic cable. Even high quality mic able will not do because they have different resistances. Most people get away with 100 feet of mic cable without too many problems but you def need dmx 120 ohm cable. (I can refer you to a dealer if you want)

Are you using a dmx terminator? This is probably your problem. Anything over say 50 feet should have one, even with dmx type cable.

Here is a thing to test with your lights. Have the lights much farther up your dmx chain for example controller > 5 food dmx cable > first light > 5 foot dmx cable > second light > terminator. Without the dmx cables and terminator it should work ok because it’s such a short range of cable.

- Homeboy

OK, so I should be using DMX cabling. Well, that sucks. Why? Well, the lower end brands(ADJ among them. Don't equate what I say as "lower end brands=junk", what I mean is the lower cost brands) use 3-pin cabling when they should be using 5-pin. DMX 3-5 pin adaptors add up quickly when you have to use a lot of them. Seems the lower-price offerings do need to at least step-up to the 5-pin standard.

OK, off my soapbox. I just hate it when companies for whatever reason decide to break standards.

Not much to see, but hit up my web site and check out the September 2, 2006 pictures on the Pictures page. Video as well.

Issue 1: I've already shown I was using microphone cabling for DMX, which you're stating could pose a potential problem. That sucks for me, but I can accept that. Do keep this in mind: I have been running my DMX signalling through my 200-foot audio cable whip AND through my FOH patch panel, and I can guarantee all of that is using balanced audio cabling. One thing that I want to avoid is making a sepparate run for DMX whenever possible for time saving purposes. At the same time, I may have to accept the reality that this may no longer be an option I can continue doing. So, hit me up via email(my first name @ my domain) with that dealer name.

Second: usage of a 3-wire DMX terminator. That one was covered. I have made my own DMX terminator, and even had someone more knowledgable than me(owns a major lighting company) test it and use it, he said it's fine. So, that issue is resolved, but then that points back at the first issue.

Third: Here was the scenerio. In this event, I did not use my 200-foot whip since I was using my older 100-foot 16X4 snake(instead of the 52X4 stage box/whip combo and the 16-channel Aviom for monitor returns). DMX never touched the snake at all. Lights went right from the DMX Controller 192 to a 50-foot(or more, but I think I ran only 2 cables) to the first Color Fusion. From there, it was a 50-foot run to the second Color Fusion. From there, it was a 25-foot run to a DP-DMX20L, then a 50 foot run up to the truss to the PP-DMX20L power pack, a 3-foot run to the Aviator SP-8, and a 3-foot run to the second PP-DMX20L(all still on the truss). hen back down the truss with another 50 feet to another DP-DMX20L and in that dimmer pack I put the terminator.

I always use a DMX terminator anyways. Better safe that sorry. I have to make a few more, my crew always loses them.

This by far was the longest total DMX run I have ever done. My previous one was down the audio whip and then up the stage, but I couldn't even run full lights since the promoter only gave me power for sound, so we had to get 1 15-amp circuit for lights(I needed and rider requested 4 20-amp circuits for lights). No wonder my Furmans kept popping all night! Even then, it went from controller, down the whip, up one truss and through whatever dimmer I had on there, down that, up the main truss, through those multiple dimmers, down that and onto another truss on the other side of the stage. Overall, much shorter. Only ended up running the main truss. 16 par Can 38's on that truss, plus Sunray III and Mystic, and I think my Double Twist and Trilogy. Did pretty good when it was working for that outdoor event. Again, check out my web site for October 1, 2005 pictures and videos of that event.


As far as the movers I am ordering, I can't say since I'm going with a different brand that starts with the letter C, and the model starts with the Letter Q, followed by a Spot and a 150 coming after that. I'm also ordering, from the same company 4 color changer/wash fixtures that compare to an ADJ product, except have more colors and less cost. I'm getting a couple of follow spots as well, I'm just trying toa address some areas of weakness to ensure an even more thorough crushing of my competition! We already kick butt with sound, and our lights are better too, but I want MORE. Plus, I'm adding video and photography packages as well.

So, I have some homework to do. Test the fixtures with short cable runs and make sure they are terminated. Then, spend some bucks on acutal DMX 120-ohm cable. My only problem with 3-pin DMX cabling is I'll have to have it custom labelled so it doesn't get mixed up with microphone cables. Since Neutrik makes XLR cables with different colored strain reliefs, I'll pick a color for that and it will be simple.

I don't mind being wrong. I screw up, I ask, I test, I learn. It's those who choose to remain wrong, that's where the problems can show up.

Web site is:

http://www.studio42.com/

I thought this would update all my postings like the last web board did when you change your signature. Note for others: Get your signature done right away!!

Haha nice cover for the *cough*'s 150 movers. I have owned some *cough* stuff and I think you'll be happy with it. As for all the problems you’re running into, I have good and bad news. Bad news first: Yes, you have to have a separate run of cable for dmx and label them separately. The running of them through the snake is probably u main problem, as it’s the wrong type of cable and putting a data line right next audio causes interference. Also, what if you accidentally plugged your dmx chain into your mixer?? Poof the dmx boards in your lights are dead.

Good to hear you have been using a terminator, that’s probably helping a lot. The good news: You don't have to change to 5-pin! it is the standard, but there are just as many dmx (correct 120 ohms) that are three pin as 5-pin. The reason companies made most dmx lights 3 pin is for dj's so they can use the mic cables they already have. Your set up sounds to be more complex though, and so u need the good dmx cable. I will email you that vendor tonight.

Your site looks great! Just a suggestion, you seem to have a few wires hanging down from the truss in the first event. It would look a lot more professional if u just tucked them behind the truss with some Velcro or cable ties. Other then that looks good!

- Homeboy

I had been reserving channel 16 on the 16X4 snake for DMX, and in the case of the 56-channel whip, it's channels 53 or 54. There's never a problem or mistake. I do those connects myself, so there's never an error. I have other safeguards in place, mainly "audio first, lights second"

Well, the bad news is merely a cost item. Big deal. I can even have my cable company make the cables or ship me the parts and parts and I'll do it myself. Personally, I don't have a problem with a 5-wire connection. After all, MIDI is a 3-wire connection in a 5 pin DIN, yet only 2 of the three wires are ever used. Whatever vendor I go with, I'll make sure they use color coded strain reliefs. Sticking with a 5-pin standard, it would help prevent problems, such as the dumb ones I caused for myself. So, to others reading: use the correct cables! Never had this problem until that event. Why? Never used a DMX fixture outside of a dimmer or relay pack before. Now that I'm moving to more intel-type lights, if I do not resolve this issue, I'm going to have more problems.

Thanks for the compliment on the site. I spent a little time after the initial pictures cleaning up the wiring. The groom's party kept me busy right up until doors, so a few wires shook loose. My truck was broken, so I left the bin at home that had the velcro tie-wraps in it(among other things that I didn't need for this event). I definately agree with your suggestion as I like a neat truss as well. Make that neat everything.

This event was an odd-ball one. I doubt I'll do another one like that for a while. I'm already planning my order for the cabling. I figure a 200-foot cable, 4 25' cables, 5 5' cables, 5 10' cables and a few shortees.

No Problem, I didn't see any cable in the other pics so I didn't think it was anything.

Anyways,
Looks like you’re all planned out for your order for the cables, but I still question the 3-pin/5-pin argument. I know the *cough* spot 150's are three pin, and your dimmer packs are probably 3 pin too...so why get the 5 pin? I'm sorry if I mislead anyone, but 5-pin is defiantly not necessary and won’t hinder or enhance performance. The only reason it is the “standard” is because the first dmx control system used 5-pin. Sorry about that.

I see that your trying to prevent any confusion in the future with cable mix-ups, but you said you were getting color coated, separate cables. That should be enough right? Think at about $10 a piece for a 3-5 pin adaptor and 4 fixtures, with all 5 pin cable, which adds up to $80! Is that really worth it?

Do what you want, but I strongly suggest you re-consider, that is if everything you have is 3-pin already.

-Homeboy

P.S. – Did you get my email?

I hear your argument. What I'm questioning is the companies that have made 3-pin instead of 5 pin. Seems the industry agreed upon a standard, and while that standard is only 3-pin, they chose to go with a 5-pin standard connector. Seems they should just hold fast to the standard. I'm sure it's also a matter of cutting costs as well since it does cost less for 3-pin XLR's.

I certainly hear you, and since my gear is at the moment all 3-pin based, I'm going to have 3-pin cables made. You must have assumed I was going to go 5-pin. I just am angry that companies don't follow agreed upon standards. Trust me, when dealing in data communications, some of these non-standard cables cost hundreds of dollars. It's like "why are you providing a DB-25 when the actual interface is a v.35" or "why is BRANDA's db-25 different than BRAND B's db-25 when in the end I still have to buy a v.35 pigtail to ge the job done?"

Standards exist for a reason. Once the standard is agreed upon, it should be adhered to.

I didn't get your email. Just abuse my contact form on the web site, that's what it's for. I'm heavily spam-protected and manage and maintain my own servers. Hit the form, it bypasses all filtering.

The Color Fusion manual is available online at http://www.americandj.com/pdffiles/Color%20Fusion%20Rev%203-06.pdf

and my addendum to the manual that reveals all the missing details is at: http://www.chromakinetics.com/DMX/ADJcolorFusion.htm

Well, once again, ADJ comes through for their customers. As of the initial rounds of questions, the manuals were not online. Now they are.

Let other people see that ADJ doesn't just do a static site, they update it with fresh information when they can.

And Glenn: thanks for the heads up. I probably wouldn't have checked any time soon if you didn't post that information. Again, thanks.