Solved this issue the other day on a job site and thought it would make a good post! Dip Switches are a series of tiny binary switches numbered 1-9 that can be switched ‘on’ or ‘off’. They have different functions on different devices. Sometimes they indicate the radio frequency the device uses to operate - for example, perfect cues. In the case of Dimmers, they determine the starting address of the dimmer. - For example, if you have 1 ON and the rest OFF, on a 4 channel dimmer, channel 1 will be address 1, channel 2 will be address 2, channel 3 - address 3, and channel 4 - address 4. - If you have a additional dimmers, you could set the dip switches such that the dimmer channels will be addresses 5-8, 9-12, etc. Similarly, for analog lighting controllers, dip switches determine the starting address of the faders. - For example, if you have 1 ON and the rest OFF, fader 1 will control channel 1 of the fixture assigned to address 1. Hope that clears up some confusion and helps troubleshoot “issues” that you may encounter in your lighting setups. Often the “fix” is as simple as flicking a switch to the correct setting for your desired outcome!

These terms are most commonly used in professional lighting consoles such as those from MA Lighting (e.g., grandMA3) and ETC (e.g., Eos). The exact terminology varies slightly by brand, but the core concepts are similar. Here’s a clear breakdown of each term and how they relate to each other: 1. Presets Building blocks (raw ingredients). A preset stores a specific value for one parameter (or a group of related parameters) that you can reuse. Examples: - A specific red color - A pan/tilt position called “Downstage Center” - A gobo selection - A beam look Instead of recreating values every time, you reference the preset. If you update the preset, every cue using it updates too (if stored by reference). Think of presets like: 🎨 Paint colors in a palette 2. Cues A snapshot of the stage at one moment in time. A cue stores the state of fixtures (intensity, color, position, etc.) plus timing information. Examples: - Cue 1: Stage wash at 50% - Cue 2: Spotlight on Actor A - Cue 3: Blue night look Cues typically include: - Fade times - Delay times - Follow times Think of a cue like: 📸 A photograph of the stage look 3. Cue Stack/List A list of cues that play in order. A cue stack (sometimes just called a “sequence” depending on console) is an ordered list of cues that you step through during a show. Example:Cue 1 → Cue 2 → Cue 3 → Cue 4 You can: - Go to next cue - Go back - Jump to a specific cue - Auto-follow cues Think of a cue stack like: 🎬 A scene list in a script 4. Sequence This term depends on the console. On consoles like grandMA: A sequence contains a cue stack. On consoles like ETC Eos: A cue list is similar to a sequence. The term “sequence” isn’t commonly used the same way. So in most modern systems: Sequence ≈ Cue stack 5. Executors The playback controls. An executor is a physical or virtual control (fader or button) that runs a sequence/cue stack. An executor can: - Play a cue stack - Control intensity via fader - Trigger effects - Run chases - Toggle sequences on/off

Here’s a video explaining the different types and functions of common event lighting fixtures!

Lighting is a huge part of creating a polished, professional atmosphere at any corporate event. Whether you're illuminating a keynote stage or setting the mood for breakout sessions, a DMX controller gives you precise control over your fixtures. Here’s a simple guide to help you understand and operate a basic DMX lighting setup. 1. What Is DMX? DMX512 (Digital Multiplex) is a standard communication protocol used to control stage and event lighting. Think of it as a language that lets a controller “talk” to multiple lighting fixtures over a single cable line. For a conference environment, this typically includes: - LED wash lights - Spotlights or profile fixtures - Uplights for décor - Stage backlight or accent lighting 2. Components You’ll Need To get up and running, you’ll typically need: - A DMX controller (hardware board or software-based) - DMX cables (XLR 3-pin or 5-pin, depending on your gear) - Lighting fixtures with DMX capability - A DMX terminator (recommended for stable signals) 3. Setting Up the Physical Connections Step 1: Connect the Controller to the First Fixture - Using a DMX cable, plug DMX OUT from the controller into DMX IN on the first light. Step 2: Daisy-Chain Additional Fixtures - From the first fixture’s DMX OUT, run a cable to the next fixture’s DMX IN. - Repeat for each light in the chain. Step 3: Add a DMX Terminator - Plug a terminator into the DMX OUT of the final fixture. - This helps prevent data reflection and flickering—especially important in conference settings where reliability matters. 4. Addressing Your Lights Every DMX fixture must be assigned a DMX address—like giving each light its own “mailbox number.” This tells the controller which channels (functions) belong to which fixture. How to Address Fixtures: - Check how many channels your fixture uses (often 3, 5, 7, or more). Some fixtures have multiple “channel modes” and allow you to select how many channels you’d like the fixture to use. E.g., in 5 channel mode, each fixture will use 5 channels. So fixture 1 would take up channels 1-5, fixture 2 would take up channels 6-10, etc.

This is a great video on concert lighting fundamentals from Martin Lights. Just skip to 00:04:30 because the intro is unnecessary.