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Zero 88 Community Support Forum


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  1. Dunno if this has been suggested before, but one thing I find very boring is having to click backwards/forwards to get to the current memory that is live on stage to edit it. This is especially annoying when I have left gaps in my memory numbers in case I add cues. What I would suggest would be that if you press and hold the 'memory' button then the next memory is set to the current memory. This would then also follow the same logic as the fact that pressing memory once jumps the cursor back to the memory number field.
  2. I understand what you are wanting, and I know how useful it is. What some other desks do is they give you the option as to how the sub-masters each treat LTP channels, with 'snap' or 'fade' options. When set to 'snap' the LTP channels would snap to their new levels when the sub has gone past a certain point (as it does now), if set to 'fade' the sub would fade the channel through the levels - as it would an HTP channel - with the output being dependent on the level of the fader. This would remove the need to program it as a chase, and makes busking far easier as you can flip through colours/gobos more easily (without having to use the wheels which can take a while to set up).. Would be a nice feature to add I would say...
  3. Regarding the whole lack of playbacks issue that has been raised, I would say that this is showing a lack of understanding how how such a desk is used. You can run a full show on a desk with only 10 faders, you just have to set the desk up differently. The hog II is often used for large shows without the expansion wing, as big shows don't tend to use the flash buttons that often. One thing that would be nice with the desk would be the ability to use a DMX input to trigger 'virtual' playbacks or just channels. This would mean that you could plug in a simple desk with loads of faders (such as the frog) and use it to trigger all of the generic channels and groups of generic channels. This is possible with desks such as the Hog and is a nice way to do this without having to buy an expensive playback wing!
  4. At the moment neither of the explanations are very clear. I would phrase it as: The fade up/down times entered will be used on the run-in to the selected memory (so the down time will be the time taken fo the previous cue to disappear). The current frog usage is the industry standard, so it would be stupid to change it, one of the big complaints I hear of the old Sirius 24/48s was that the times were so odd.
  5. I would think a main thing to consider for the new desk is to have a fundamental re-think on the way that channels work. I would think that it would be sensible for the desk to consider channels and fixtures as the same thing, it may be that channels 1-48 would be generics and 49- 60 being fixtures, but you would be able to do everything with all of them. This would mean that editing could be done with the wheels for all channels, it may also be nice to add a fader for each of the 'fixture' channels, meaning that you can treat them in exactly the same way as normal channels when plotting. I would actually suggest making it so that your fixtures can be anywhere on the desk (channel number wise) and you could then be able to buy more fixtures (ie, a frogII would be the same hardware as a fat frog II, but would just be software upgradable) This would mean that people can buy the smaller channel version and up them selves when they need to. My main point with building a new desk is that the developers should ALL go and play properly with the main desks on the market at this time, even employing someone who knows the desks to show them how they work. A vast number of the changes that have been made to the Frog OS since it came out should have been in the original release - things such as plotting to attribute level are an obvious requirement from anyone who works in the club/music/theatre lighting industry professionally, and are something that is available on all of the major (and most of the middle ground) desks. A few desks that should be tried would be: Avolites Pearl (most similar to Frog) WholeHog II and III Strand 520 (mostly theatre, but Frog needs to cater to that also I would think) ETC express/expression range (as per 520) Anyway, that's just my thoughts. Thanks Richard
  6. doesn't answer the point Which is a very good point and is one of the reasons why the frog (and illusion) could never be used in large scale pro-theatre (due to the way that Lighting Designers and board operators work.
  7. As I said, I would make it only applicable to the main playback, and have it optional - you would probably only use it in mainly theatre style shows which only use the x-playback. It could then completely ignore the subs
  8. I would think that AMD would be quite easy to implement. In my eyes it should only work with the stack (playback) and should purely 'look ahead' to the next cues, and for any fixtures where the intensity is at zero, set them to the appropriate attribute values for the next cue. You should be able to turn this feature on and off from superuser. It does not need to be anything complex, and since it would probably only ever be used when using the 'go' button - so for theatre style shows - there would be no need to worry about the subs etc.. It would make the desk much much much nicer for using in theatre.
  9. richard

    DMX Smoke

    It is actually quite difficult to tell you how to plug the smoke machine in to the DMX cable - because it is one of the simplest things to do, but the exact method depends on your set-up. Basically you plug the DMX cable (which comes out of the desk) in to the DMX in socket on the smoke machine. However since you also need to plug the desk in to your dimmers and maybe your moving lights you either need to plug the smoke machine in before or after them. You should be able to go out of the 'DMX out' from the dimmers, into the 'DMX in' on the smoke machine, but that does depend on the dimmers. You could run a cable out of the 'DMX out (B)' socket (the empty 5 pin socket on the desk) and just plug that in to the smoke machine only - but this would depend on having a long DMX cable. With regard to patching, as was said before, just set the smoke machine to address '48' (don't ask how to do this unless you know the exact make and model of the smoke machine - read the manual) and then you can use channel 48's fader or flash button as you would if it was a light. I would suggest that you try to find someone with some experience to help you though as this is all pretty basic stuff and not very easy to describe in writing!
  10. I would like it if you could use keys on the keyboard to jump to certain fields. For example F6 could jump to up time, F7 to down time etc etc. I also see no reason why you couldn't map every key on the front panel to a keyboard key (as per strand genius Pro), space could be 'Go' etc etc. Richard
  11. A good idea is to use each sub for the same type of thing on every page - for example, you use sub 1 on every page to do movement looks, sub 2 to do colours, sub 3 to do gobo, then subs 5 and 6 to do various par can stuff (allowing you do cross fade these) then maybe sub 7 to do the intensities for your scans, you could then put a couple of overall 'looks' using everything on Sub 12, (things like a preset state or something) You can then make Page 1 maybe Fast stuff, Page 2 slow, Page 3 Medium etc etc etc. You then don't need to note everything down
  12. richard


    It would, I expect be a temporary HTP output, so would treat the data on the sub as a 'held' HTP output (if that makes sense) You would simply be fading the colour value up - ignoring LTP triggers and such, so for example: Sub 1 contains a LTP chase with two steps ony of colour data - step 1 col@DMX128, step 2 col@DMX00 Sub 2 contains HTP colour data, with Col@DMX255 (FF) When Sub 1 and Sub 2 are both at 00 - output is not affected When sub 1 is at full, sub 2 is at 0, output is entirely steps from sub 1 When sub 1 is at zero and sub 2 is at full, output is col@DMX255 when sub 1 is at full and sub 2 is at full, output is still col@DMX255 when sub 1 is at full and sub 2 is at 25%, output alternates between col@DMX128 (step1 of chase) and col@DMX63 (level from Sub 2) So, in a way you would have two output areas on the desk, the LTP and the HTP processes, they would then be merged on at HTP basis. The other (maybe simpler) option would be to just make the sub set the output to the relevant level on an LTP basis - so whenever you move the sub the output would snap to that level, independant on whether anything else is running, this would have its uses, so it might be nice to have the option between these two areas - I dunno..
  13. richard


    The way that some other desks do it is that they lay the HTP values over the LTP values - which may seem odd so bear with me!! The sub which fades would override any LTP subs/chases on an HTP basis, it would always have a out level of 0 and you would set the upper level as you stated. So, if you had a chase running colours on sub 1, then whenever that chase had a higher output level than your colour fader then the colour will go to that of the chase, however when your colour fader has the highest level it will stay at that.. The downsides to using the wheel are many and include: 1) The wheel will override any chases etc I think?? - to return it you have to release it in some way (although I can't remember exactly what would happen here so I may be wrong.. 2) When using a fader you can mark the different colours/gobos along the track, meaning that you can see what it will do.. The only thing with this will be that you will need to be able to record these subs at attribute level - as you would only want the one wheel on each sub, although one option would be that as it is HTP, you would just need to set other attributes to zero when recording it (so they would be saved but just would not affect the output.. I dunno if this makes sense, but let me know!!
  14. richard


    That was the point I was making - what a lot of ops like to do is put their gobo wheel/colour wheel on to a sub (or any fader) so that they can just whiz it up and down to change the colour (in an HTP style) - this is what you cannot do on the desk!
  15. richard


    Hoever it is worth pointing out that the just works as a 'snap' sub - in that as soon as you raise the sub it will snap the colour to the max level programmed in the state - at the moment you can not fade through the colours along the movement of the sub - although that would be nice!
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