Hi friends! how to use the adress gap ? i don`t understand the logic !
Thanks
Adress gap
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janosvitok
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If you mean address gap in Add Fixtures dialog, it's not complicated.
The purpose is to leave unused channels between fixtures, usually to align the addresses.
For example, we use GLP Scan Operator 12 and GLP Volkslicht moving heads.
Volkslichts have 13 channels each, but Scan Operator has fixed patching 12 fixtures
by 16 channels each, starting every 16th channel.
To accommodate that, I have to leave 3 channels gap between fixtures.
Volkslicht #1 has address 1 (channels 1-13), then 3 channels unused (14-16),
Volkslicht #2 (17-...), again 3 unused channels, etc.
In QLC+, the gap is not needed, but to have some flexibility (or backup controller),
it's wise to keep the addresses the same. I tell QLC+ that I have e.g. 4 Volkslichts in 13 channels mode,
starting at address 1, with 3 channels gap between fixtures, and QLC+ does all the math for me.
Otherwise, I'd have to patch them one by one.
Jano
The purpose is to leave unused channels between fixtures, usually to align the addresses.
For example, we use GLP Scan Operator 12 and GLP Volkslicht moving heads.
Volkslichts have 13 channels each, but Scan Operator has fixed patching 12 fixtures
by 16 channels each, starting every 16th channel.
To accommodate that, I have to leave 3 channels gap between fixtures.
Volkslicht #1 has address 1 (channels 1-13), then 3 channels unused (14-16),
Volkslicht #2 (17-...), again 3 unused channels, etc.
In QLC+, the gap is not needed, but to have some flexibility (or backup controller),
it's wise to keep the addresses the same. I tell QLC+ that I have e.g. 4 Volkslichts in 13 channels mode,
starting at address 1, with 3 channels gap between fixtures, and QLC+ does all the math for me.
Otherwise, I'd have to patch them one by one.
Jano
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edogawa
- Posts: 630
- Joined: Thu May 07, 2015 10:34 am
- Real Name: Edgar Aichinger
Another explanation, different scenario.
In theaters it's common practice to leave gaps between addresses, mainly to obtain more memorable numbers, even if the software or lighting desk hides those. In a complex DMX patch things can quickly become confusing. To avoid that I for example would set up a group of moving washlights on DMX line 2, addresses 1 - 68 (numbers are made up for this example), then another group of four LED PARs with 5 channels each would get numbers 81-100, or even 101-120 if I preferred for whatever reason. Later, when an additional fixture has to be added (which often happens during rehearsal, when ideas don't work out and more stuff is ordered, or some rented equipment arrives late to reduce rental costs, for example), I again choose a convenient number, if the address range is small enough I can look if it makes sense to move it to one of the gaps. (Strobes, fog machines or video shutters usually take only 2 or 3 channels).
Often, as a lighting designer I enter a theater with existing lighting setup like this, and possibly bring additional lights for this project, so I need to reflect all that in my control system, be it hardware desk and its soft patch or QLC workspace, in order to be able to address the lights correctly.
In theaters it's common practice to leave gaps between addresses, mainly to obtain more memorable numbers, even if the software or lighting desk hides those. In a complex DMX patch things can quickly become confusing. To avoid that I for example would set up a group of moving washlights on DMX line 2, addresses 1 - 68 (numbers are made up for this example), then another group of four LED PARs with 5 channels each would get numbers 81-100, or even 101-120 if I preferred for whatever reason. Later, when an additional fixture has to be added (which often happens during rehearsal, when ideas don't work out and more stuff is ordered, or some rented equipment arrives late to reduce rental costs, for example), I again choose a convenient number, if the address range is small enough I can look if it makes sense to move it to one of the gaps. (Strobes, fog machines or video shutters usually take only 2 or 3 channels).
Often, as a lighting designer I enter a theater with existing lighting setup like this, and possibly bring additional lights for this project, so I need to reflect all that in my control system, be it hardware desk and its soft patch or QLC workspace, in order to be able to address the lights correctly.
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GGGss
- Posts: 3052
- Joined: Mon Sep 12, 2016 7:15 pm
- Location: Belgium
- Real Name: Fredje Gallon
Another explanation, different scenario
I leave gaps in my setup so I can use my 'universal' project and adopt it to the gear that is present on the gig.
I have a standard setup for spot, spot, beam, wash, wash, ambiance / crowd / houselights and blinders.
If I had to reprogram every function for every occasion again, that would cost me an additional 6-8h load-in time
so...
If you want to patch your project to the different fixtures you will come across it is wise to leave gaps in your addressing system. When patching fixtures with more DMX channels than your project has foreseen it's possible. I tend to use blocks of 16 addresses per fixture. (this corresponds with the maximum of 32 devices in one universe).
Today, with the multi head (multi zone) fixtures this strategy isn't viable anymore so I tend to split my standard project of 2 hardware universes. u1 wash wash ambi/crowd/house u2 spot spot beam blinders and use a block of 32 per fixture. If I come accross fixtures with 48 addresses, I use a block of 64... but you guessed it: 512 / 64 = only 8 fixtures per universe...
my 2 cents
I leave gaps in my setup so I can use my 'universal' project and adopt it to the gear that is present on the gig.
I have a standard setup for spot, spot, beam, wash, wash, ambiance / crowd / houselights and blinders.
If I had to reprogram every function for every occasion again, that would cost me an additional 6-8h load-in time
so...
If you want to patch your project to the different fixtures you will come across it is wise to leave gaps in your addressing system. When patching fixtures with more DMX channels than your project has foreseen it's possible. I tend to use blocks of 16 addresses per fixture. (this corresponds with the maximum of 32 devices in one universe).
Today, with the multi head (multi zone) fixtures this strategy isn't viable anymore so I tend to split my standard project of 2 hardware universes. u1 wash wash ambi/crowd/house u2 spot spot beam blinders and use a block of 32 per fixture. If I come accross fixtures with 48 addresses, I use a block of 64... but you guessed it: 512 / 64 = only 8 fixtures per universe...
my 2 cents
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