# Dimmer/lamp Check



## Dustincoc (May 1, 2008)

Anyone have a standard procedure they go through?
Main Stage
ETC Express 24/48
Sensor+ 48 Installation Rack w/ 48 2.4k 2-dimmer modules
Second Stage
Expression(not Expression 2 or 3)
8 - Leprechaun 6 dimmer 1.2k Edison plug packs (48 Dimmers)


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## Raktor (May 1, 2008)

Warm the rig (everything at 20%) when I get into the theatre.

Give it a while to warm, greet everybody, and then run the next cue, which automatically brings up each group for a few seconds so I can see if everything is still focused and that no bubbles have blown.


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## Gar (May 1, 2008)

I teach all my board ops the same way (or one of these three ways I guess), but it's just what I do:
*Method 1*
Program Macros 1 to be a channel check macro.
Macro 1: At 00 + At 85 + At 07 -
Then just step through by channel, and assuming you have the right paperwork. Piece o cake!
*Method 2*
Make an auto channel check.
Something like this: 
Macro 5: At 00 + At 85 + At 07 - MWait3 M5
That will step through all the channels with a three second pause between each. It is nice is you don't have an RFU.
*Method 3*
Good old fashion dimmer check.
Type:
Dim 1 At Full Enter
That will bring up a box with the dimmer information and bring up the dimmer.
Step through by using the + and - keys.
This one can be confusing if you don't have a dimmer schedule handy.
With all of these, I try to make sure that the board op is not just making sure that the lamps come on, but that the focus is correct. (Well, as much as they would know about the focus.) But at least general focus. Like Area A not overlapping with Area M on the other side of stage. (its happened (more than once!))
Macros are pretty much the same on Express and Expression.
For the macros, you can find programming help on ETC's website. 
http://www.etceurope.com/product.overview.aspx?ID=20326
I try to standardize the process by giving a time when the lamp check must be done. (i.e. 1/2 hour before the house opens) 
My biggest problem is getting board ops to do it before every performance.
Hope all this helps.
Gar


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## JD (May 1, 2008)

Funny. Back in the 80's I had a neat little system built into my dimmers. (Don't have it on my current ones) Basically, an LED with resistor across each choke. The LEDs were mounted on the front panel. Even at 4% idle, all the little LEDs would light. (dimmer per circuit) Even though the stage lights were not visibly on, if a bulb was bad, that LED would be out. 

DMX is one way, but it still surprises me that every modern dimmer doesn't give some form of load information. It is so easy to detect. The LED system cost me about 20 cents a channel to put in. (plus time)


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## icewolf08 (May 1, 2008)

Dustincoc said:


> Anyone have a standard procedure they go through?
> Main Stage
> ETC Express 24/48
> Sensor+ 48 Installation Rack w/ 48 2.4k 2-dimmer modules
> ...


Could be just me, but the first thing I would do is put the more powerful console in your main stage. The Expression 1 has more power and functionality than the Express.

As for dimmer/channel check, every day I come in and power up everything. I let the moving lights calibrate and then run my strike macro which strikes all the arc fixtures one at a time and then point all the MLs straight down. I test all the attributes (especially scrollers on Revolutions) and then I key in a warmer for the conventionals. I don't make it a macro because it would be a real bummer if it got triggered during a show, plus every show has different numbers of channels, so I would have to write a new macro every show.

I warm everything to 20% over 5 minutes, it gives me enough time to walk down to the stage and set up RFU (and to go to the bathroom or check in with stage management). I do a quick visual check to see if I can spot any blown lamps or burned color, then I step through each channel one at a time to check focus and lamps and color. Then I fix anything that needs fixing, put us in preset, and hopefully have a full half hour to chill with the crew.


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## mnfreelancer (May 1, 2008)

In HS we'd use two people - a board op pressing bump buttons on areas and a spotter on the stage on comms to check dimmers/lamps...

The little ENR dimmer rack I had in the middle school theatre had a test switch on it that brought all 24 dimmers to full instantly - now there's inrush current for ya. The art teacher that did the scenic painting in MS loved that switch - he didn't have to learn how to actually power up the light board.


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## Dustincoc (May 1, 2008)

icewolf08 said:


> Could be just me, but the first thing I would do is put the more powerful console in your main stage. The Expression 1 has more power and functionality than the Express.
> As for dimmer/channel check, every day I come in and power up everything. I let the moving lights calibrate and then run my strike macro which strikes all the arc fixtures one at a time and then point all the MLs straight down. I test all the attributes (especially scrollers on Revolutions) and then I key in a warmer for the conventionals. I don't make it a macro because it would be a real bummer if it got triggered during a show, plus every show has different numbers of channels, so I would have to write a new macro every show.
> I warm everything to 20% over 5 minutes, it gives me enough time to walk down to the stage and set up RFU (and to go to the bathroom or check in with stage management). I do a quick visual check to see if I can spot any blown lamps or burned color, then I step through each channel one at a time to check focus and lamps and color. Then I fix anything that needs fixing, put us in preset, and hopefully have a full half hour to chill with the crew.




The Expression was on our main stage until a couple years ago when the old dimmer packs blew up and we got an entirely new system. As far as I know, it only has 96 channels, to control 48 dimmers. The board replaced a Leprechaun as well as a borrowed MIDI board at the second stage since the Leprechaun was having trouble commuicating to some dimmer packs but not others and we thought it was the packs that were bad but the only packs we could get were MIDI and the Leprechaun doesn't do MIDI and the MIDI board doesn't do DMX. Both were 2-scene presets so that was interesting although I didn't get to operate them. The Expression is the oldest Expression ever made, and the disk drive doesn't work. To save the show, we have to manually write everything down which is easier at the second stage that isn't utilized for much more than readers theatre and very small shows(the stage is maybe 20'x20' with no backstage, think the pulpit of a small church which is what it was). The only toys we have at either stage are scrollers and all lights are conventionals so the boards don't really create any limits.

I never warm the lamps before a dimmer check. If the lamp is going bad, I'd rather have it blow when I am doing dimmer check than during the show. 

I used to use the RFU to do dimmer check by myself but a couple years ago something broke in it(I think It's the cable) and it still hasn't gotten sent in to get fixed. 

I usually end up going channel by channel with the board op making sure all the lights that are supposed to light actually do and they are focused in the right area. I used to do the turn all lights on to full but I was told that that doesn't tell if something has been messed up in the board or in the rack.


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## derekleffew (May 1, 2008)

JD said:


> Funny. Back in the 80's I had a neat little system built into my dimmers. (Don't have it on my current ones) Basically, an LED with resistor across each choke. The LEDs were mounted on the front panel. Even at 4% idle, all the little LEDs would light. (dimmer per circuit) Even though the stage lights were not visibly on, if a bulb was bad, that LED would be out. ...


But what if the dimmer controlled two lamps, and only one burned out?


JD said:


> ...DMX is one way, but it still surprises me that every modern dimmer doesn't give some form of load information. It is so easy to detect. ...


Sensor AF (and other mfg.'s) modules feature load reporting capabilities, but still can't tell you about dropped focus or faded color. I still prefer the old-fashioned method, one channel at a time.


icewolf08 said:


> ...I warm everything to 20% over 5 minutes, it gives me enough time to walk down to the stage and set up RFU ... I do a quick visual check to see if I can spot any blown lamps or burned color, then I step through each channel one at a time to check focus and lamps and color. Then I fix anything that needs fixing, put us in preset...


 Exactly how I've always done it, except usually don't have an RFU, and didn't use to have macro capability, so would write an effect and linked cues.


mnfreelancer said:


> In HS we'd use two people - a board op pressing bump buttons on areas and a spotter on the stage on comms to check dimmers/lamps...


This is how it was done before computer boards, except each channel was brought up not using the bump buttons, by an assistant, with the ME on stage. Still a good way, in an educational setting, as the assistant gets to learn about the board, and a student ME often takes longer than 3-5 seconds to check lamp/focus/color.

Once the procedure/protocol is established, inertia should carry it forward. Dimmer Check, although by now it should be called Channel Check, or simply "Light Check," one half-hour before House Open is pretty standard in the professional world.

On huge shows with thousands of channels (Las Vegas), each electrician/spot op is responsible for a certain portion of the rig, and the board op(s) bring up groups of channels as the persons onstage call for them.

See also this thread, for a lively debate on preheating conventionals.


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## CrazyTechie (Mar 5, 2012)

*Pre-Show Channel Check*

Tech starts on Friday for the show that I'm currently being the ME for and this time I'm running the light board. I've been trying to think of the best way to do a pre-show channel check that is both fast and effective for making sure that what the paperwork says is what actually turns on and it's focused where it's supposed to be. I haven't been able to really come up with anything and I haven't been able to find much that has already been posted.

So, how do you do a pre-show channel check?


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## gcpsoundlight (Mar 5, 2012)

JD said:


> Funny. Back in the 80's I had a neat little system built into my dimmers. (Don't have it on my current ones) Basically, an LED with resistor across each choke. The LEDs were mounted on the front panel. Even at 4% idle, all the little LEDs would light. (dimmer per circuit) Even though the stage lights were not visibly on, if a bulb was bad, that LED would be out.
> 
> DMX is one way, but it still surprises me that every modern dimmer doesn't give some form of load information. It is so easy to detect. The LED system cost me about 20 cents a channel to put in. (plus time)



The old LSC wall mount dimmers had a led for each channel


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## BGW (Mar 5, 2012)

^ Wait...there are people on this board that _don't_ have shrines to ETC in their living rooms?!


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## sk8rsdad (Mar 5, 2012)

BGW said:


> ^ Wait...there are people on this board that _don't_ have shrines to ETC in their living rooms?!


Mine's in the master bathroom.


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## derekleffew (Mar 5, 2012)

sk8rsdad said:


> Mine's in the master bathroom.


Bet you wish you had one of these, don't ya?


http://www.controlbooth.com/forums/...operations/9581-reports-ldi08.html#post109053

Or maybe you already do?


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## BGW (Mar 5, 2012)

Haha. I can't believe ETC would put their name on that. I think it would be more suitable if it said Lehigh or American DJ...considering it's basically a pee target. But wait- what would the scent of an American DJ urinal cake be? Ozone and burning circuit boards?

And, wow, I wish our school's bathrooms were half that clean. :shock:


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## BobHealey (Mar 6, 2012)

The ancient Leprecon LD-2400 dimmers had a no load indicator that lit when ever the dimmer had an open circuit connected (with or without signal from the console). Great for a quick check, especially when you just finished setting up a temporary rig and the console was still in the flight case. 

As for a dimmer check, for shows I do all used channels @ 20%, then go down to the stage to look for dead lamps and burnt color. Dropped focus 9 times out of 10 is something I won't be able to fix before house opens, replacing lamps/gel is challenging enough in the 90 minutes I get. Only way up is via genie lift, and clearing chairs, audience risers, man handling the ramp to the stage out, and putting it all back without any assistance from rest of cast or crew, while being expected to assist all other departments with all things electronic... Its community theater, and as a 1 man lighting dept, and the gremlin exterminator for Sound and the back stage video monitor/conductor cam....


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## gcpsoundlight (Mar 6, 2012)

derekleffew said:


> gcpsoundlight, I'll try to phrase this as tactfully as possible...
> Just what is this thing you have for LSC? It seems you can't wait to mention the company at any and every opportunity. Are they the ETC of Australia? Do you own stock? As has been said almost every time you've mentioned them, LSC is not well-represented in the US. The general consensus here among those who do know of the company is that they don't hold their gear in high regard.
> 
> ETC probably has more fan-boys/girls here than any other company, but even the most rabid don't go around injecting "ETC is the best and will solve all your issues" into every conversation about lighting.
> ...



Is that a problem? I am just providing my oppinion, or are we sponsored by Etc now and not able to mention them?

I don't see why it is such a big deal that I mention a company. We use more LSC stuff here because it is made here. Conversely, I have never seen a production in Australia that used etc dimmers or consoles. Although there are a few venues that have them as a lot of tours use them. 

It really ****s me that just because you don't use a company in the us, it is instantly "taboo". This has happened on other forums as well, and it is a shame, as controlbooth is a fantastic resource. 

Also, I dont get why you think that just because their gear is not in use means the company doesn't have high regard of it. LSC has supplied full production for 2 of our major tv networks. 

</rant>


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## DuckJordan (Mar 6, 2012)

Not taboo its just not the go to solution. Just as etc's gear isn't a go to solution either.

What I think he's saying is that instead of always pointing to one company open your horizons. Strand has a similar system as does several other dimmer manufactures.

Sent from my ADR6300 using Tapatalk


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## Chris15 (Mar 6, 2012)

Ok now, let's all try and be civilised about this.

We ALL need to remember and understand that Controlbooth is an international community but that the greatest chunk of our members are located in the United States.
Around the world, there are many manufacturers of equipment used in this industry.
Mostly for historical reasons, different companies hold the mantle of being "the norm" in different parts of the world.
This does not mean that any one supplier is any "better" than any other.

There is wisdom in using equipment that is reasonably common in a local area. It's much easier to get help when you can't work something out and the chances of getting parts in a timely manner are markedly improved.

The best product in the world is worthless if the closest parts are 10,000km away...

So what does this mean?
Probably for people in the US, LSC is not a great option simply because their market share and thus operator familiarity is not great.
The same is true of installing ETC dimmers in say a school hall in Aus - it doesn't make sense because the local service techs won't be familiar with it.

I am quoting in full Controlbooth's mission statement and core values;

Mission Statement said:


> To provide a venue for discussion, information exchange, and technical advice, related to technical theatre, in a casual and fun atmosphere that fosters friendships among its membership.




Core Values said:


> The cornerstone of our community is mutual respect between members. We pride ourselves in having a mature, civil, yet fun atmosphere where members are able to debate their differing opinions without resorting to flame wars. Our community enthusiastically welcomes new members, and we are always eager to offer helpful advice to both the novice and seasoned veteran alike.



In this thread the mutual respect has been lost.
I STRONGLY encourage everyone, at all times, to consider the question "How does what I'm about to post add TO THE SITUATION UNDER DISCUSSION".
If you can't answer that question easily, edit your post or don't post at all. There are no prizes for post counts folks...


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## gcpsoundlight (Mar 6, 2012)

Just to make it clear - i was just pointing out one system I knew of. Sorry if any issues have arisen. I have sent a PM to derekleffew so hopefully we can sort this out.


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## DrPinto (Mar 6, 2012)

gcpsoundlight said:


> The old LSC wall mount dimmers had a led for each channel



What if there was more than one instrument plugged into the channel and one lamp was bad? The LED would not show a problem, correct?


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## Chris15 (Mar 6, 2012)

DrPinto said:


> What if there was more than one instrument plugged into the channel and one lamp was bad? The LED would not show a problem, correct?



Implementing that would not be a simple proposition.
For a dimmer to work out if any load is being drawn is not too hard, but to work out if the "right" load is being drawn requires a fair bit more smarts. Not to mention having to "reteach" the pack every time you repatched...


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## BLPisani (Mar 6, 2012)

To try to bring this thread back on topic...

CrazyTechie, what board are you using? The exact process will be different for each board, but the concepts will be similar. For instance, I'm doing a show right now that has 16 lights (ETC S4 & S4 Jrs), 6 color scrollers, and run from Leprecon 612 & 624 boards. These are old consoles set up one-to-one dimmer to channel. It's easy for this rig, as I just bring up one at a time and determine if the focus is correct.

I worked in WI at a theatre with about 125 conventionals using an ETC Express console with an RFU, and I'd glow the rig at something like 5% or 10%, which would let me see at a quick glance from onstage if all the lamps were lit and show any saturated color burn. Then, using either the Macro listed above or a dimmer check function, I'd go through each one and check focus and be a little more advanced on the color burn. Sometimes I'd bring up groups, for instance it was a theatre-in-the-round with 4 directions of "front light", to check that focus really was good and hadn't skewed off from full coverage.

Take it or leave it, another suggestion is to start about an hour and a half before curtain. That usually gives you an hour to check and fix what you can if something's gone wrong. Of course, your contract, stage manager, rig size, etc. will properly determine your call time, so take that suggestion as you will.

Cheers.


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## SteveB (Mar 6, 2012)

Steve Litterest, formerly of Ithaca College and now at Univ. of Delaware seemingly coined the phrase "Yankee Check".

Essentially all conventional channels to 25% in a Sneak of time 5 or so. I have no clue why it's called a Yankee Check.

This is the channel check I do and have it configured as a Macro. It tells me if all the lamps are working. I do this at hour, or immediately after arriving and opening/starting the console. I can either do it from the desk or the RRFU, or my aRFR app (all on the Ion). I have either another macro to release, or can do a Go To Cue Out.

I usually do not do a channel-by-channel check after the first time (well, I do one with the LD right before starting a cuing session), as in general, and as experience has taught me, with decent fixtures and good crew, the focus doesn't drift. I will check the focus on any unit that might get knocked by scenery, actors, dancers, or as practicals and deck units that get re-plugged or moved. As I get the console up I will also do a quick check to see if anything looks scrambled from the last use (odd cue list, different channel layout, etc...)

For ML's I will power up immediately as well, and then check lamps and movement from either the desk or the aRFR app. I can also run up the first cue that uses the ML's.


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## Esoteric (Mar 6, 2012)

Start a 10:00 cue that brings every lamp slowly to 100%.
Next cue follows automatically and takes everything to 20%.
I step out on stage and look for any blown lamps.
Run the next cue that brings up the movers in their reference positions.

Mike


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## chausman (Mar 6, 2012)

I use the macro template for a dimmer check that is in the Express. It works well. Especially if you have an RFU to start the macro. 


Sent from my iPad using Tapatalk HD


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